Bringing jazz to the concert hall

This is a jazz site so a concert by the Sydney Symphony Orchestra entitled Jazz inspirations is a must, even if it’s in the Sydney Opera House. Sydney’s somewhat a suburb of Canberra these days, given the easy drive, or perhaps it‘s the other way around. Megan and I did one of our day trips. The program was Shostakovich Gershwin and Prokofiev with the jazz theme. I was intrigued. The Shostakovich were three little numbers, more Palm Court Orchestra than jazz, but cute. They were a waltz, a polka and a foxtrot. The players were (left to right) piano, bass, banjo/slide guitar, violin, soprano, alto, tenor saxes, glockenspiel, trombone and conductor. More bass pizz from classicists that you might expect. The odd banjo sound, which placed it in US country as well as ragtime, especially given one slide guitar solo. The violin was all heavy vibrato and intimations of gypsy jazz. This was cute music with melody constantly moving between instruments. Attractive and cute and I reckon I’ve heard some before, in films of other.

Second was Gershwin Piano concerto in F. I got the feeling there’s some dismissiveness in the classical community around Gershwin being serious. (“Classical crossover goes both ways when Dmitri Shostakovich dabbles in jazz and George Gershwin tries his hand at ‘serious’ music” / SSO website http://www.sydneysymphony.com/production-pages/2013/concert-season/thibaudet-plays-gershwin.aspx viewed 8 Dec 2013). We chatted with two women after and their favourite was Gershwin (mine was the Prokofiev). The notes say that critics observed “structural deficiencies” and that there’s “not much development” and a certain amount of repetition but some “highly effective melodies”. All obvious when you’ve read the notes, and true. I loved the melodies: fabulous and effective as Gershwin can be. I felt it was a simple work, lots of American ebullience, great swells, whole sections playing melody together. I enjoyed it immensely, bathed in its luxurious lyricism but I could see it’s a different beast from a classical construction. Lovely but different and not so complex. The pianist was Jean-Yves Thibaudet. He’s a renowned pianist with many recordings to his name including Gershwin arrangements for the Paul Whiteman. He encored with a take on I’ve got rhythm, presumably the Ferde Grofé arrangement for Paul Whiteman that Thibaudet had previously recorded. Like much jazz/classical crossover, I was a bit troubled by the sense of swing, but otherwise these guys have chops (to use jazz expressions).

My favourite of the afternoon was Prokofiev Symphony no.5 in Bb Op. 100. It’s a good jazz key but also a “sort of Soviet-style blues or Muscovite one-step” has been found in the second movement. It was also written in 1945 so expressed joy at the end of the war and wariness of Stalin, and this is more what I heard in it. Much more complex and contorted and rich than the Gershwin, but without that gorgeous lyricism and joyous enthusiasm.

The Sydney Symphony Orchestra performed at the Sydney Opera House under James Gaffigan (conductor). They performed Shostakovich Suite for Jazz Orchestra no.1, Gershwin Piano concerto in F with Jean-Yves Thibaudet (piano) and Prokofiev Symphony no.5 in Bb.

Unseasonable cold

Jazz Republic played outside for a school barbie and it was fun but it was also bloody cold. Nice to greet James Woodman who was filling in for Mike on the night. But how cold! Wind chill factor cold; rain cold; fingers that refuse cold. I played with fingerless gloves, but I can only imagine the effect on exposed sax metal. Intonation becomes an issue, doubly so as Richard switched tenor and soprano. We had to play slower, too, so the blasters became medium swings in the second set. I enjoyed the few trio numbers, piano trio, then a format I’ve wanted to play for some time, sax trio. It’s open, chordless, contrapuntal and surprisingly modern sounding with much the same lines. I also enjoyed playing some of James’charts. We share a love for post-bop. Charts from Bobby Timmons and Ronnie Matthews as played by Woody Shaw. It’s an attractive era: interesting changes (not all 2-5-1) and written syncopations that transform easily into walks. Nice gig but memorably cold. On this night Jazz Republic were Richard Manderson (saxes), James Woodman (piano), Eric Pozza (bass) and Brenton Holmes (drums).

