Pro Musica Rara had a great quarter-Bach for its concert on Super Bowl Sunday -- Johann Sebastian.
The early music/period instrument group has an annual tradition of presenting a wintry program scheduled around or, as it turned out this time, exactly on the day of the biggest football game of the year.
Billed as SuperBach Sunday, the concert typically has a unifying theme. This one, which drew a good-sized audience to Towson University's Center for the Arts, found a particularly interesting hook.
It centered on the court of Frederick the Great and featured one of Bach's monumental exercises in contrapuntal ingenuity, "The Musical Offering," based on a slithery theme supposedly devised by the king himself.
Hard to believe that the revered monarch who could come up with such a harmonically challenging melodic line was the same guy who wrote the mundane march played on the first half of Sunday's concert. I guess even supreme rulers have their off days.
Still, it was fun hearing that ditty and the more substantive and elegant Flute Sonata No. 9, not to mention the fine Flute Quartet No. 1 by Quantz, one of Frederick's favored composers.
The Quantz work, in particular, inspired ...
a smooth, colorful performance from flutist Sara Nichols, violinist Greg Mulligan, violist Sharon Pineo Meyer, harpsichordist Dongsok Shin and cellist and Pro Musica artistic director Allen Whear.
But the main event, in terms of music and music-making, came in the second half as those five players, plus violinist Ivan Stefanovic, offered the "Offering."
It's a long, complex work made up of more than as dozen individual components, so Whear sensibly provided introductory remarks to each, accompanied by quick demonstrations of things to listen out for. I often lose patience with chitchat during concerts, but Whear kept his remarks brief, enlightening and spiced with a wit drier than the driest vermouth.
A few frayed edges aside, the playing was quite nimble and expressive, with many a telling detail, such as Nichols' downright sensual phrasing at the start of the "Canon a 4."
She, Stefanovic, Whear and Shin did shining work in the darkly beautiful Trio Sonata that, as Whear pointed out, demonstrated that Bach could write as well for the heart as for the mind, all the while extracting still more mileage out of the royal theme.
And all six musicians rose to the challenge of the concluding Ricercar, tapping into the score's almost spiritual immersion into the intricacies of fugal thought.