Observations

 

This was a combination of bassoon and harpsichord from Ben Hoadley and Ariana Odermatt at Wesley.  It's not a common combination, but quite lovely.  And it's not a pairing of baroque instruments as the bassoon was modern, but nonetheless, quite lovely.  And also not all baroque music, and again quite lovely.  Ben mentioned playing the modern bassoon with harpsichord and how it was a different experience, bigger and louder, I guess, and maybe more fluent.  Whatever, they sat nicely together.  He also highlighted the period of the musics: the first three were Marcello, Telemann and Couperin, all early 1700s, and the last Francois Devienne, late 1700.  It was obvious when you were made aware of it.  The earlier period was of royal courts; the later was of the people, entertainment, post-revolution and clearly more classical-styled.  I'd quipped to Ariana earlier that the harpsichord didn't change volume and she'd responded with louder, dirtier sound.  Then sure enough, the first and second courante by Couperin did exactly the same, quiet and delicate, then dirtier and louder.  So lots to observe and some lovely playing to just enjoy.  What's better?

Ben Hoadley (bassoon) and Ariana Odermatt (harpsichord) performed at Wesley.

Being the blues

The Canberra Blues Society jam session is a blast from the past in several ways, not least that I return to an e-bass.  Fretted or fretless was the decision this time.  I was conservative and stuck with my fretted JB.  Someone asked why not double, but it's so enjoyable to race over the neat neck with soft strings and it's a more apt sound anyway to my ears.  Maybe Peter Barta was in two minds as his instrument was an Ibanez with a mixed fretted 4-string/fretless 3 string neck (SRAS-7 Ahula).  It's weird, but proof that Ibanez is adventurous.  I got a chance to play with Gary France for a first time, if only for a standard 3-song jam, and our group was all round a great pleasure: John van Beuren, Ross Buchanan, Gary, Steve Hartnett and singers Dan Litts and Lily (not sure of these names).  But of course it's the one group I don't have a photo of.  The host band this month was Blues Accelerators: a guitar blues band with horn section, here baritone and tenor saxes, but normally also with a alto.  They were playing tight and tonal as I arrived and the bari in Midnight hour just confirmed how nice the horns were in a blues context.  There were 4 or 5 other jamming groups and some younger performers and a few dancers.  And it's a relaxed event with excellent sound and tables and chairs and German beers so a nice, dark, sun-free way to spend a Sunday arvo.  I had a great time.  And for those who don't know of it, that's a genuine piece of the Berlin Wall outside club.

The Canberra Blues Society jam session is held monthly at Harmonie German Club.

Jack

Luminescence Chamber Singers needed a host for a member joining temporarily from Melbourne.  We do this stuff and it's fun and intriguing to chat with musicians and generally just with people from other places.  Thus Jack came to stay with us for a few days during the preparation for the next Luminescence concert.  Interestingly, they replaced a woman with a man and changed various roles within the choir.  Jack ended up singing tenor although he can sing considerably higher.  They are touring NSW over coming weeks including a gig at the ACO pier, no less.  Sadly our calendar has a triple conflict on the night they are performing in Canberra, so we will not even see Jack with LCC.  But nice to meet Jack and chat regardless. 

Jack Jordan (singer) visited Canberra to rehearse then tour Carlo Gesualdo Tenebrae Responsories with Luminescence Chamber Singers.

Loss, grief and healing

As I write this I regret that I hadn't read the generous and informative program notes before this performance.  This was Oriana Chorale performing at Wesley Church and the title/theme was We are not ready : Music of loss, of grief and of healing.  Not an easy topic and the program even came with a warning of possible emotional triggers.  The music was of various eras, several modern, several regarding a passage of the King James version of the Bible on a son's loss, several on other losses, in various wars or otherwise.  I might have listened differently.  I just noted the modern dissonances and chromatics and the comparisons with the sweet harmonies of Monteverdi.  The lyrics were not included in this program and maybe they would have guided the appreciation.  Whatever, I've recorded it so look forward to a relisten after reading the excellent program notes .  But otherwise, this is a wonderful choir, with high notes towering above with SATB males and female voices with wonderful skills and clear enunciation under two excellent directors, one having composed one piece, and the other arranged another.  The tunes were from Weelkes, Olivia Swift, Prestini, Makaroff, Monteverdi, Eric Whitacre, Ella Macens and that arranged Trad piece.  This is music of richness and complexity and variation and I feel I just touched on the experience in my first outing.