Rabid pianism

Ross Clarke played a tribute to Oscar Peterson at the Gods. Ross introduced OP as modern in his time (late ‘50s) and popular but not critically acclaimed and commented that you could find his records in the stores. I remember a time with OP and Ray Brown and that mainstream pianism. It’s infectious, entertaining and deeply swinging. The National Library had a Yamaha midi-driven grand piano that was playing OP for a week a few years ago.
What excitement it was to see those keys moving! Ross wasn’t quite at OP’s level, of course (who is?) but this was a joyous concert with the same feel of release and pure melody and glee in it all. This is 50 years ago now, old times and not too harmonically or melodically challenging, with tunes like Reunion blues, Cold duck time, Blues for Gene and C-Jam blues. Also standards of somewhat greater complexity, Green Dolphin Street, Con Alma, In the wee small hours of the morning, What is this thing called love. And a few I didn’t know, Lee Ritenour’s New York Brazil, apparently recorded with one of my favourites, Dave Grusin, and another original-cum-arrangement by Ross based on the theme from Michael Palin’s film Brazil. All melodic, joyous and emotionally uncomplicated. The band did their part, too. James was a monster in solos, admitting later to borrowing bass lines form Ray Brown and Christian McBride. Not unimpressive stuff. Mark was sharp and tight and exciting in his own solos. This is music of solos. It seems like it exists to feature melodic chops between heads. Mike was nicely clean and bluesy in his solos, and sometimes chordal. Ross did his own capable job on Oscar. None of this is too deep, of course. “As deep as the ocean” would be deceptive if they’d played it, but it was entertaining and ripe for the holiday season and Australian summer. A lively and happy and comfy end to Geoff’s Gods series for 2013.

Ross Clarke (piano) led a quartet of Mike Parker (guitar), James Luke (bass) and Mark Sutton (drums) in honour of Oscar Peterson.

Killer factoids

Labor is the only party that’s cut spending in real terms in the last ~50 years. That’s a killer factoid. It came from Stephen Koukoulas when he spoke to the local branch of the Australian Fabians. SK worked in banking, is a macroeconomist, was economic advisor to PM Gillard. More about that factoid. Labor/Coalition have governed about equal time since 1970. This fact is despite the accepted wisdom that the Libs are the better economic managers. SK said the Libs would cut, but then they would reallocate. It’s an example that “people don’t face facts” which was the base argument presented. The session’s title was “Why values matter : evidence and ethics in Australian politics”. Right up my alley. I imagine this is really a question of political philosophy rather than macroeconomics, but then economic facts are much of the evidence in question. It was a discussion rather than a presentation and lots of questions from the audience led to a rambling outcome, but SK is informed and there were gems on show as well as a few questions that challenge an economist’s view on the world.

What themes arose? Why is cost of living seen as in crisis when wages have exceeded inflation for the last 10 years? SK suggested views are formed by frequent (petrol, electricity) rather than infrequent (TVs, blenders) purchases and changing comsumption patterns (takeaways and meals out increased from 3% of household expenditure to 8% over the last 20 years; think today’s workplace coffee culture). 23 years since the last recession is “incredible”. Australia is the fifth richest country per capita in the world (after Luxembourg, Qatar, Switzerland, Norway); its GDP per head is double that of NZ. Has it made us complacent? Despite the hype over the carbon tax, only 2.5% of household expenditure goes to electricity (although some additional component must appear in other bills). Price signals are very efficient at changing behaviour. Recessions actually hurt people. There’s a recent article in the Lancet on poorer health within 1 year of the GFC in Greece, Ireland and some other countries. Does business confidence rise with the Liberals? Yes “but they can’t do it for too long” and “talking down the economy before the election did hurt the economy” and there is a challenge in replacing mining. Complex messages aren’t always easy to explain; slogans can be more effective in influencing. As for the economy, it’s horses for courses (eg, fiscal austerity is not good when the economy is weak). There is confusion over gross/net debt and it’s used politically (an example was given). There’s a perception that mining, agriculture, manufacturing are better because you can see them, but in 20 years we will mostly be doing services. Messaging is necessary but it requires policy. Labour had clear messages in 2007 (“country that makes things”, “greatest moral challenge of our time”, etc). Keating was a master with the ability to tell interesting and difficult stories, but “he had enough of the people that matter on side”. Now Labor has “blind criticism”. About the first months of the Abbott government, SK is “disappointed how bad they are” by “hurting the economy and constraining future economic growth”. Was it just about the message? Yes “but you need to have some substance underneath it”. Perhaps the best, most challenging question was about supporting the car industry for national resilience and diversity of skills and capabilities, given Australia is the 15th largest ecoonomy and could sustain it.

