Johann Schelle's little cantata, Ach mein herzliebes Jesulein, was short and sweet, sung by the two sopranos, Deborah York and Tessa Bonner, with a continuo group of theorbo (a long-necked lute), cello and chamber organ. The audience, which though braced by champagne during the interval had found the Kuhnau only so-so, liked it.
York and Bonner were rather oddly matched, though, in Part 4 of Bach's Christmas Oratorio, Fallt mir danken, where the huskier-voiced one had to echo the more pointed tones of the other in a slightly soporific game of double identities - the two oboes did the same. The gallant tenor Charles Daniels did well in his aria, one of Bach's typical trials of breath control. Which redeemed his honour after an accident-prone aria in Darzu ist erschienen, with its athletic parts for two natural horns, played with amazing cool by Andrew Clark and Gavin Edwards. They stood their ground to the bitter end, towards which it became clear that the two oboes, Katharina Spreckelsen and Alexandra Bellamy, were out of kilter, and as Robert King broadened his perky conducting gestures in a futile attempt to impose unity, the thing stopped in cheerful cacophony. Despite a good deal of decent singing, including strong solos from the countertenor Robin Blaze and the bass Peter Harvey, there was often a feeling of the rough and ready about the evening - a "we-do-this-everyday" kind of approach, even though this was meant to be a special occasion. Christmas comes but once a year, and no doubt many musicians think it's just as well.Reuse content