Traditional tunes, dark reflections and rocking finale in Christmas with HIP Company at St Mary’s, South Perth

Traditional tunes, dark reflections and a rollicking finale put a fresh face on festive celebration for Christmas with HIP Company at St Mary’s, South Perth, on Thursday. Minor-key recorder (Anna Maydwell) over a mournful string drone set a solemn tone for Noel Nouvelet, soprano Bonnie de la Hunty’s setting of an early modern French carol on an Advent theme. The historically informed performance encompassed centuries of mystery spiced with the archaic timbre of Jane Cameron’s Baroque violin, Krista Low’s viola da gamba and treble viol, and James Huntingford’s harpsichord. Purity of sound is a HIP Company hallmark and this year’s seasonal lineup did not disappoint, especially the newly minted viol with its mesmeric tuning effects. A Telemann Trio Sonata united recorder, viol and harpsichord in the energetic dance measures of its opening Vivace movement. A Largo then settled the scene as instruments of gut and wood wrought magic in the still air before an Allegro full of flurries and grace notes raced to a conclusion. De la Hunty returned for Scarlatti’s “Dal bel seno d’una stella’ (From the beautiful breast of a star); a gracious nativity motif echoed between violin and voice, florid and true, to probe the acoustics of the sanctuary. Maydwell and Low combined in Gibbons’ Fantasia No.1; a lucid recorder lead drawing viol in attendance as the two voices bridged time and distance in sparse melody and harmony. All five artists reformed for Carissimi’s “Salve Puellule” (Hail, little maiden), with richer chords cooling the mood for sombre contemplation; “Bearing pain for sinners, as a wondrous source of joy”. The long ballad gifted the soprano a narrative role almost operatic in intensity; the twists and turns of the plot reflected in deft dramatic and musical expression. Holding the thought, De la Hunty’s setting of the Coventry Carol, retelling the slaughter of the innocents, stripped the palette back to a-cappella voice; poignant and plaintive with lush string and woodwind interludes as artists and audience hung on every word. Schmelzer’s Sonata Pastorale matched its label in a lilting, bucolic ditty spilling out from each of the four instruments in turn. Cameron’s bustling violin set a pace for her more sedate colleagues to follow before folding back into the ensemble to close. Dolce, from Telemann’s Concerto for Gamba and Recorder, was a stark contrast in mannered, almost stately phrases nicely measured by Maydwell, Low and Huntingford. Constant tone control from such elemental instruments was a feat in itself, carried off with artistic aplomb. An anonymous 17th century Ciaccona (Chaconne) brought violin back in play; Cameron again adding verve picked up in virtuosic breaks from recorder and viola da gamba over metronomic harpsichord, with a quirky twist to the cadence. Monteverdi’s “Laudate Dominum” (Praise the Lord) beefed up the soundscape for a triumphal lyric, with infectious energy and charm in the fanfare-like lead. De la Hunty’s arrangement asked much of her colleagues but never more than she gave herself, especially in extended allelulias to conclude. Finally, “Convidando esta la noche” (The night is inviting us), a 17th century Mexican carol (Zespedes, arr. De la Hunty), brought folkloric rhythms to the instrumental ensemble then lyrical voice, before adding offbeat rhythms and a touch of bravura; rocking the Christ child in more ways than one. HIP Company return in Light of Joy at St Andrew’s, Subiaco, on March 14-15.