Beginning a mini-tour in Sydney and the Southern Highlands, Bach Akademie Australia present a wonderful tribute to the extraordinary era of Collegium Musicum. Based in Leipzig, this German tradition appears to have begun in the 16th century as an opportunity for advanced amateurs and professionals alike to “jam”, discuss new ideas and try out new compositions, for education and for sheer fun.
In 1701, Telemann arrived in Leipzig as a university student to study law but was irresistibly drawn to music composition, eventually taking on the Collegium Musicum as leader, alongside his professional positions. Some 20 years later, after Telemann had handed the reins over to others, Johann Sebastian Bach arrived in Leipzig and was introduced to the Collegium. Here, he made full use of the organisation to try out many new works — instrumental as well as vocal, even large-scale pieces involving big ensembles.
By 1729, on hearing the Collegium’s leader was moving on, Bach put his hand up to take on the role and began expanding the organisation at a great rate of knots. Historic records speak of this era as the Bachische Collegium Musicum, reflecting how influential Bach was in making the Collegium so much bigger and busier than before. It was the perfect incubator for nurturing the talents of composers, musicians and singers; showcasing them as they launched their careers and built their reputations.
Bach Akademie Australia Artistic Director Madeleine Easton drew from the music of the Collegium’s Bachische era for this program. Mosman Art Gallery was heavily booked with subscribers who adore Easton’s programming and her choice of premium artists. The program was entertaining from front to end, featuring dearly loved, favourite works alongside some surprising “new” discoveries for the audience.
Gracing the stage with Easton was Nathan Cox at the harpsichord, laying the foundation for each work, supported beautifully by Pippa MacMillan on baroque double bass and Anthea Cottee on baroque cello. Out front were John Ma on viola, Simone Slattery, Rafael Font and James Tarbotton on violins.
The performance began with a grand and stoic overture by Telemann from Tafelmusik Part 1, which broke into a joyful, fleet-footed delight featuring two masterful flutes — Mikaela Oberg and Jessica Lee — before returning to the grand style that opened the piece. Next came Vivaldi’s version of the centuries-old “standard” La Folia, which originated — perhaps — somewhere in Spain or Portugal. La Folia is usually presented as a fairly simple tune followed by variations. Vivaldi’s treatment is, as expected, endlessly inventive, constantly reinventing the melody so there is never a dull moment, while highlighting characteristics that are unmistakably his. The work also featured an impeccable duet bouncing between the violins of Easton and Font. Faultless and exquisite.
There was a Bach arrangement of a Vivaldi concerto, performed by Cox on a stunning Australian-made harpsichord. Next, a marvellous Sinfonia by Johann Fasch, a composer who had established a separate Collegium in Leipzig during Telemann’s era. Considered very modern for its time — “the style of the future” compared to Bach’s work — it opened boldly, sounding like a far larger orchestra than was present. Very melodic, with lots of unified writing for the violins. The two flutes joined for the final piece by Telemann, effortlessly demonstrating great technical skill throughout.
The second half of the program was simply delightful. Slattery took the lead for the first work, announcing that the Baroque era could, at times, be quite silly. Telemann’s “The Frogs” was broken into sections that really did conjure the frogs themselves. First one frog starts to croak, then a second syncopates, two more establish their own pattern — until suddenly all the frogs join in and the ensemble bursts into a tune. It had the audience giggling, not only at the music, but at Slattery’s animated playing as she encouraged us all to join in the fun.
Back to JS Bach, and this time a wonderful arrangement by Elizabeth Walker of an organ piece originally written by Bach for his son. In Germany, organ music had developed into a brain-bending challenge of playing different parts simultaneously on the left hand, right hand and foot pedals. Walker’s arrangement split the parts so that Oberg played one hand part on flute, Easton took the other, then Cottee and Cox covered the pedal notes. The idea that anyone could hold all of that together at a single organ truly is astounding — and we loved it in this quartet form.
An old favourite closed the concert: Bach’s sublime Concerto in D minor for two violins, featuring Easton and Slattery. It is so rare to hear this piece played by two women, it made a lovely change. Many of our masculine ensemble leaders in Sydney tend to emphasise speed and aggression in this work. The two women brought something lighter, more flowing and collaborative — still with plenty of variety, but with a clear feminine sensibility in the interpretation. The audience adored it and gave much cheer and applause at the close.
This program is so superb that one hopes it will be repeated beyond the currently booked concerts. It would make a wonderful album or DVD for posterity. Bach Akademie Australia, soon to reach their 10th birthday, have gone from strength to strength. Their focus on the quality of musicians and the most tasteful, entertaining music of Bach’s era is unwavering. You will never be disappointed with this ensemble — you are guaranteed a night of bliss and delight.
You can hear the remaining performances of Collegium Musicum here:
Saturday 13 June 2026 at The Neilson, ACO on the Pier, Dawes Point, 7.30pm or
Sunday 14 June 2026 at Bowral Memorial Hall, 2.30pm
Bookings here: https://www.bachakademieaustralia.com.au/events
Program
TELEMANN – Tafelmusik Part 1: Ouverture TWV 55:e1
VIVALDI – Trio Sonata in D minor RV 6 (La Folia)
BACH J.S. – Concerto in F major BWV 978 – arr. from Vivaldi’s Concerto in G major RV 310
FASCH – Sinfonia in G minor FWV M:g1
TELEMANN – Tafelmusik Part 1: Conclusion TWV 50:5
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TELEMANN – Violin Concerto TWV 51:A4 (The Frogs)
BACH J.S. – Trio Sonata in F major BWV 525
BACH J.S. – Concerto in D minor for two violins BWV 1043
Artists
Solo Violin, Artistic Director: Madeleine Easton
Solo Violin: Simone Slattery
Violins: Rafael Font, James Tarbotton
Viola: John Ma
Cello: Anthea Cottee
Double Bass: Pippa MacMillan
Harpsichord: Nathan Cox
Flutes: Mikaela Oberg, Jessica Lee