Oriana Chorale performed music of loss, grief and healing at Wesley Church under Dan Walker (director, conductor) and Olivia Swift (conductor).

Shirley's sun shines

 

I should advise a potential conflict of interest but it is nice when the Canberra Theatre Centre invites you to a performance.  I guess it's my blog that does it.  Does this make me an influencer?  Maybe, but very much i- not I-.  I wonder if this is relevant for the performance I attended, Shirley Valentine.  Perhaps so.  It was a film about 30 years back, and massively popular, here resurrected for our times.  A story of a woman who wishes to make her life, break free of a limiting marriage and social conventions, escaping England for Greece when her best friend wins two tickets for a 2-week holiday.  Well there's always truth in that: travel is very immediate and enlivening and breaking habits enlivens the soul.  It may have downsides but mostly it's just days of escape.  She hesitates but finally takes up the offer and has a fling and expands her horizons and her husband chases her to return and the final words are hers, sipping white wine on a beach and hailing her husband who has come to find her but who hadn't recognised her in her satin and relaxation, to sit for a drink.  It's not Tolstoy but it is relevant and obviously understood by a welcoming female-dominated audience and even held some touching and telling moments.  And the performance was something to take awe at, a one-woman show of almost 2 solid hours, excluding  the interval, speaking to walls and rocks and a pretty-much full house.  I liked that she could question herself along with others: she has a go at men through her husband, but it's not an identity-wide anger.  And I found a few stories that cut to home, not least about how men can take over conversations.  So an impressive performance of a worthy little piece of rom-com-ish fiction that has real-world resonances.  As for Greek beach life, I might choose otherwise, but then I'm not a moderately-deprived Liverpudlian.

Natalie Bassingthwaighte (actor) performed Shirley Valentine at Canberra Theatre. 

Thanks to old workmate Kirsty Young for some great pics from the previous day's media call.  (And one of mine).  See more of her pics on Instagram kirstyyoungdigitalart

Two Roberts

It's been a break for family visits and long drives but now it's back on for young and old.  First up is my regular Wesley Lunchtime concert, this time with pianist Robert Schmidli, one of my early classical recordees, playing Robert Schumann.  As ever, nicely prepared and performed with aplomb.  These were his well known Arabesque and the set of variations called Symphonic Etudes op.13.  Lovely and varied on the piano and powerful and later loud in the space of the Wesley concert hall, and a worthy and demanding outing for Robert.

Robert Schmidli (piano) performed Robert Schumann at Wesley.

Doing the drum rounds

I'd played with Hugh Magri-Bull but it was only at a jam session and a jam session is just a few tunes on different gear and nothing like a decent gig over three hours.  This was a Tilt outing at the Dickson Taphouse and it's a great place to up the energy for essentially jazz musicians.  Most of the DT bands are blues or rock so the background is noisier and the audience is involved.  At least the audience that's close in and there are spots throughout for eating, listening, sunning and more.  We had some recurrent listeners from pervious gigs and some musos and dancers to please and even a few staff of Better Music.  Otherwise, a little quiet given Enlighten Festival but much enjoyed.  Hugh was our latest invitee in the drum stool and a worthy player, inventive in solos and responsive in ensemble.  A great night even if I forget a pic until too late.  And many thanks to Hugh.

Tilt performed at Dickson Taphouse comprising James Woodman (piano), Hugh Magri-Bull (drums) and Eric Pozza (bass).

