KEY POINTS:
There's something so life-affirming in the music of Purcell, with its vigorous rhythms and utter nonchalance when it comes to the occasional passing dissonance.
Bach Musica caught this joie de vivre, opening their Sunday concert with a suite from Abdelazar.
Rita Paczian, conducting from the harpsichord, delivered it light and frisky, with robust string tone and a shapely solo turn from leader Yid-Ee Goh.
There were certainly no complaints in hearing the famous Rondeau movement twice when it was given with such a fetching lilt. An a cappella bracket, sensitively conducted by Richard Phillips, featured a spacious account of Byrd's "Iustorum animae" alongside Peter Philips' more athletic "Ascendit Deus".
David Hamilton's Lux aeterna has become a Kiwi choral classic since it was written 27 years ago. Phillips and his singers illuminated the work's skilful juxtaposition of the experimental and traditional.
Uwe Grodd and Yi Jin were charismatic soloists in Mozart's Flute and Harp Concerto, sparkling over an accompaniment that occasionally registered as slightly metronomic.
The two were never less than graceful in their lines, showing a real rapport in the work's rippling cadenzas.
After interval we were immersed in the sombre but beautiful world of Bach's Cantata 106, "Gottes Zeit ist die allerbeste Zeit", the so-called Actus Tragicus.
From the opening Sonatina with its gently clashing recorders and pleading violas da gamba, this was tone painting at its most potent.
Funeral cantata or not, Paczian has never sanctioned moribund tempi. And so the fugue of the first chorus was a rush of joy, affording the perfect contrast to the bitter harmonies of "In ihm sterben".
The three soloists made the most of some of Bach's loveliest inspirations. Dmitry Rusakov's tenor was strong and forthright in "Ach, Herr", Sarah Wall introduced "In deine Hand" with unaffected naturalness, followed by the expressive baritone of Iain Tetley. Indeed, the only problem may have been Bach's as the finely honed but modest-sized instrumental ensemble was all too easily drowned out by the lusty choir, particularly in the final chorus, with its thrilling "Amen".
Bach Musica has garnered a loyal and sizeable audience. With concerts like this show, they fully deserve it.
