MUSIC REVIEW : Iona Brown Leads Chamber Ensemble in Bach

The supreme power of Johann Sebastian Bach’s music to uplift received a splendid demonstration Saturday night at Ambassador Auditorium. Both composer and public got their due as Iona Brown, in her element, led the Los Angeles Chamber Orchestra in four Bach staples: the “Brandenburg” Concertos Nos. 2, 3 and 4 and the Suite No. 3 in D, with Corelli’s G-minor Concerto Grosso, Opus 6, No. 8 (the “Christmas” Concerto) as prelude.

In this music (all pre-1731), Brown operates at the pinnacle of her possibilities as concurrent conductor and violinist. Providing minimal indications with violin, bow or head, she is more team player than leader.

Though hardly unnoticeable as soloist (especially in such a section as the Presto of “Brandenburg” No. 4), her considerable virtuosity, stylistic purity and honeyed tone remain the contributions of an ensemble player. And, at least in Baroque music, this fastidiously prepared ensemble now runs with the precision of a meticulously tuned engine.

From note one, the performance was in full stride, no warming up, nothing tentative. Order prevailed with no loss of spontaneity. Rhythmic accuracy was unfailing, with never a straggler. Transparent instrumental textures allowed each voice its appropriate weight and presence. Attacks and releases were miracles of simultaneity. Unconducted ritards, albeit agreed upon, seemed daring.

The piercing sound and numerous splayed notes produced by guest trumpeter Stephen Burns clashed with the surrounding mellowness, marring “Brandenburg” No. 2. In the trumpet trio of the Suite, his spirited delivery and recovered accuracy counted for more.

Both “Brandenburg” No. 3 (11 soloists) and the Suite (full orchestra) transcended the description performance , entering the rarefied realm of uncalculated creation, regardless of the technique involved in the effect. Artists and audience alike visibly shared Bach’s gift of catharsis.