Somewhere around baroque

I'd talked of baroque music, but this is really earlier, I guess, still baroque but early?  It's certainly not Bach.  Perhaps I think baroque given the gut violin strings and plucked string tones of the harpsichord.  This was John Ma and Marie Searles playing duo.  Marie with several solo tunes, one imitating birds and another guitars and castanets.  Apparently.  It's intriguing and challenging even if not particularly identifiable in these days of samples that really do copy and manipulate sounds.  Otherwise, John and Marie together played another imitation or representation of Turkish music, and a standard style of Adagio and Courante, and a dedication to a composer's fellow musician, La Sabbatina dedicated to Roberto Sabbatini, and a perhaps an even stranger one to our ears, Diverse bizzarie sopra la vecchia sarabanda or pur ciannona.  These were interesting and various oddities...  The composers were all around 1650-1770 and with some pretty obscure names.  Henry Eccles was obvious enough, but otherwise be Blaineville, Pogletti, Forquerau and Matteis.  But as always from John and Marie, much joy, much playful, bouncy, capable playing and even much education in composers and the times.  You couldn't want for more.

John Ma (violin) and Marie Searles (harpsichord) presented and performed at Wesley.

This is CJBlog post no. 2,950

Chopin as is or should be

I think of Chopin as I remember playing it, a very inarticulate student take.  It wasn't pretty.  But to hear Chopin played by someone committed to it, who studied at the Fryderyck Chopin Academy in Warsaw, no less, was instructive and awe-inspiring.  Suddenly I could understand and appreciate the fame of this busy composer.  The tunes were Chopin favourites, so well known, but the presentation was anything but mid-level AMEB.  Raindrop prelude, Nocturne Eb, Grand valse brillante Eb, Minute waltz, Waltz C#min, Fantasie impromptu, Heroic Polonaise Ab and an encore of Mazurka Amin to calm things down.  The tempos were gloriously variable as were the dynamics, so we got minute waltz relaxing into a gentle pace and huge handfulls of energy appearing throughout.  And that Mazurka which was much less known but apparently a common encore in Poland, to calm the audience for an ending.  But such a committed and informed performance that told of Poland and its history and peoples like I hadn't heard before.  Stunning and quite an eye-opener.

Mark Jurkiewicz (piano) performed Chopin at Wesley.

A matter of will

I hadn't realised the extent of Andrew Koll's programming until after this latest Canberra Bach Ensemble concert at St Christopher's.  We chatted after and he told us of the theme, the will of God.  I had been amused by a translated line, Lord, as you will! (Herr, wie du willt!, apparently by extension, the Mind of God) but it's a clear statement of religious trust and faith especially of the time and place.  These cantatas covered this issue, mostly be being written for the same weekend of the religious year (third Sunday after Epiphany on consecutive years 1724,1725,1726), other than one written a week later (Septuagesima 1725).  I guess I could have read the program.  But from the start, I just closed my eyes to experience the rolling harmonies in repeated lyrical lines, through the various voices, all clear and precise and deeply beautiful.  The start was a quote from St John Passion on the same topic, God's will, presented as choir without backing, leading into BWV 111, then BWV 92, then an interval and BWV 73 and BWV 72.  Throughout this was openings and closings of choruses with arias and recitatives within variously from soprano, alto, tenor and bass.  It's a formula that's repeated in this these cantatas, once written each week for Leipzig churches.  To conceive of the intensity of this work, a cantata a week, is overwhelming but Bach did it and we have the pleasure of it.  The choir was 36 through SATB and the accompaniment was 16 between strings, winds and continuo.  There was a segment with two solo violins and Andrew highlighted that it was similar to Bach's double violin concerto and that's just indicative of his sharing themes in the whirlwinds of producing all this music.  And there were segments of quick, non-stop cello from Clara and delightfully precisely articulated and fast contrabass (not really a violone) that floored me.  I had my eyes closed for the baroque horn but heard baroque oboe and bassoons often enough.  But these are just things noticed amongst a night of glorious Bach religious cantatas played and sung with real love and considerable understanding.  A great, great pleasure.