Given urgent questions, this was interesting if a bit rambling. I absolutely agree with the requirement of evidence and get upset with misleading and simplistic arguments and spin abouding in our political process. I would have liked to chat further, but an hourly bus beckoned. Not that it would have made much difference. We still have what we have and climate change and inequality and the rest are still threatening … ever more urgently.

Stephen Koukoulas spoke to the Canberra branch of the Australian Fabians on “Why values matter : evidence and ethics in Australian politics”.

The Kiwis have it

It was a Kiwi-Canberra connection when Tom Botting and Peter J Koopman (NZ via SYD) joined Alex Raupach and Aidan Lowe (CBR) as the opening band for the Smiths Jam session last Thursday. They had got together just that day, playing a function in the afternoon and then a few standards along with some compositional sketches from Alex in the evening. I arrived to a dumbfounding solo from Tom over my favourite, Alone together. Then Out of nowhere (another classic) and Skylark. Out of nowhere was medium swing, but this band subverted it, so walks became sparse and truncated and intervallic, rapidly moving from thumb to first position, and Peter shredded the tune with long passages and odd phrasing way off the one and a NYC feel that made me think of Kurt R. Dead steady and serious business. Alex was his best, more bop-oriented than Peter but moving phrases against barlines and flattening endings and often enough in between. Aidan seemed a touch more restrained in this company but perhaps not on latin or swapped fours. Swapping sixteens and eights seems outré for a contemporary outfit like this, but the historical references are still there. The whole band was feeling its way on Alex’s sketches, but the skills were stunning. Jocie Jensen sat in at jam’s end for some stunning takes on Round midnight and It could happen to you. Her scat and unison heads with Alex and high and accurate voice fitted this choppy-rich band perfectly. Mike Dooley sat in for a run of tunes, including a funky Nature boy and some boppy takes on Green Dolphin Street and the like. Mike’s feel is more bop-hot with some classical reference so these were interesting intersections of eras. I sat in for a few tunes as did drummer Mitch Preston who is so strong in the local blues scene. This was a stunning end to a rich night of jazz in Canberra. A blast with some stunningly capable and informed chops. Just to finish off, here’s a quote from Nick Dooley, Mike’s brother and once a trumpet teacher at the Jazz School. It’s out of context here, but wise advice: “It’s hard to be exciting rather than excitable in a band”.

One and two of three

The Loft featured a pair of guitarists with their bands. Dave Rodriguez was down Sydney with his trio DLR after a night at the Phoenix. Jack Ray’s ’93 Project was the support. And the Smith’s jam later in the night was to feature another guitarist, but more on that in another post. So how different can guitarists, and conceptions, be? Very different.


’93 Project started gentle and moody with ballad-like chords and West Coast sensibility, Phill’s steady and determined and great-sounding bass and some cracking snare from Rhys. Jack has written the tunes and he laid out the heads with simple clarity on guitar, giving way to occasional effects, wah or overdrive over solos. The other main soloist was pianist Tate who can take a tune and express it in ways that are exploratory and expansive, but nicely unjarring. I was thinking while listening to Tate that most of what we hear is not new. I can almost say it’s all been played before; after all, there are only 12 notes. But good players interpret with a clear and fluent take on those existing, established themes, perhaps combining in their own ways on the day. Thus this quote: "In the final analysis, your stature as a jazz musician is determined not by how much you have practised, but by how well you have listened " Jazzology, p.195. Tate does this so well. ’93 Project is a platform for Jack Ray’s compositions. It comprises Jack Ray (guitar), Tate Sheridan (piano), Phill Jenkins (bass) and Rhys Lintern (drums).


