There was nothing dull or safe about last night’s concert by the Orchestra of the Age of Enlightenment in The Sheldonian. Instead the classical music company brought something so vibrant, dynamic, approachable and downright delightful, that it whisked us away.
At first glance, there wan’t anything too startling about the programme – Mozart’s Clarinet Concerto and Eine Kleine Nachtmusik (familiar to “Batman” and “Sherlock” fans), with lesser-known pieces by an astonishingly young Juan Crisostomo Arriaga, and a junior Haydn to complete the Enlightenment programme.
But amongst these, there were so many treats, including the split encore of Mozart’s singspiel “Die Entfuhrung aus dem Serail” (no, me neither), with key plot points distributed around the Sheldonian on pieces of coloured card. It worked.
And what the experience highlighted was the absolute genius in both the orchestra’s foundational structure – there is no conductor, and all the players have equal pay and an equal voice in the running of the orchestra – and the sheer quality and commitment of the musicians.
Without a conductor, the players, lead by the warm and brilliant violinist Kati Debretzeni – all standing – looked to one another, to communicate their joy in the music.
The Sheldonian, so perfect for music of the late 17th and early 18th centuries, has no stage lighting which means the players can see the audience and the players, and the Orchestra of the Age of Enlightenment embraced this two-way communication, even staying at the interval to chat to anyone who wanted more.
But, finally, it was the soloist, Katherine Spencer (also a member of the Orchestra) playing a newly-crafted boxwood basset clarinet, modelled on one that Mozart may well have written for Katherine ‘Waffy’ Spencer and the new basset clarinet starring in Mozart’s World in Oxford at The Sheldonian who had the audience enraptured.
This (new to us) clarinet, commissioned by the musician, was intended to “speak and be flexible . . . so she (the clarinet) can sing”, and this is exactly what happened. It was utterly enthralling.
We could have sworn that Katherine Spencer was “singing” a tale of playful seduction, followed by sadness and consolation, ending with joyful celebration in Mozart’s Clarinet Concerto.
The Orchestra of the Age of Enlightenment is celebrating its 40th year, itself a triumph in this age of arts funding cuts. For sheer joy and top-rate musicianship, it deserves at least another 40 years, bringing new audiences to the best of the best.
Sheila Bailey
For more details go to oae.co.uk