Andrew Koll (musical director, conductor) led the Canberra Bach Ensemble at St Christopher's Cathedral in a choral excerpt from St John Passion and BWVs 111,92,73,72 on the Will of God.  Key performers were Stephen Freeman (Orchestra Leader), Greta Claringbould (soprano), Maartje Sevenster (alto), Timothy Reynolds (tenor) and Andrew Fysh (bass) and some favourite bottom-enders of mine, Clara Teniswood (cello) and  Kyle Ramsay0Daniel (bass).

History and today

The first Wesley Wednesday lunchtime concert for the year was a doozy, starting with Hildegard von Bingen and ending with modern Americana by composer Caroline Shaw.  And the performers were apt.  Rachel Mink sang and she told that her parents live near a property sung of, and the youthful and exploratory and very capable Ellery String Quartet provided accompaniment, with a range of noises and techniques, not least picks/plectrums on strings.  Both Rachel and Ellery were stunning and apt in performance, but I was somewhat befuddled by the modern music.  This comprised two works, each of several parts/movements.  First was Plan and Elevation: the grounds of Dumbarton Oaks, picturing the Cutting garden, Herbaceous border, Orangery and the like; second was By & By, comprising several parts putting ~century old lyrics on death and related themes from various authors to music: Will there be any stars in my crown?; Angel Band; O Death; I'll fly away.  But it did get me thinking as I followed the lyrics.  And also it had me intrigued by a range of tones and techniques used: bowings; slow harmonic movements; tapping instruments; most unexpectedly, plectra including a big blue one for cello.  Odd and unexpected and a very different aural space from Bach and the like.  I think of voice as more established and Rachel's was lovely and nicely controlled.  Voice remains the greatest instrument to my ears, but then it is us, not just our invention, so not unexpected.  And it speaks ideas not just impressions.  So, a concert that was challenging in techniques and heavy in themes so probably an apt start to a new year of music at Wesley.

Rachel Mink (soprano) and Ellery String Quartet presented America Voices at Wesley.  ESQ comprised Brad Tham and Anika Chan (violins), Pippa Newman (viola) and Chloe Law (cello).

Returns, day 2

Day 2 of my Blues weekend was a very different experience.  This was the monthly Canberra Blues Society Pro Jam session.  I've attended these numerous times in the past and just recently hankered for a return.  It's fun and friendly and a hive for some old friends and it has its challenges but it's not too difficult outing for a jazzer.   The feels were comfy enough but the keys were somewhat unpracticed: guitar keys (E,A,D) instead of horn keys (F,Bb,Eb,Ab).  Those open strings on the tonics rather than the 3rd took some care, and someone showing me bass tabs in place of written music (for a Lady Ga-Ga tune, no less) flummoxed me:  I understand the system but have never used it.  I played my Mexican Fender Jazz bass and the sound was loud and proud through the gear on stage so I enjoyed that immensely.  The session runs with music from 1pm with a host band, this day with another band, then a few short jam sessions of 3 tunes each, essentially led by a singer or other leader.  In my case, all 12-bars but with different feels and nicely led.  I enjoyed it immensely.  Pics are of the two first-up bands: the host band JD Band led by DJ Gosper and the host band for the next jam session, the Blues Accelerators.  And cheers to the mates I met from Quartic Sol: Thomas, Jacinta and Sam.

The Canberra Blues Society Pro Blues jam is held monthly at the Harmonie German Club.  Host bands were JD Band and Blues Accelerators.