DLR is Dave Rodriquez’s current trio. It’s so different, even so entertaining. I laughed with joy and some nostalgia for this music. Think guitar trio, Hendrix with loops, Fender bass. This was crossover to rock. There were also hints of jazz in some solos, but more lanky bass and preposterous drumming. This was also loud, effected, sustained, looped. The whole felt produced, rich, full, although this was only a trio. The effects and loops bring this, sounding like a complete and recorded electric/electronic sound. Very much unlike acoustic and jazz and classics. It takes different knowledge and skills; it has its own expertise; it’s mostly music of other scenes. It’s a refreshing visit, thus my smiles of nostalgia. There’s nothing new, and this too has its precursors, but I wasn’t the only boomer who enjoyed this visit to a world of guitar and electronics. Much enjoyed. DLR is Dave Rodriguez (guitar, electronics), Jan Bangma (bass) and Miles Thomas (drums).

Heavy on bottom end

David Pereira joined the Limestone Consort for a cello-heavy concert over the weekend. It was called Back to Bach and I guess it was a play on back to back. The concert started with Dad Bach JS and his Brandenburg concerto no.3 in G major with three cellos. It ended with Son no.5 Bach CPE and a very different music, his Symphony no.1 in G major. Director Lauren observed that both Bachs were prolific; that JS was reclaimed by Mendelssohn (it’s hard to think of Western music without JS Bach as a lynchpin) and that CPE was influential for Mozart and Haydn and Beethoven.
Also that CPE’s symphony was “quirky” with jumping dynamics and unexpected phrases. I liked how the mathematical integration of baroque got an intrusion from vibrant and colourful lines of massed strings in CPE’s work. It’s a different feel from the dry but attractive intellectuality of counterpoint. But this one only had two cellos; JS had three. They also performed Vivaldi’s Concerto for two cellos (with a third in support) and that was a fascinating opportunity to compare two cellists on similar material – here teacher David and student Clara Teniswood. Master David was stronger and more confident but Clara did an admirable job as colleague. There were several shorter pieces, two choral preludes from Brahms and two aquarelles from Delius. The Brahms impressed me as pieces rich with symphonic development, one dignified and the other welcoming and generous. Lauren commented that, if push came to shove, she might pick Brahms as her favourite composer. I warmed to these pieces. The Delius were apparently annotated to be played on a summer’s night on water. The first had a pretty descending melody with string backing. The second was more mixed, with what I heard as an American theme (perhaps borrowed for some film?) leading to flowing swells. I was most amused at David’s introduction to the premiere of his Double concerto for cello and violin. Not so much for what he said, that the cello has proved good to get work and that it’s down the “pecking order” against piano and violin. I could only think that the bass is so much further down and clumsier too. A cello seems such a neat and portable instrument to a bassist. This was a harder work for the consort, more dissonant, very varied. There were features for harpsichord and bass. There was strength in cello and huge distance in range of cello and violin when they played together. There was a middle movement with no strings in support. I’ll be listening again to my recording because this is a demanding modern piece with various references. So this was a worthy and wide-ranging concert complete with a world premiere. I was impressed. David Pereira (cello) performed with the Limestone Consort at All Saints. The Limestone Consort comprised Lauren Davis (violin, leader), Lucas Allerton (continuo), Alison Giles, Alys Rayner, Jacqueline Smith, Mia Stanton (violins), Sarah Ingram (violin, viola), Elysia Fisher, Hannah Keese (violas), Clara Teniswood, Jack Hobbs (cello) and Kinga Janiszewski (double bass).

