It’s not hard to see why the ACO drew a full house for its latest concert on a cold Monday evening in Melbourne. Known for innovative programming, this performance promised an experience of “healing, renewal, invigoration and enlightenment” in a journey spanning medieval hymns to contemporary Australian works.

Directed by ACO Principal Cellist Timo-Veikko Valve, the concert opened with a cinematic-electronic soundscape to the ensemble performing Finnish-born composer Erkki Veltheim’s arrangement of Ave, Generosa (Hymn to the Virgin) by Hildegard of Bingen. Lighting changes illuminated Genevieve Lacey, whose recorder solo had such lightness and fluidity that the 12th-century hymn seemed to unfold spontaneously, imbued with timeless contemplation.

Genevieve Lacey, Simon Martyn-Ellis and the Australian Chamber Orchestra. Photo © Charlie Kinross

In a seamless transition, theorbo player Simon Martyn-Ellis took centre stage for Max Richter’s poignant On the Nature of Daylight. His gentle chords, accompanied by lush harmonies and serene string melodies, sustained the cinematic atmosphere.

Finnish composer Jaako Kuusisto’s Wiima injected vitality into the program. Having showcased Kuusisto’s arresting cello concerto earlier this year, the ACO’s inclusion of another of his works was a welcome return. Frenzied strings and fluttering effects conveyed the namesake “cold and wintry wind,” with hocketed atonal chords spread across the sections to create the dramatic intensity characteristic of Kuusisto’s music. The ACO’s rhythmic unity was, as always, impressive.

The world premiere of flute and echo by David Lang followed, a concerto written for Lacey. Each musical idea initiated by the recorder was echoed by the strings, creating an engaging interplay. Overlapping string patterns produced a compelling rhythmic drive.

Taking inspiration from the Greek word, Melody Eötvös’s Meraki emphasised creativity springing from the deep recesses of the soul. Beginning in the lower strings with densely textured minor pandiatonic harmonies, the ACO achieved clarity through these layers with its command of ensemble balance and timbre.

Genevieve Lacey, Simon Martyn-Ellis and the Australian Chamber Orchestra. Photo © Charlie Kinross

The highlight of the evening came in the form of Veltheim’s Imaginary Cities: A Baroque Fantasy, an electro-acoustic tapestry of works by three Venetian Baroque composers.

The suite began with a contemplative reimagining of Monteverdi’s Vespro della Beata Vergine, which morphed into the jubilant toccata from his 1607 opera L’Orfeo, performed by the strings. This was followed by the first of two Vivaldi recorder concerto movements.

Lacey’s precise tonguing and crystalline articulation stood out, while Martyn-Ellis displayed equal prowess on Baroque guitar and theorbo.

Veltheim’s choice of movements and his juxtaposition of taped soundscapes with live performance effectively evoked shifting scenes of Baroque Venice. The suspension of reality dissolved with the final movement of Vivaldi’s recorder concerto, returning the audience to the present-day concert hall.

Beethoven’s Holy Song of Thanksgiving, the third movement from his String Quartet in A minor, Op. 132, provided a fitting conclusion. Stripped back to strings alone, the ensemble created a meditative experience of sacred music that echoed the opening hymn, bringing the audience full circle.

The Australian Chamber Orchestra performs A Musical Awakening at City Recital Hall, Sydney 19–20 September and in the concert Hall,  Sydney Opera House, 21 September.