Music / Sylvan Glades & Crystal Fountains, Austral Harmony. At Greenaway Studio, Chapman. November 7. Reviewed by ROB KENNEDY.

Austral Harmony in an intimate program at Greenaway Studio on historical instruments, in an all-Handel program, evoked the pastoral romance of his early days in England.

With Margaret Caley and Elinor Warwick, baroque violins; Jane Downer, baroque oboe; and Gabriel Frømyhr, baroque cello.

Handel’s drama in miniature, with music inspired by the Greek myth of Acis and Galatea as recounted by Ovid in his epic poem Metamorphoses, is a captivating portrayal of love and nature conveyed through an unbroken flow of melodious tunes.

Beginning with Handel’s Suite from Acis & Galatea, Part I, with just four songs, which were about finding love, nature, beauty, and lament. It was surprising how effective his music was without the singers. The first song, Where Shall I Seek the Charming Fair, opened with a stately theme for all four musicians. It soon turned into something more intimate when the duo of cello and oboe took over the theme.

For the second song, the recorder, a very small one, the sopranino, sat above the other instruments like a bird chirping high. Downer,  an expert in all her wind instruments, brings something special to her concerts no matter what instrument she plays.

The third and fourth songs performed in Part I, contained multiple singing voices. Throughout, there was some expressive music to accompany the themes of love and lament, in which Frømyhr’s cello has some beautiful lines, beautifully played.

Next, Handel’s Trio in C minor Op2/1 HWV386a, in four movements, opened with the dreamy combination of cello and oboe. It was an engaging piece, which seemed to have a personal nature about it, where each of the three instruments had something special to say. Each section, perfectly balanced against each other, made for a high-quality sound experience.

Following came Part II, from Acis & Galatea, with another four songs chosen from the 17 in this part, where Handel increases the drama through the themes of jealousy, violence, death, and transformation. The heighten passion was quickly on display. Again, the sopranino, with its bird-like tones, let everyone know that tension was in the air.

The trio in the second part, titled Would You Gain the Tender Creature, had some inventive moments of melody swapping between instruments, highlighting their individual tone colours. The final two arias capped off the Suite with hope and renewal through these musical voices telling this pastoral operatic story.

To close the concert, Handel’s Quadro in G minor HWV 404, with just the first movement, the Andante, had a graceful melody where the violins exchanged voices. It went back to a stately theme, like what opened the concert.

The capacity audience sat intently throughout and rewarded the players with loud applause for this fine concert that gave everyone a glimpse of Handel’s beginnings in England.

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