Music / Pairings & Odd Couples, The Song Company. At Wesley Uniting Church, September 14. Reviewed by ROB KENNEDY.

In a bold exploration of musical contrasts, curated by guest director Huw Belling, the Song Company paired musical works from different countries and eras.

As the title of this concert states, the program and the songs were laid out in pairs. The performers were Susannah Lawergren and Amy Moore, sopranos; Jessica O’Donoghue, mezzo-soprano; Timothy Reynolds, tenor; Hayden Barrington, baritone and Andrew O’Connor bass-baritone.

To begin, the very old music of D’Arrezzo (C.911), his Ut queant laxis, paired with a work of the same title by Lassus (1532-1594). Both works, set in honour of John the Baptist, made for a profound emotional start. The etherealness of their combined voices echoed across more than a thousand years to bring an exquisite sound to today’s strange world.

Long Time, by Irish composer Gerald Barry (1952-) has an extended story that takes a long time to perform. It is like a practice in design rather than music. It goes up and down and down and up and never amounts to anything other than a playful design, with whistling, for some reason.

Arvo Pärt’s Solfeggio harks back to the ancient sound of plainchant, one with the inimitable style that only this Estonian composer owns. Gentle, refreshing and haunting.

Pärt’s sublime work was paired with a work from the Polish composer Andrzej Panufnik (1914-1991). His Nunc Dimittis floated across the six voices, some with solos in a highly complex structure, an inspirational piece.

Then, Australian Composer Mary Finsterer’s Omaggio alla Pietà, with percussion by Niki Johnson, conducted by Belling, is a contemporary work that uses voice and sound effects. With a mysterious rhythm created on percussion helping to drive this work, it was a showcase of complex timings in a unique sound world.

O’Donoghue had a part that sat at the heart of the work. Her breathy, sensual performance exuded passion. A taxing work for the performers, but one of enjoyment for the listener.

Finsterer’s work was paired with a piece by Dutch composer Louis Andriessen (1939-2021) titled Ahania Weeping. For just four voices, that ethereal but loud sound of uniform sublimity returned to the church.

The next pairing was by Matteo Flecha (1481-1553), his El Fuego, and one by the program director/conductor/composer Belling, titled Fuego Y Agua. The Spanish influence of Flecha’s work, with percussion, sounded like street troubadours. The contemporary setting of Belling’s work contrasted the directness and liveliness of Flecha’s piece. Complexity and styles reigned. In all, an uplifting piece ensued that highlighted this company’s extended capabilities.

Finishing off with a Bach-inspired ending, the final pairing of JS Bach himself, and then Belling after Bach with his Partita Fragment. These lively works, so fitting a final pairing, left the audience knowing that The Song Company amaze, they always amaze.