Music / The False Prophet, BlockSounds. At Wesley Uniting Church, Forrest. November 9. Reviewed by ROB KENNEDY.

When BlockSounds released the title of their latest concert, it screamed, must-review. The False Prophet, the Wicked Servant and Divine Comfort. Sacred and secular music from Germanic Europe 1600-1680.

With the religious turmoil through Europe in the 17^th century, composers saw the possibilities for creating a new repertoire. The conventions that dictated music had changed, and soon, so did the music.

The recorder players in BlockSounds were Robyn Mellor, director, Shae Bartels, Olivia Gossip, Elana Leske, Kiri Lefebvre and Nick Horn. The guest artists were Greta Claringbould, soprano; Maartje Sevenster, mezzo-soprano; Frank den Hartog, tenor; Ariana Odermatt, harpsichord; Rachel Walker, viola da gamba.

The concert opened with It is Enough by Johann Rudolph Ahle (1625-1673).  For the continuo of harpsichord and viola de gamba, and the tenor, it emphasised simplicity in style and content, easy for a congregation to sing.

The Sinfonia Ottava a 4, by Johann Hieronymus Kapsperger (c.1580-1651), flowed evenly and tranquilly. The four recorders and continuo created a relaxing atmosphere.

Then Sevenster and a fifth recorder player stepped forward to perform You Wicked Servant by Heinrich Schütz. A song about cancelling a debt, that went on to ask for mercy. Sevenster’s voice cut through and made for a powerful performance of an engrossing work.

Back to four recorders and continuo for the Sinfonia Decimaquinta a4, by Kapsperger, but not before an annoying car alarm ruined the atmosphere.  After that, the plaintive music sat perfectly as a representation of what these instruments are capable of.

Another work by Ahle, Beware of the False Prophets, with all three singers, this headlining work made a grand statement through its polyphonic construction. But when the voices fell in line, the power and the beauty of the composition created a seminal sound. Most alluring.

Another instrumental work followed, O Nachbar Roland a5, by Samuel Scheidt. A gorgeous polyphonic piece that began with just four recorders before the continuo slipped in. A more complex work ensued. The overlapping lines across the recorders made a most interesting combination.

Ahle’s, Comfort, comfort my people for tenor, mezzo-soprano and continuo followed. The offsetting and repetition of the voice parts added great depth before the recorders came in. An almost jovial work flowed, considering the subject matter which included war, suffering and sin.

Seven other pieces by Ahle and other composers wound up the second section of the concert.

But not before a final work, by Ahle, that was transcribed by none other than JS Bach himself. Ahle was obviously considered a composer of high standards for the great Bach to arrange one of his works. It was verse five of the opening work, but it was a more intense and challenging chorale that created a powerful ending in the High Baroque style.

The eclectic works and the varied musical voices made for a captivating concert.