Latitude 37 | Parisian Soiree

29 April, 2023,  Athenaeum 2, Melbourne

The opening bars of Marin Marais electrifying exposition on the bells of Saint-Genevieve du Mont de Paris are guaranteed to elicit a response.

My mind used to go to the 1991 French film Tous les Matin de Monde, but more recently the sound invokes the ridiculous satire on the world elite and the European best film of 2022, The Triangle of Sadness. A wild and messy romp on the Mediterranean!

Either way, the sharp attack of the violin, rustle of the harpsichord and the rumble of the viola da gamba were captured perfectly as the mid-point of the French baroque feast delivered by premier early music ensemble, Latitude 37 made up of Julia Fredersdorff (violin), Laura Vaughan (viola da gamba) and Donald Nicolson (harpsichord).

This evening’s programme of French baroque music transported us to the intimate chambre of the 1700’s elite and was presented in-person at Melbourne’s Athenaeum 2 and online at the Australian Digital Concert Hall.

Starting with the Premier Concert from the Concert Royaux of 1722 by Couperin le Grand, each of the featured composers was a well-heeled Parisian of royal patronage: Francois Couperin, Marin Marais, Jean-Philippe Rameau, Elisabeth Jacquet de la Guerre (nee Jacquet) and Jean-Marie Leclair.

Throughout the concert Laura Vaughan elevated the viola da gamba from continuo to virtuoso to ensemble player (repeat), each time expanding the expressive range and technical capacity of the instrument. Her treble viol or pardessus de viole (I’m not sure which) was an equal match for the violin in Couperin’s Premier Concert and the conversation between violin and viol in the final movements of de la Guerre’s Violin Sonata no 5 in A minor was a joy to behold.

Donald Nicolson shone in Rameau’s Deuxieme Concert from Pieces de Clavecin en Concert. Led by the keyboard, the doubling of parts along with the wild ornamentation of the harpsichord part, gave the work an extraordinary texture. Across the concert, Donald brought forward the character of each composer in his continuo playing as a distinct voice in the mix.

Julia Fredersdoff’s violin was warm and melodious, particularly in the final and most Italianate of the works. Still very French, but more conventional in form, Jean-Marie Leclair’s Sonata a Trois Op.2 No. 8. was virtuosic and expressive. A great way to finish the concert.

It would have been lovely to have heard Donald on a double-manual French harpsichord, such as the ones Elisabeth Jacquet’s family built. However, there was nothing lacking from the sound, it was rich, complete and so very French, something I attribute to Donald’s technical skill and flair as a performer.

On a cheeky note, I couldn’t help but think how lovely it was to get a head-start on Eurovision by being immersed in the French sound. And as someone who, for a variety of reasons, has preferred to stay at home over the past few years, there was a special feeling at being out in an intimate venue with other people who love music. There was a friendly and warm atmosphere and much joy at recognising people from pre-pandemic times.

If you’re on the fence about going out to concerts, you can always subscribe to the Australian Digital Concert Hall. But if you do venture out, be sure to say hello. I’ve no doubt you will be warmly welcomed.

Until we meet again: Viva La France!