Taming Fury and the left

It’s topical. Megan says it touches on many current issues of concern to this demographic and it does. I’d seen the Removalists yonks back at an Adelaide Festival of Arts. It was new then and much talked about. It’s still remembered. As is Don’s Party which I saw again in the last few years when it was revisited by Canberra Rep. They say David Williamson is prolific. He’s renowned. We went to see what is presumably his latest, When Dad married Fury. Rich father surprises two sons by marrying an American half his age, and Christian Tea Party to boot, then she gets pregnant and he dies. Issues? For the sons and at least one wife, it the inheritance. For the playwright, finance, class, families, religion, politics, more. It’s standard soft-left POV. The Right would go gaga if they worried about this anymore, but plays are pretty harmless in the hands of superannuants with left predilictions. More power to seek elsewhere; more coal to mine. In the end, there are some twists that might even discombobulate those lefties. The Tea Party religionista is generous. Arch-leftie wife ends up admiring water ripplies with Mum and decides she can’t spend every minute saving the world. Audience claps. Trouble is, we probably don’t have time for our lefties to rest. Physics is like that. As for the play, its heart’s in the right place but not beating so hard. But that’s show business. When Dad married Fury was written by David Williamson, Denis Moore directed for a run at the Q Performing Arts Centre at Queenbeyan.

Three further paces

Jack Hobbs and Kimberley Steele returned for the second in their trio series, called Three’s a crowd, this time with flautist Rachel Howie. At the first concert, I noted the historical development. The developments continued so that here they arrived at early C20th. The music was still tonal but the melodies were distinctly different, anticipating or hangi, playing with rhythm, moving away for 4x4 structures and simple calls and responses and with more play on intervals. This was adventurous without dissonance, although a little of that also snuck in. Weber Trio in G minor was from an earlier romantic, but the rest dated about 1900. Poulenc’s flute sonata displayed this modern melodic sensibility, unexpected phrasing and anticipated pauses. Then two Czech composers. Janacek A tale which started fiery and passionate and later settled, and featured some unusual, extended cello pizzicato. Then what is apparently a standard repertoire piece for this combination, Martinu Trio. It was introduced as three movement, folks and Czech cultural influences, some light-heartedness. I could appreciate the humour but I also found it quite disjointed. I’ll have to revisit my recording, but I think Janacek was my preference. I was more impressed with the trio, though. It’s a good venue with clear sound and a decent piano and no interruptions, and maybe this was a motivation, but this trio was very satisfying. Grand and voluminous flute, sometimes delicate but lively and precise cello, and a constant certainty in piano. They are going their own ways, now, for further study and life. A shame but that’s how things go. This music was tonal but inventive and the playing was certain and sensitive. Very nicely done. Rachel Howie (flute), Kimberley Steele (piano) and Jack Hobbs (cello) performed at Wesley Music Centre for the second Three’s a crowd concert in the C100 series.

Of music & spring & love

It’s always a pleasure when you encounter the sheare ease and comfort of established professional musicians. It’s tto that they don’t have some nerves or take things lightly. They just relate better and perform more easily. Alan Hicks and Christina Wilson are in that category. Relaxed and unstrained even when challenged. Christina joked before the concert that she must get all the notes right because I was recording. I guess she did. I didn’t hear any clangers (alhtough there was one little switch of verses). What I noticed was easy, responsive piano accompaniment and powerful, voluminous mezzo-soprano ornamented with deep vibrato and portrayed with considerable drama. There was presence in the patter, too, as Christina introduced the songs, located composers in time, joked about some of the more silly lyrics. (Like the one where the singer wished to be a jug to carress the lover’s lips), but the topics ranged from spring and warmth and hope and peace to music and love. There were groups of songs by several composers and this was interesting as well as an introduction to some more obscure names. Two songs by Purcell were dedications to music (Santa Ceclia’s feast was the following day) including a strange one of repeating drops: “Till the snakes drop, drop, drop, drop, drop, drop, drop, drop, drop from her head” (Music for a while, from text from Oedipus A Tragedy by John Dryden). Then three songs from Schubert who wrote more that 600 before his early death aged 31. One was the Trout which portrays a cunning fisherman and his dastardly technique and the more tragic song of Gretchen at the spinning wheel to the words of Goethe who recounts Gretchen’s love for Faust “My peace is gone / My heart is heavy / I shall never find peace / never again”. Then a jump to early C20th and songs by Fernanco Obados with touches of flamenco and jazz. Christina introduced one with the outline: “Tiny is the bride, tiny is the groom, tiny is the bedroom. I must buy a tiny bed and a mosquito net”. (Maybe something is lost in translation). Then three songs from Brit Roger Quilter: Fair house of joy, Drink to me only and Lover’s philosophy. You couldn’t not recognise Drink to me only from the words of Ben Johnson, with its A-A-B-A 32-bar structure in 3/4 with turnaround. It makes you realise how common is the infrastructure of Western music, despite the different cultures and repertoires. But how good was this? An excellent end to a lovely little and intimate monthly concert season at St Albans. Christina Wilson (mezzo-soprano) sang with accompaniment from Alan Hicks (piano).

