Music / Chamber Philharmonia Cologne. At St Christopher’s Cathedral, March 10. Reviewed by SARAH BYRNE.

The Chamber Philharmonia Cologne is a six-piece string ensemble founded in Cologne, but essentially peripatetic, touring internationally on pretty much constant basis.

The great thing about these excellent musicians is that not only do they tour the usual capital cities, they pursue a deliberate strategy of gracing smaller centres, with gigs in Geelong, Bendigo, Armidale, Ballarat, Coffs Harbour, Albury and the like.

It’s appropriate, then, that their choice of program tends to the mainstream, but delivered with a conscious effort to bring something new to these familiar pieces. You might think there is a not a lot new that can be wrung from their opening number, Vivaldi’s much loved concerto Spring, but clever dynamics brought interest, as well as a darker tone in the second movement, with the viola sounding almost like a horn, all enhanced by lovely, nuanced solos from violinist Sergey Didorenko, particularly in the third movement.

Another Vivaldi followed, the stirring Cello Concerto in B minor, featuring Dimitrij Gornowskij, giving a mellifluous and apparently effortless solo in a delicious first movement, and sonorous patience in the lachrymose second movement. He set aside his impassivity for the animated third movement – vivace indeed – thoroughly enjoyable, even if occasionally mildly blurred by St Christopher’s acoustics.

We had a Mendelssohn palate cleanser next, in the form of a brief but glorious baritone aria from Jaime Roda Segrelles (usually on viola), from the oratorio Herr Gott Abrahams. Segrelles’ voice is gorgeous, rich in gone and timbre, and I’m glad we got to hear it.

The first act closer was Mozart’s impeccable Salzburg Symphony (Divertimento B major for strings KV 137), the opening Andante movement precise and charming, intelligently punctuated by gentle stops. The effervescent adagio gave way to the entertaining Allegro Assai, though again, some crispness in the runs may have been slightly hampered by the cathedral acoustics.

After the interval we received a Frescobaldi Toccata, a lesser-known piece but clearly an influence on later requiems from subsequent composers (both Mozart and Faure came to mind). A stately, mournful opening yielded to a sparkling vivace, featuring Gornowskij again on a Gypsy-ish cello solo, and then an uptempo closing reminiscent of a minuet.

Handel’s Concerto Grossi in G major followed, the gusto in the opening movement A Tempo Gusto being a tad above andante, the violins wistful. The next three movements, all allegro, showed off some really interesting violin technique, providing texture and depth, again with great dynamics.

The last piece on the “official program” (I love it when the MC says this; it always means they have a bonus encore up their sleeve) was the always fun Sarasate Gypsy Airs, featuring Didorenko again on violin, leaning with flair right into the lush melodrama of it all with every technique from spiccato to an arresting use of martele. This was a tremendous finish that all but demanded an encore – which came in the form of the lovely Sicilienne by Maria Theresia von Paradis. A perfect settler, this is a gorgeous, melodic piece that might have been a film score had film been invented.

Bendigo, Ballarat, Albury and Geelong are in for a treat!