It's a different gig when Ben Hoadley plays with Ariana Odermatt, not for the music itself or the competence (both are mightily worthy) but for the tones. Ben plays bassoon and that satisfyingly fat deep tone that merges into more reedy in the higher reaches is so satisfying and his playing is wonderful, fast, always neatly timed. I was amused by his introduction for a Francois Devienne sonata Ebmaj that is apparently a tricky key for bassoon and a great workout for the fingers, but I always heard the fast lines as neat and correct. There's a reason he teaches at ANAM and more and plays widely including our CSO. As for Ariana, this time on piano rather than her normal outings on harpsichord, there were some other witticisms; suffice to say she prefers the lighter, prettier harpsichord. Interestingly, that same piece by Devienne may have been written for harpsichord or more likely forte-piano, being from the start of the classical period. Otherwise, this was a unique program, Dulcie Holland, JS Bach and Telemann frequent enough, an original by Ben originally written for trombone (!), a work by Sally Whitwell with a story of having been written one morning, transmitted to Ben and learnt and recorded and returned to Sally that very day (entitled Thursday theatre), Gillian Whitehead and to end, that Francois Devienne. I guess we can expect a less common collection of tunes from a bassoon concert, but this was particularly interesting and inclusive and historically relevant to boot. It was not a surprise to see a phalanx of renowned local players in the audience for this Wednesday lunchtime concert, to hear Thursday theatre and more. Very much enjoyed and very nicely played all round.
Ben Hoadley (bassoon) performed with Ariana Odermatt (piano) at Wesley.
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