Who better to give Sydney  some previously unheard Baroque music from Spain in vivid premiere this spring than the Australian Brandenburg Orchestra? Their latest instalment in this year’s diverse set of concert formats is MEDITERRANEO. It is a joyous return to instrumental playing alone without stage production. Led and inspired by charismatic Spanish violinist Daniel Pinteño, the orchestra and soloist took us on a vibrant tour of Baroque music from the Mediterranean.

The rich fabric of the chosen programme exposes us to native composers and works from Spain alongside those of Italy and England. The result was striking and fresh as well as giving us the chance to discover also the sensitive and spectacular playing of skilled Baroque violinist Daniel Pinteño.

Thanks to Pinteño being part of a dynamic new movement of musicologists and performers uncovering Spanish Baroque works, the programme introduces Brandenburg Orchestra fans to
names such as Basset, López, Facco and Brunetti. These names represent both locally-born Spanish composers and expat Italians active on the Spanish musical scene during the eighteenth century.

Daniel Pinteño repeatedly brings his crisp virtuosity and well-shaped eloquence as energetic soloist-leader communicating with various string and wind instrumental groupings on stage as well as the eager audience. He playing is tastefully shaped with well-balanced clarity against the other early music talent he directs.

Two Vivaldi works in the purely Italian style change the dynamic of Italian-Spanish programme. Concerto for Flute ‘La Notte’ in G minor Op 10 No 2 brings the virtuosity of Melissa Farrow and a new voice of Baroque flute to the shifting soundscapes of the less familiar works. The keen programmatic elements of this work relating to ghosts, sleep and the night are given due excitement and colour on flute and in the supporting orchestral atmosphere. The stasis of the ‘Sleep’ movement was spellbinding.

MEDITERRANEO’s other Vivaldi work, Concerto for Violin in D major from L’estro Armonico Op 3 No 9 once more showcased the instrumental writing of this prolific Italian composer. It also again
displayed the effective leadership by Daniel Pinteño of the Brandenburg musicians. He here delivers the string writing of the master violinist with equal enthusiasm, enlightened entertainment and respect for this work’s unique architecture, just as we see him do for the swag of compositions from Spanish Baroque masters he currently brings to Australians .

A concerto grosso work by the public critic of Vivaldi, Englishman Charles Avison is another highlight rounding out the event, though presented only in part . Working seamlessly again with his early
music colleagues to achieve clarity of expression and gesture, the guest violinist dazzles with an ability to create stillness and finely sculptured forms in the opening Largo. A stunning and persistent
rendering of the wild ‘con furia’ movement by Pinteño as soloist is a breathtaking and athletic feat.

MEDITERRANEO is an important concert event in this year’s series for Australian Brandenburg Orchestra, as it would be for any orchestra globally. This is a successful collaboration between the popular local orchestra and skilled guest performer-musicologist. The fine performances which unfold present beautifully voiced eighteenth century music with a newly added accent and cultural face to our pre-existing perception of the Baroque.

This excellently structured concert complete with sumptuous shifts in style and colour and its exceptionally fine solo and orchestral playing on offer, MEDITERRANEO from the Australian Brandenburg Orchestra [Facebook]  can be heard at City Recital Hall until Friday September 14.