MUSIC REVIEW : Koln Players at Ambassador

The Musica Antiqua Koln that appeared at Ambassador Auditorium on Thursday bore little physical resemblance to the MAK that wowed the world a decade ago with its clever, vital, sometimes outrageous interpretations of Baroque repertory.

The faces and individual names of the Cologne-based antiquarian ensemble have changed. The spirit and high level of accomplishment remain, happily, much the same.

The program’s first half was devoted to works by three of Johann Sebastian’s sons: Johann Christian, Johann Christof Friedrich, and the pick of the litter, Carl Philipp Emanuel, who was, however, represented by an uncharacteristically piddling duet for flute and violin.

Whatever the accomplishments of the children, proof positive that father knew best was presented after intermission with J.S.’ “Musikalisches Opfer” in its vast, seldom-heard entirety.

One of the glories of Baroque art, the 16-movement set of variations on a theme by Frederick the Great was played with profound concentration and dark intensity by these superb instrumentalists: Karl Kaiser (transverse flute), violinist Anton Steck (whose tone, however, occasionally faded to inaudibility), cellist Phoebe Carrai, Goebel (second violin) and central to the proceedings, harpsichordist Andreas Spering, whose agile, fierily dramatic execution of the bookend (in this edition) Ricercar brought a prolonged, richly deserved ovation from the large audience.