{"id":123314,"date":"2026-04-13T11:48:59","date_gmt":"2026-04-13T15:48:59","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=123314"},"modified":"2026-04-13T14:12:38","modified_gmt":"2026-04-13T18:12:38","slug":"scrutiny-rachel-podger-keiran-campbell-tafelmusik-orchestra-delight-influencer-program","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2026\/04\/13\/scrutiny-rachel-podger-keiran-campbell-tafelmusik-orchestra-delight-influencer-program\/","title":{"rendered":"SCRUTINY | Rachel Podger, Keiran Campbell & The Tafelmusik Orchestra Delight With Influencer Program"},"content":{"rendered":"
\"Rachel
Rachel Podger performs with the Tafelmusik Baroque Orchestra (Photo: Dahlia Katz)<\/figcaption><\/figure>\n

Tafelmusik: Inflencers: Influencers: the Bachs, Mozart & Haydn. J.C. Bach Sinfonia in G Minor; Mozart Violin concerto no. 3 (Rachel Podger, violin soloist); C.P.E. Bach Cello concerto in A Major (Keiran Campbell, cello soloist); Haydn Symphony no. 52 in C Minor. Rachel Podger, Principal Guest Director & violin soloist; Keiran Campbell cello soloist; Tafelmusik Orchestra, on period instruments. April 12, 2026; Jeanne Lamon Hall, Trinity-St. Paul\u2019s Centre.<\/p>\n

Rachel Podger\u2019s April return with Tafelmusik was a great celebration of uninhibited joy and true collaboration.<\/p>\n

The synchronicity and the little remarks, inspired from the score and realized naturally, shared among the group were touching \u2014 sometimes cheeky and humorous, but also of sublime beauty and calmness. The true joy of being together easily spilled over to the audience as the house resonated with chuckles, and closed-eyes bathing in the moments of beauty \u2014 and this afternoon was full of great moments.<\/p>\n

The afternoon\u2019s title, Influencers, is an interesting choice. Drawing from the old French meaning of \u2018emanation from the starts that act upon one\u2019s character and destiny,\u2019 and Medieval Latin meaning of \u2018a flow of water, a flowing in,\u2019 the program connected four figures: J. C. Bach, C. P. E. Bach, Mozart, and Haydn, who expanded, diversified, then streamlined Western classical music from Baroque to Classical.<\/p>\n

It is also interesting to see these four figures \u2014 two titular, and two considered minor, in their process of inference \u2014 leading to the emergence of the definitive classical style. \u2028\u2028It is rare to hear the music of Bach\u2019s children live; the shadow of the giant remains strong, and the non-definitive nature of their music \u2014 in the midst of stylistic chaos, though joyful \u2014 makes it difficult to categorize.<\/p>\n

\"Rachel
Rachel Podger performs with the Tafelmusik Baroque Orchestra (Photo: Dahlia Katz)<\/figcaption><\/figure>\n

J. C. Bach: Sinfonia in G minor<\/h3>\n

To hear the group open with J. C. Bach\u2019s Sinfonia in G minor was a great refresher, perhaps a fresh introduction for many. Tafelmusik\u2019s smaller ensemble format \u2014 tight strings with just five woodwind and brass players of two horns and two oboes, and a bassoon, with harpsichord \u2014 made the colouristic contrast an important focus.<\/p>\n

The timbral contrast not only brought harmonic tension, but also a great interest in blending; it is lovely to hear such sparkle and shine on top of the well-attuned strings. It is also difficult to imagine this work to sound as live and lithe through the typical big orchestra; the clarity of the chamber format, so much lighter and nimble compared to the modern orchestra, gave us a performance of great momentum and vibrant energy.<\/p>\n

\"Rachel
Rachel Podger performs with the Tafelmusik Baroque Orchestra (Photo: Dahlia Katz)<\/figcaption><\/figure>\n

Mozart: Concerto No. 3<\/h3>\n

Podger\u2019s Mozart Concerto No. 3 was spectacular.<\/p>\n

Her leadership and communication with the entire group is natural, infectious, and inspiring. Often described as violinist and conductor, perhaps it\u2019s worthwhile to make the distinction that she conducts the musical intention throughout the whole group, like the way metals share electric flow with one another. She is not a typical conductor as we have learned to expect \u2014 there is no baton, no fixed position, and no sense of rigid, often deadly hierarchy.<\/p>\n

