This is the latest excellent concert brought to us by the Marais Project led by Jennifer Eriksson , filmed at the NSW Conservatorium of Music and streamed by the Australian Digital Concert Hall. It is striking, rich, complex, multi layered, playing close attention to the structure of the music and, as always, technically the playing was superb.
The Marais Project announced a collaboration and tour with the celebrated artists from Sweden, Duo Langborn/Wendel. The tour included both Sydney and regional NSW between 5-26 February 2023 and reached Sydney, Berrima, Dungog, Wauchope and Tea Gardens.
The concert is a delicious blend of Swedish folk music, works from the baroque, and several original compositions/arrangements by various ensemble members.
Presented In Association With Musica Viva Australia and the Swedish Arts Grants Committee, we heard Catalina Langborn (Sweden) on violin , Olof Wendel (Sweden) on cimbalom , Susie Bishop (Australia) voice & violin , Tommie Anderson (Sweden/Australia) on theorbo & guitar .Shaun Ng played the viola da gamba instead of Ms Eriksson ( who has a broken arm) .
First we heard traditional Swedish Folk Music beginning with Röjås Jonas arr. Tommie Andersson/Olof Wendel’s Gråtlåten (The Crying Tune) , Pers Erik Olsson arr. Tommie Andersson Låt till far (Tune to Father) and a traditional arr. Olof Wendel Kristallen den fina (The crystal so fine) that contrasted flowing, bubbling melodies with more pensive ones. The crystal so fine was a soft, delicate and shimmering duet for violin and cimbalom.
Susie Bishop’s Lullaby for a Broken World was rich and emotionally powerful, with Bishop singing, Anderson setting the pulsating rhythm and the violins and viola da gamba adding to the beautifully detailed atmosphere.
The three pieces in Marin Marais arr. Tommie Andersson/Olof Wendel – Instrumental music from Alcione the Menuet, Prelude and Gigue, ie court dances, were an animated ensemble discussion, mostly brisk and lively but sometimes a little slower, with the music’s complex, repeated phrases and circular structure.
Anon. (pub. 1703) J´avois crû qu´en vous aymant (I had thought that, in loving you) was passionately performed, Andersson and Bishop performing first, then the violins and viola da gamba picking up the melody and adding their voice.
Johan Helmich Roman’s Sonate in G minor for violin had a pulsing, pulsating, at times, repeated circular melody that sometimes bubbled.
Olof Wendel’s Löv som faller (A leaf falls) was delicately nuanced with many complex layers. Wendel is featured on the cimbalom. At first it starts off slow and passionate. then ripples and builds in intensity .
Trad. Swedish arr. Olof Wendel’s Kärestans död (Death of the beloved) was delicately nuanced and passionately aching.
Esbjörn Svensson arr. Tommie Andersson’s Pavane: Thoughts of a Septuagenarian pulsates and shimmers with perhaps a jazz influence.
Jenny Eriksson’s Anna was compelling .
The two Marais Echoes & Nordic Moods arr. Jenny Eriksson –Marin Marais – La Marieé, Menuet and a traditional Swedish item- Glädjens blomster (The flowers of joy) followed , quite fast and energetic
Then came Charpentier’s Sans frayeur (Without fear) which ebbed and rippled, multi layered like a rich river
There was much enthusiastic applause, the audience loved this concert. For an encore we heard Timas Hans Hansson arr. Tommie Andersson/Olof Wendel’s Guldklimpen The Golden Nugget) which was catchy and vigorous, flowing and scurrying, bringing the concert to a close.
Running time just under ninety minutes.
https://www.maraisproject.com.au/performance/#.ZABkhnZBy3A
https://australiandigitalconcerthall.com/#/item/103113
Featured image : The Marais Project & Duo Langborn Wendel Pic Philip Pogson