OVERALL NOISE RATING: 1 (A quiet and appreciative audience)

The Noise Rating Index is a partially-objective measurement of pager and handphone blasts, 9pm and 10pm watch beeps, coughing-during-the-pianissimo-bits, intra-audience conversation and other mind-bogglingly inept noises emitted in the concert hall during actual performance of music. It is measured on a scale of 0 to 5, in increasing annoyance.

Tickets for the Flying Inkpot was kindly sponsored by the Goethe Institute of Singapore. Special thanks goes to Stephanie and the Chinese lady at the reception.

I must admit that I was still deciding whether to go or not... given that I was not a particular fan of Haydn, and that composers like Rosetti and Kraus were totally unknown to me. However, I knew that my 'companion' who had a special love for the horn would find the 'ancient' horns played without valves all the more fascinating. Further, I had earlier reviewed Mozart's Horn Concertos played on Raoux copies and this timely visit by the Concerto Köln playing on authentic instruments gave me a chance to watch these horns at work. The modern horn is itself notoriously difficult to play and the playing of these valveless horns must surely be quite a sight to watch.

As I sat down in my seat, I was dismayed to find that the harpsichord was going to block my view of the horns. Additionally, I noticed that the music stands were at full height - these musicians were going to play standing. It didn't quite make sense to me at first, but as soon as the music-making started - never mind that I couldn't see the horns - what I heard and saw, were bodies who were involved in the very active task of making the music come alive. I realised a tremendous difference immediately - compared to the Orpheus Chamber Orchestra which was playing here a fortnight ago (reviewed here), read this - there was no disparity between what I saw and what I heard.

The Concerto Köln (left) was founded in 1985 by a group of Early Music experts - all specialised in performing on period (another name for "ancient" or "authentic") instruments. Their credo is team spirit and together, they challenge themselves to rediscover the orchestral and operatic literatures of the 17th to 19th centuries on the basis of historical performing practice.

In their manifold experiences, names like Andreas Staier, Renč Jacobs, Philippe Herreweghe and Frans Brüggen read frequently among their musical collaborations. Together, they have rediscovered the music of many forgotten composers like Arriaga, Pons, Moreno, Boccherini, Brunetti, Locatelli and two, which are featured tonight - Antonio Rosetti and Joseph Martin Kraus. Now, after more than two decades, the Concerto Köln has become synonymous with a particular kind of music- making - and it is this unique kind that I was privileged to experience tonight.

These musicians have immaculate mastery of their instruments. From my point of view, I was constantly amazed by the playing of the cello and the double basses, who bowed away with so much gusto that it was instantly infectious. I found my heart beating faster together with the music. I must make special mention of the leader Werner Ehrhardt, whose clearly back-breaking job is not one for musicians with weak knees. He was instrumental in conveying small little nuances of phrasing and tempo through his meticulously conceived cues from his violin. He showed so much interest in the musicians around the stage that he was constantly communicating with them through his body language. There was one point, that in an idealistic sort of way, I was sure that Mr Ehrhardt was positively looking worried during the difficult solo passages of the Harpsichord Concerto.

The concert began with the most well-known work of the Bohemian composer Antonio Rosetti (1750-1792), his Symphony in B major. Rosetti's prolific compositional life undertook many orchestral and chamber works, characterised by captivating melodies, imaginative orchestration, rich harmonies, finely wrought motivic structures and cleverly employed counterpoint. Though Rosetti (right) was known to have considered Haydn as a model during his life, his contemporaries ranked him with his more famous contemporary as well as Mozart.

The Concerto Köln's fast tempos fully captured the wit and intelligence of Rosetti. This is fast music, very fast, definitely not for the slow-witted. The double bass runs in the first movement were nothing short of shocking - one wonders why Rosetti has become so unheard given that his music was so much ahead of his time.

The entire orchestra handled volume changes through stylistic feel alone, no one was really directing but the dynamic changes just occurred. Impressive! The syncopated accents were put to great use in the third movement - they were very effective and one can hear the raw energy of the orchestra. I felt the woodwind section not sufficiently blending and the execution was slightly messy in the Trio section, but the Finale was power-packed and Rosetti's immaculate scoring amazed me. The Concerto Köln was most convincing in its attempt to rediscover forgotten composers; With certainty, I will be seeking out this Symphony the next time I am in the shops.

Haydn's Concerto for Harpsichord and Orchestra featured Gerald Hambitzer as the soloist. Hambitzer was a tad too strict for this flamboyant Haydn concerto and I felt that more interpretative license could be taken here. However, Hambitzer's choice was consistently scholarly and very classical indeed. Though he was far from note-perfect, clearly struggling at the most difficult parts in all three movements, he nevertheless managed a convincing reading backed by a sympathetic orchestra. There was no conductor here too - and indeed, all the orchestral lead-ins were precise and Haydn's surprises were made all the more animated.

Joseph Martin Kraus (1756-1792) was described by Haydn as one of the greatest geniuses whom he had ever encountered. Like Mozart, this long forgotten composer from Miltenberg in Franconia (Germany) was born in 1756 and only survived Mozart by one year. Kraus (left) served in the court of Gustavus III of Sweden, who had at that time assembled in Stockholm a collection of the greatest artists from all over Europe and there, the talented Kraus achieved success despite his young age.

At 24, he was elected a member of the Swedish Academy of Music and in 1788 became the chief conductor of the Court Orchestra in Stockholm. As a composer, Kraus' greatest work is his opera Aeneas i Carthago. Further, his Mannheim training and his many travels gave his music a cosmopolitan outlook - together with the rich harmony, there are hints of early Romanticism in his music.

These are evident in his Olympie Overture, which opened the second half of the concert. The work was characteristically well-played, and I am surprised that the orchestra is capable of sounding dark despite the authentic instruments. The effective division of the 1st and 2nd violin parts, which opened the Allegro ma non troppo section, is remarkable for the prominence given to the second violins and showcased some very imaginative playing.

It is a pity that the audience did not give a standing ovation to the Concerto Köln, whose performance on Wednesday night was short in nothing, except a proper accolade. Never mind also that I couldn't see the horns... I'll make sure I sit at the right place the next time.

Ng Yeuk Fan does not play ping-pong, because ping-pong is too fast for him. But fast music is not a problem - if it is well-played, and convincing.

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354: 22.11.98

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