Blog / In the Press: Egarr & The Golden Age

In the Press: Egarr & The Golden Age

Posted on 17 Jun 2015 by Leo Messias


‘orchestral playing of the highest order, crackling with fierce energy and sheer fun’
William Yeoman, The West Australian, 19 June
Read More 

‘In his second collaboration with the Australian Chamber Orchestra as director and soloist, Richard Egarr from Britain’s Academy of Ancient Music presented a potpourri of vanguard baroque and classical compositions.

The ACO has a tendency towards intensely articulated bite and crunch. Egarr tempered this by offering detailed, spirited and unconventional readings of music by William Lawes, Purcell, Bach and Haydn, with strongly accentuated rhythmic shape and timbral diversity.

Responding to his lively direction, the ensemble found unity of expression, exceptional tonal clarity and a judicious blend of vigorous phrasing and considered articulation.

Egarr’s reputation is for fresh interpretations, informed by scholarship and thoughtful musical analysis. In his illuminating account of instrumental selections from Purcell’s genre-evading The Fairy Queen, syncopations were drawn out as languid grooves that would feel at home in contemporary pop.

The sinewy, squeezebox interlacings of the Fantasy from Lawes’s C major Consort Set, written for six viols, worked well in arrangement for the modern violin family. Satu Vänskä was the soloist in an elegant rendition of Bach’s Violin Concerto in A minor, delivering the solo line with soft clarity rather than virtuosic flourish.

After the interval, energy levels rose as Egarr gave a riveting, ­highly idiosyncratic account of Haydn’s Keyboard Concerto in D major, explosive fingerwork coupling with stylistically and harmonically adventurous cadenzas to memorable, if somewhat wacky effect. A mobile phone became part of the fun as Egarr lampooned its jarring oscillations, seamlessly incorporating them into his extemporisation.’

Eamonn Kelly, The Australian, 17 June
Read More (The Australian subscribers only)

‘With captivating depictions of repertoire “standards” like Bach’s Concerto for Violin in A minor and Haydn’s Symphony No 44 nestled among the more obscure (Lawes’ Fantasy No 1), and the more entertaining (Purcell’s The Fairy Queen) – the Australian Chamber Orchestra rose with ease to the high energy set by Egarr at the helm.

Making a solid first impression with selections from Purcell’s The Fairy Queen – the orchestra kept the audience guessing, offering passages of slumber then rising to the heights of jubilation with just a bar’s notice. Delightful oboes and harpsichord duets punctuated lyrical string passages.

Lawes’ Fantasy No 1 from Consort Set in six parts followed, with the orchestra giving the “utterly English” nature of the work an appropriate working through, before the orchestra again came alive, with lead violinist and soloist Satu Vänskä presenting a classy interpretation of Bach’s Concerto for Violin in A minor.’

Joel Carnegie, The Age, 14 June
Read more

‘In the final movement, the sense of how Vänskä will take possession of the concerto could be heard in her bold handling of the devilish, rapid runs of the presto –her bowing arm moving like a bird’s wing to ensure lift as well as speed.’

Jennifer Gall, Canberra Times, 15 June
Read more 

13-28 June

Travel back in time with Richard Egarr as he presents music from the Golden Age performed on the ACO’s stunning collection of rare Italian instruments crafted between the late 16th and 18th centuries.

PURCELL The Fairy Queen: Suite (selections)
W LAWES Consort set in 6 parts in C major
JS BACH Violin Concerto in A minor
HAYDN Keyboard Concerto in D major
HAYDN Symphony No.44 in E minor