Dig the rhythm

It’s no surprise that Geoff Page was a teacher in his previous life. It was clear as he spoke of anapaest in the poetry of Melinda Smith. Geoff and Melinda were doing a dual poetry launch and each was introducing the other’s collection before the other read a few poems. Poetry is “metrical writing”, or at least that’s what one quote suggested, although it’s valued for more besides, not least imagery and concision in emotion. I was perfectly comfortable with Melinda speaking of iambic pentameters. Isn’t that standard Shakespeare? It’s also the base of Geoff’s unpretentious poetry. Anapaest was not something I recognised, although it’s easy enough when I looked it up (anapaest has stress-unstress-stress; iambic has unstress-stress). Geoff spoke of Melinda’s poetry as of a women’s sensibility and experience as well as of another generation. She even wrote in Twitter-verse of 140 characters, which must be an amusing challenge. Geoff’s iambs seemed more informal and conversational, less concerned with women’s issues (pregnancy was an obvious one) but equally concerned with issues of seriousness. But there’s also humour here. Geoff welcomed it in Melida’s poetry and lamented that humour is a missing element in much poetry today (and also elsewhere in society, as I thought while watching Keating’s reminiscences and wit on TV shortly after the launch). I remain a neophyte in poetry but words like this could touch this steadfastly practical realist. Geoff Page and Melinda Smith introduced each others’ poetry and each read a few lines at the Civic Library mezzanine. The collections were: Improving the News / Geoff Page and Drag down to unlock or place an emergency call / Melinda Smith, both published by Pitt St Poetry, 2013.

Veging

Jazz pops up all over, often as a backdrop to our lives. Dollface were at the Fyshwick Market last weekend. There were just two in this incarnation. Alice Cottee singing sweet soprano and Tom Sherrington accompanying chords with a thumbed bass line on guitar. Just in the corner by the cases of tomatoes singing standards. They waylaid me from the bread and pasta I was looking for, but it was a pleasant interlude. Dollface advertises as Jazz, swing and anything. The TripleJ unearthed recognition for her band, NoHausfrau, and 2XX broadcasts suggests an indie sensibility. Alice Cottee (vocals) is Dollface. Tom Sherringham (guitar) accompanied on the day.