Her emotions from joy to poignant melancholy are emoted through her entire body language. She does not mind turning her back to the audience if she needs to connect with her musicians. She exudes energy and momentum through free gestures, and the orchestra responds with openness.<\/p>\n

The small rhythmic gestures of Mozart, often static and exact, were especially playful and organic this afternoon, as the music hopped from one beat to another, with effervescence.<\/p>\n

Podger\u2019s midrange long notes were especially lovely \u2014 it was so natural to imagine Mozart writing this for himself, especially known for his fondness for the viola, full of warmth and resonance.<\/p>\n

Her cadenzas \u2014 the improvisational nature of the idea of cadenzas before they became another rigid reproduction of written ideas of historic greats \u2014 was interesting, beautiful and wildly successful. Free, often bar-less passages, start full of spontaneity, and the organic resolution of phrases instigated playful reactions from the raptured audience, their gasps and chuckles often audible. Lovely.<\/p>\n

\"Keiran
Keiran Campbell performs with the Tafelmusik Baroque Orchestra (Photo: Dahlia Katz)<\/figcaption><\/figure>\n

C.P.E. Bach: Cello Concerto in A Major<\/h3>\n

Keiran Campbell\u2019s C. P. E. Bach concerto was beautiful and spirited.<\/p>\n

The masterful writing of C. P. E. Bach highlighted the lower resonance of the cello, giving it plenty of room for Campbell to speak, and sing, through his cello.<\/p>\n

Being able to hear the consonants of the melody, the articulations and the space, instead of just lines filled with a toothless parade of vowels, was such a treat. Through the group\u2019s fantastic balance and the acoustics of the hall, the second movement\u2019s high range cello melody also soared easily.<\/p>\n

Beautiful.<\/p>\n

The quicksilver vitality of the third movement was also a joy. With such a performance, we wonder: why is this work not performed more often, as it is full of ingenuity and beauty?<\/p>\n

\"Rachel
Rachel Podger performs with the Tafelmusik Baroque Orchestra (Photo: Dahlia Katz)<\/figcaption><\/figure>\n

Haydn: Symphony No. 52<\/h3>\n

Haydn\u2019s Symphony no. 52 rounded out the afternoon. The shared elements of the program \u2014 colourful harmonies, rhythmic vitality, and unexpected harmonic surprises \u2014 were all present and vivid in this Haydn.<\/p>\n

It was also quite amazing to hear the variety and punch packed from the five wind and brass players throughout the entire program: Daniel Ramirez Escudero, Marco Cera, Dominic Teresi, Scott Weaver and Yoni Kahn. Their playing added so much interest, while the strings soared and glided.<\/p>\n

Charlotte Nediger on the harpsichord was super effective in providing percussive and harmonic support, often stirring the group through a quick energy change, dipping into quick curves, or carrying them through nearly frantic, bursting-at-the-seams build ups.<\/p>\n

Final Thoughts<\/h3>\n

This \u2018influencers\u2019 program felt like a true retro Rock and Roll; it makes one wonder how did we lose such great potential energy, and made late Baroque-Classical music insipid and limp?<\/p>\n

And how lucky it is to have such a sparkling performance in our little city of 3.3 million?<\/p>\n

As the house emptied out with chatters, full of hand gestures and smiles, this successful performance brought much joy and emotion to the cold, grey April afternoon; an inspiration, and hope and curiosity for the next season\u2019s goodness to come.<\/p>\n

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Rachel Podger\u2019s April return with Tafelmusik was a great celebration of uninhibited joy and true collaboration, also featuring cellist Keiran Campbell.<\/p>\n","protected":false},"author":62,"featured_media":123317,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[42533,74,76,19,52,63],"tags":[41875,2749,3224],"yst_prominent_words":[6610,11444,11439,6611,6604],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Copy-of-REVIEW-2026-04-13T114011.330.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-w4W","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/123314"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/62"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=123314"}],"version-history":[{"count":7,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/123314\/revisions"}],"predecessor-version":[{"id":123327,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/123314\/revisions\/123327"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/123317"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=123314"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=123314"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=123314"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=123314"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}