Bach Akademie Australia | A Universe of One – The solo sonatas and partitas
June 16, 2023, Paddington Uniting Church, NSW and Australian Digital Concert Hall
Soloist: Madeleine Easton
Smack bang in the middle of a vibrant inner east neighbourhood, with plenty of great pre and post-concert dining options the Paddington Uniting Church is the perfect venue for an evening with the Bach Akademie Australia. The church was an intimate and acoustically pleasing setting for these performances of Bach’s six solo partitas for violin, presented by Artist Director Madeleine Easton over four concerts, tonight being number two in the series.
The partitas are a pinnacle of the violin repertoire, embodying a remarkable fusion of technical demands and expressive depth. Easton’s program notes provided invaluable insights into the historical context, musical structure, and interpretative choices associated with each partita. By delving into the intricacies of these compositions, Easton offered the audience a deeper appreciation for Bach’s genius.
The evening commenced with J.S. Bach’s Sonata No.2 in A minor, BWV 1003, the ethereal sounds of the Grave reverberating beautifully within the church’s walls, enveloping the audience in a contemplative atmosphere. The Fuga and subsequent Andante and Allegro movements required Easton’s total concentration and skill and she made them sound effortless. Part of what I love about live music is that it is so ‘real’ (passing car horns and the occasional overhead aeroplane included), it is such a thrill to be experiencing it in person that I tend to enjoy a live sound much more than listening to a perfectly mixed recording.
The next work on the program, Händel’s Sonata in F major, Op.2 No.4, HWV 389, showcased a group of exceptionally skilled baroque musicians. The quartet included John Ma’s precise and expressive violin, alongside Mikaela Oberg’s lyrical and graceful flute, paired with Anthea Cottee’s cello, providing a solid foundation and rich resonance to the ensemble’s sound. Add Nathan Cox’s skilful harpsichord playing and this made for an immensely engaging performance. I think I’ve admitted in past reviews that I’m a bit of a Handel fan-girl and I particularly enjoyed the final Allegro with its joyful tempo and playful melodies, it was a jubilant finale which the quartet obviously enjoyed playing.
Easton returned for the final and most well known of the Bach solo partitas for violin, Partita No.2 in D minor, BWV 1004. The immediately recognisable Allemanda unfolded with an exquisite blend of elegance and poise. Easton’s sensitive phrasing brought out the intricate nuances of Bach’s composition. The Corrente breathed with energy and liveliness and the Sarabanda was a beautiful floating thing, full of introspection and melancholy. Easton’s interpretation delicately communicated the emotional depths of this movement. The ensuing Giga was a tour de force, extremely technical and Easton’s concentration was palpable. Fingers flying across the strings conjured a whirlwind of energy and excitement.
As the concert reached its crescendo, the lengthy final movement, the Ciaconna, unfolded with intensity. Easton showed deep understanding of the music and captured the essence of each partita with a keen sense of authenticity. Her passion for these works and her commitment to their exploration was evident and her notes reflected on her ambitious endeavour of performing all six of Bach’s solo partitas,”If I am to take myself seriously as a specialist practitioner of Bach’s music, this is something I simply must do. This music is incredibly important to me; it has been with me my whole life, stayed with me, been a constant source of comfort, inspiration, and wonder. And as much as it is a huge undertaking, stressful, tiring, frustrating, etc., it is also one of the utmost satisfaction and wonder.”
These heartfelt words from Easton convey the profound significance of Bach’s music in her life and the unwavering commitment she has to share its beauty and depth with audiences. Despite the challenges and demands of such an endeavour, Easton’s passion and dedication shine through, illuminating her journey as a musician and her deep reverence for Bach’s masterpieces.
By repeating the famous D Minor partita on Sunday in Chatswood Easton provides an opportunity for those who may have missed this initial performance to experience one of Bach’s most iconic compositions by one of Australia’s finest practitioners. Get there if you can.
