08/10/2026
Review by Rainer Buhmann of our ‘Rhythm & Repose’ concert on Sunday 20 September 2026:
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The third Bach Musica NZ concert in 2026 proved to be another extra-ordinary musical event, aiming at the chorus’s and orchestra’s high standards as established by their previous Musical Director, Rita Paczian. The concert introduced another guest-conductor of the highest artistic calibre, Vincent Hardaker, known to NZ audiences because of his collaboration with the Auckland Philharmonia and the NZSO. Vincent Hardaker dedicated his programme exclusively to three French composers: Jean-Philippe Rameau, Jacques Ibert and Gabriel Faure.
Jean-Philippe Rameau (1683-1764), a French composer representative of the late baroque-era, quintessentially influencing the outgoing French baroque-area as a dominant force. In his iconic ‘Les Indes Galantes’ Suite, composed in 1735, his music embraces the almost irreconcilable contrasts of ‘love and pleasure’ and ‘the committing to battle and war’.
The Bach Musica NZ orchestra, as perceptive and sensitive as ever under the effective leadership of concertmaster Yanghe Yu, responded with great accuracy to the conductor and to the varying nuances of Rameau’s masterpiece. Restful baroque-demeanour, as expressed in the Suite’s overture and producing an impeccable continuo by the double-bases of Eric Scholes and Tim Shacklock, interchanged with the somewhat jovial mood in ‘Musette en rondeau’ of joyous and carefree country life, effectively characterized by the bucolic first violins and the bassoons of Philip Sumner and Ricky Shi.
Continuing with varying musical styles from the repose of peaceful country life to the unsettling, rhythmic demands of battle and war, as expressed in the Suite’s ‘Rigaudons’ and ‘Tambourins’ movements - and this up to the majestic texture of the concluding Chaconne, the enraptured audience witnessed the end of an era, which had commenced 75 years earlier with Purcell, Handel and Bach.
Jacque Ibert (1890-1962) was a leading French composer of the neo-classical era. He was a strong-willed and artistically fiercely independent composer, who was unwilling to be identified with any particular musical style, flair or genre. This characteristic is abundantly expressed in his music, which is regarded electric, witty, lithe and versatile - and this against the background of classical clarity and refined orchestral texture. His concerto for Flute and Orchestra, composed 1932-33, is regarded as one of the hardest flute concertos ever written.
The distinctly courageous flute-soloist, who agreed to face the ‘Ibert-concerto-hell-fire of fortissimo sound and penetrating rhythm, was Luca Manghi. Dr. Manghi is also well-known to NZ-audiences through his association with Bach Musica NZ, the Auckland Philharmonia and the NZSO.
Without a moment of mental preparation, Luca Manghi was immediately embroiled in Ibert’s highly energetic allegro-introduction to his flute-concerto, comprising forceful syncopations and endless semi-quaver-runs, resembling the pyrotechnics of a firework and calling on the all-encompassing technical skills of the performer.
The poignant support of the soloist during this inferno again by the bassoons, the clarinets of Donald Nicholls and Elsa Lam - and during the Allegro’s syncopated movements, the soloist’s accompaniment by the orchestra’s skilful horns was exceptional. This also applies to the entire string-section, which inherently and once again demonstrated the outstanding quality of the entire Bach Music NZ orchestra.
Relating to the concert’s ‘repose-reference’, Ibert’s flute-concerto, indeed, also entered restful, if not lyrical passages in its final andante-movement, when once again the orchestra’s oboes and clarinets were superb in providing distinct texture and rich colour.
At the conclusion of this remarkable Ibert-furore, flute soloist, Luca Manghi, was deservedly and enthusiastically celebrated by the audience like a superstar. Invariably, he may have entered the illustrious group of international solo-flute-artists, who have courageously ‘attacked’ and convincingly mastered the Ibert-inferno, his concerto for flute and orchestra.
As I have mentioned before, it is not to the advantage of the audience or the soloists, if they are placed between orchestra and chorus.
Following the concert’s intermission, its third part was dedicated to French composer Gabriel Faure. Gabriel Faure (1845-1924) is regarded as a representative of the ‘Late Romantic’ period - at the same time creating vital links to the following 20th century modernism and impressionism. Faure is immediately identified by his famous Requiem Opus 48 in d-minor, which he composed and amended during the years 1887 to 1900 - this being the third item in last Sunday’s concert.
The Faure-Requiem re-introduced the Bach Musica NZ chorus as well as soloists Elizabeth Mandeno, soprano, and Joel Amosa, bass-baritone. It decidedly moved into a rest - and peaceful concert-phase. Repose and calm were further enhanced by the composer’s decision, to omit the disquieting ‘Dies Irae’ (‘day of wrath’) , as it regularly features in the Requiems of other composers. The initial, majestic pianissimo-simplicity of the Faure Requiem’s ‘Introit and Kyrie’, most sensibly delivered by the Bach Musica NZ orchestra, was decidedly mesmerising.
Elegance and warmth were furthermore assuringly provided by the orchestra with its uniquely cultivated pianissimo sound - this particularly in its most perceptive and insightful accompaniment of Elizabeth Mandeno’s immortal ‘Pie Jesu’, which she skilfully delivered in a most tender serenity.
Joel Amosa’s bass-baritone in ‘Libera me, Domine’ was equally sensitive and authoritative. It also projected warm, lyrical connotations.
The Bach Musica NZ orchestra and chorus responded perfectly to the expressed artistic sculpturing of gifted and inspirational guest-conductor Vincent Hardaker. Their devotional and mellifluous final delivery of the Requiem’s ending under his skilful baton, ‘In Paradisum’, would have rested for a long time in the minds of a grateful audience.
