Review – Latino Love Affair

APRIL 28, 2018, MOSMAN ART GALLERY

'When you attend a Thoroughbass concert the listener can be assured of two experiences.  You will be introduced to some infrequently played compositions spanning all historical music periods, and the intimate setting will allow you to have your hand taken as you walk through the unusual and captivating musical landscape.

Contemporary composers occupied the first half on the concert. Pablo Escande’s “Capricho” was immediately engaging.  Harpsichordists Michael Tsalka and Diana Weston propelled the beat with vitality and enjoyment. Rhythms were tight and conscientious preparation was obvious. With the same professionalism, the harpsichordists performed Astor Piazzolla’s “Fuga y misterio” with an infectious tango rhythm that invited the listener onto the dance floor. This was all the more impressive as the Tango was composed in fugal form.  The contrasting “Misterio” was evocative and its improvisatory nature allowed a freedom that both players well understood.  May Howlett’s “Tilting at Windmills” showcased the marvellous interplay between the two harpsichordists but the story line became obscure. The final composition from the first half of the concert was Arvo Part’s “Summa.”  This strings only performance was a highlight of the concert.  The sound was balanced and blended with a rich rounded cello contribution.  The strings team bathed the listener in serenity; we were captivated.

Baroque composers stood tall in the second half of the concert.  Benda, Scarlatti and J. S. Bach were well realised.  Michael Tsalka chose appropriate tempos and played with a crispness that allowed the sounds to jump out of the keyboard. He is captivating to watch and listen to.  Diana Weston played with control and reliability and her independent finger strength was particularly impressive in the Scarlatti. Diana always plays with great understanding of style; she lets the music shine. The strings accompaniment to the baroque sounds was a little patchy. There was rhythmic alertness but tonal quality and leadership from the violins was sometimes missing, most noticeably in the Benda, and the cello line needed reinforcement.  The Concerto in E Major BWV 1053 by J.S. Bach was a well-chosen finale. Thoroughbass revelled in the complexity and richness of the work.  All players were swept along in the boldness and strength of the composition, and performer and listener alike ended on a wonderfully invigorating platform.'

Mary Sambell – music educator and director of “Mary’s Piano Studio”