The German Word Harmonie refers to the type of small wind band, common in the late 18th and early 19th century, and generally built up of pairs of instruments. The repertoire, often used by the aristocracy as background music for social functions and dinners, is mostly light, a sort of early muzak, if you like, but of a quality unimaginable in to day's bland equivalent.
Kalman Berkes's Budapest Wind Ensemble, a nonet with pairs of oboes, clarinets, bassoons and horns plus double bass, is among the finest of its kind. These Hungarians combine a joyous al fresco spirit with a thoroughgoing stylishness and musical sensitivity.
The best music in last Wednesday's concert at DCU was to be found in the first half of the programme, where Mozart's C minor Serenade was placed alongside slighter pieces by Kozeluh and Druschetzky. But the best performances were in the second half, where a Partita in B flat by Krommer stole the show with a playful, sly wit that the Budapesters managed to make as captivating as the sharpest humour of Haydn.
The effect of some roughness of ensemble in the Mozart Figaro arrangements was soon erased by two buoyant Dvorak Slavonic Dances. And, as an encore, the horn-highlighting arrangement of Monti's Csar das had an infectious spirit that must have sent everyone in the audience home with a smile on their face.
