“A timeless journey through music, where past and present meet in exquisite harmony.”
The venue of St Martin-in-the-Fields possesses in my opinion an inherently immersive quality, with its architectural elegance and acoustics inviting a rare sense of reverence and focus. Yet, on Friday night, the Academy of St Martin in the Fields (ASMF) infused this atmosphere with an additional layer—a narrative that transformed the experience into a journey through musical history.
ASMF’s program was crafted to reveal a balanced and delicate dialogue between past and present, each piece forming part of a larger story. They opened with Stravinsky’s Concerto in E-flat ‘Dumbarton Oaks’, a 20th-century homage to the Baroque that immediately set the tone, echoing Bach while unmistakably modern. From there, the audience was transported back to Haydn’s Cello Concerto in C major, a work that connects the elegance of the Classical era with its own rediscovery in the 1960s, intertwining historical eras through both its origin and revival. The night continued with Baroque pieces by Biber and Gallo, and, in the hands of ASMF, these works came alive not just as individual compositions but as elements within a larger musical conversation spanning the centuries.
Opening with Stravinsky’s Concerto in E-flat ‘Dumbarton Oaks’, ASMF brought a crisp and vibrant interpretation to life. This piece, filled with rhythmic vitality and intricate textures, was handled with precision and finesse. The ASMF’s interpretation was dynamic and rich, capturing the playful, but at the same time complex character of Stravinsky’s composition which highlighted the ensemble’s refined artistry.
Anastasia Kobekina took the stage with a star like confidence and theatricality that captured everyone’s attention instantly. Her interpretation of Haydn’s Cello Concerto in C major brought the audience closer to the evening’s narrative of intertwining musical eras, her playing blending historical insight with rich personal expression. Balancing elegance with energy, she displayed the mix of technical ability and emotional depth that define her reputation. Her approach to the concerto’s slower passages was particularly moving, as she rendered Haydn’s lyricism beautifully. Yet, as she navigated the concerto’s livelier sections, her voice occasionally blended too smoothly with the orchestra, as if her sound was at times enveloped by the ASMF’s resonant texture. For me, the interplay between soloist and ensemble occasionally felt ambiguous; I found myself wishing her voice were more distinct within the orchestral texture. At times, it became challenging to differentiate her lines clearly from the surrounding sound, which, while creating a unified blend, occasionally obscured the soloist’s individual presence.
By the concert’s conclusion, it was clear to me that the evening had offered something exceptional—a journey through time and style that felt both intimate and grand. The Academy of St Martin in the Fields delivered each work with superb precision and warmth, while Anastasia Kobekina brought a vivid, personal touch. Together they created an experience that left the audience with a lasting sense of connection to the music’s enduring beauty and resonance.