In his early twenties, French cellist Edgar Moreau, a rising star in performing Baroque repertoire on the cello, made his Proms debut at Cadogan Hall alongside period-instrument ensemble, Il Pomo d'Oro. Four out of the five works on the programme had never been performed at the Proms before and all of the artists were fresh to the festival. With a wealth of younger faces on stage, the lunchtime hour delved into the world of 18th-century Cello Concertos by by Platti, Vivaldi and Boccherini, as the cello moved towards a more solo role in classical repertoire.
Il Pomo D’Oro was led on stage by director Maxim Emelyanychev, from the harpsichord. Emelyanychev leant into the music and was on the edge of is stool attentive to each of the other five performers of the ensemble in the opening piece, Johann Adolf Hasse’s Grave and Fugue in G minor. The ensemble poured and melted into the Grave to obtain a heaviness that contrasted well with the fugue particularly within the drama of the rising basso continuo and falling violins. The grave ended with a surprising melodic twist on the violin then launched into a canonic fugue in which each of the players got to lend themselves to a tune before hitting some faster continuo rhythms that were infectious to listen to, where the bass was almost slapped with the bow.
The most virtuosic performance by Moreau was the Andante movement of Vivaldi’s Cello Concerto in A minor RV419, in which he cultivated the melody and pulled it away from the ensemble. Perhaps the Andante was too indulgent in some moments and heavy on breath, where a disconnection between soloist and ensemble lost the stable continuo pulse to more of the feel of a romantic cadenza than perhaps the Baroque aria. Nevertheless it was sung, emotional and definitely hit a transcendent pause in the room. Moreau clearly felt this movement too, drying his eyes into the Allegro for a swift change of mood and a spritely finish.