Returns, day 1

It's a blues weekend and the fact that I had to renew my membership to the Germo reveals how long it's been since the last one.  Saturday was a show-cum-cover band playing Hendrix and musics of his era, late-'60s, early-'70s.  Hendrix was first up and the band was a trio as expected with plenty of driving bluesy riffs and blaring strat and it was a doozy.  I loved it.  All Hendrix except but with a few SRV tunes towards the end.  Then a short break and more blues.  I'd expected some Led Zep, Cream and the like, but we got perhaps some more SRV blues, ZZ Top, lots of Stones, then even some ACDC and even Stevie Wright's Evie, and it seemed pretty apt in this company.  So heavy on blues and less on the prog-leaning side, but nicely done with committed, searing guitar, two interesting bass solos, one with unison voice, and solid, heavy percussion from a new drummer on his first or second gig with this trio.  For the Hendrix set there was some stage dress, especially from guitarist/singer Steve Edmonds wearing a historical military jacket and scarf which looked great, but the second set reverted to standard blues black.  Nothing unexpected here, but I'd liked the dress-up.  The Hendrix was more for musical appreciation, but the SRV and ZZ Top and Stones had the audience up for the dance floor.  Sound was good with a house PA and busy soundman.  So all round, a great outing with memories, if just a little disappointing to miss the expected Zep and Cream and Deep Purple which were core influences to my earliest bands, but the field of classic rockers is too big for one set.  What's not to like with a power guitar trio ... other than ringing ears?  (PS. Sound did not exceed 90dB)

Steve Edmonds (guitar, vocals) led his trio in a Hendrix tribute at the Harmonie German Club a dn arranged by the Canberra Blues Society.  The other performers were Graham Burns (bass, vocals) and Ben Elliot (drums).

SoundOut 2025-3

 

Then the internationals again, this time for a sax quartet of Richard, Bertrand, Rhys and Jean-Luc playing steady, slowly shifting tones with perhaps some circular breathing in the mix.  All this to visual projected accompaniment from Nicci Hayes who had appeared in the previous year.   And to finish off, some younger local performers, Alex, Gabriella, Jamie and Stuart, as a new generation, from Canberra and Sydney, comprising drums, tenor sax, guitar and invented instruments.

The saxophone quartet comprised Jean-Luc Guionnet (alto, France), Richard Johnson (tenor), Bertrand Denzier (tenor, France) and Rhys Butler (alto) with Nicci Hayes (visual projections).  The final session was performed by Alex Tucker (drums), Gabriella Hill (tenor), Jamie Lambert (guitar) and Stuart Orchard (guitar, invented instruments).

SoundOut 2025-2

Then Zosha Warpena from USA playing hardanger d'amore.  This caused quite a thrill, both for the performance, sometimes drone-like or rhythmic developing from a 3-feel, all with overlaid vocals, and the instrument.  We weren't alone in being perplexed by the instrument.  Hardanger is a Norwegian viola with 9 strings (read Wikipedia), four played and 5 resonant strung underneath or through the neck, a flat fingerboard lending itself to double stops, gut strings and baroque-like convex bow.  Quite lovely and something quite new to the room.  Zosha told me she's studied classical violin but did her masters on the hardanger and the vocals were something of her invention.  Quite lovely.  Then a session with piano, soprano sax, drums, trumpet/flugelhorn and cello.    Hubbub pianist Frederic Blondy was enthusiastic and creative and essentially led this performance to my ears.  Italian soprano saxist Gianni Mimmo was fabulously expressive in fluid, harmonically clear and penetrating response in somewhat like bop-styled chordal movements and cellist Peggy Lee of Canada/Melbourne strongly parallelled and supported the piano with obviously well-trained ostinato and other rhythmic patterns.  Miro listened and inserted himself several times with busy and apt jazz-like phrasings and Sydney drummer Hayley Chan was reserved primarily on cymbals. 

Zosha Warpeha (hardanger d'amore, vocals, USA) performed solo.  Federic Blondy (piano, France) performed with Gianni Mimmo (soprano, Italy), Peggy Lee (cello), Miroslav Bukovsky (trumpet, flugelhorn) and Hayley Chan (drums).