Jam ... sweet

The Jazz Jam at Smith’s has been going on for months and I finally got there. What a buzz. The band was a blowout: Wayne Kelly, Simon Milman and Aidan Lowe. All well known and all respected, but they were more impressive than I’d even expected. Aidan’s back after over a year in Berlin. The word that comes to mind is monster. Confident, inventive, steady, concentrated but ready for an occasional smile of recognition. The sticks were flailing but this was gentle and detailed playing. I hadn’t so much thought of him playing hard bop and modern, but this was exemplary. What a year can do. Wayne is a master with his own overseas jaunt, if more commercial: Macau for several years. This man flows with ideas, toys with dissonance, nothing forced or jarring but on not too easily expected. Authentic as in channelling the masters. There was a bit of roughness this night, but so be it in this context, but reliably awe inspiring. Simon was with the two internationals. I’ve recently heard him in all manner of styles. He raps, he writes, he rambles through a post-modern collage of music, so it was a surprise to hear some swing, but not a disappointment. These were inventive lines with a soft but firm presence and well-spoken solos. Then the jam. Tables with audience and tables with musos. Simon gave the invitation and Wayne called Alone together. This is my signature standard so I couldn’t let this pass. So much for reticence. I got up for Alone together, then My funny valentine as bossa with a singer, then Stella. I played OK and it was a pleasure to play again with Wayne and Aidan. Then Alex Raupach, Tom Fell, Victor Rufus, Angela Lount, Phill Jenkins and other singers, guitars, drums, pianists and an end with Wayne’s trio with Alex and Victor. It’s a scene of nerves and friendly competitiveness but general goodwill. Notably, also, Smith’s is a lovely little venue, with grand piano, stage and lighting and PA and café tables and a bar and centrally located. Very nice. And as I write, I hear that the Loft is moving to Smiths for a gig and jam every Thursday from 16 Jan.

Decorous not stuffy

I had two stellar groups I wanted to catch recently, Tallis Scholars and the Academy of Ancient Music. I had a gig when Tallis were performing so missed them (as I did for another last night when the ACO performed Mozart’s clarinet concerto). But I caught AAM with Australian singer Sara Mcliver. I took a while to settle in, but then I realised just how perfectly integrated were these musicians. Their sense of timing and balance and note formation and decay were excellent. Phrases just died in perfect synch. They played Locke instrumental suite form the Tempest and Purcell (excerpts from the Fairy Queen and Arne Overture no.6 Bb and a series of songs or hymn by Handel. The theme was of theatrical music of the era, around mid1600s to early 1700s, introduced as preparatory to Gilbert and Sullivan and even Andrew Lloyd Webber. Locke was entered into with a warning, that he’s “certainly not easy listening … quite weird” - the words of director and harpsichordist Richard Egarr. I found it the most satisfying of the works, with angular lines, counterpoint, odd harmonies. The others were neat and obviously works of expertise, but they were also predicable. Hear one line and you could guess the next. I felt just a little disappointed, but the performance was superb. The early oboes were delightful; the bass was big and omnipresent and the bassoon cut through clearly. Not sure the theorbo / lute was too aurally prominent although it’s an amazing visual presence. I loved watching Paula’s fingers as they formed over the theorbo’s fretted neck, as I enjoyed he relaxed precision of Judith on double bass (four string). There were occasional squeaks, which are the way with period instruments, and the bows were old-style French and the cello was held between legs with no end pin. Blokes wore morning suits, although without waistcoat (English informal, I guess) and the women were similarly attired, but this was not stuffy. The English do this nicely, decorous but jaunty, so I wasn’t surprised by Judith resetting her hairpin in a break in performance. And I should mention the David’s glorious trumpets. He had two, both long and probably without valves. I guess these are natural trumpets, in different keys, played like a bugle, but they seemed to have an almost complete chromatic range. And Richard on harpsichord. I strained for this, other than a feature solo that was besieged with notes. He sat with back and tails to the audience, leading his ensemble, all the world like images of baroque orchestras, which it was, of course. Sara Mcliver performed for most of the program. Clear high notes and coloratura virtuosity. I lost some of the lower notes, but it must be hard for soloists to avoid indulging their preferred ranges.

Some of the music had a predictability as the theatrical music of its day, but I loved the precision and casual professionalism of it all. These are masters from a centre of the art, England and the Barbican and Cambridge University and it shows. This is their 40th anniversary tour. The Academy of Ancient Music were Richard Egarr (harpsichord, director), Pavlo Beznosiuk, Colin Scobie, Iwona Muszynska, Bojan Cicic, Rebecca Livermore, William Thorp (violins), Jane Rogers (viola), Joseph Crouch (cello), Judith Evans (double bass), Frank de Bruine, Lars Henriksson (oboes), Ursula Leveaux (bassoon), David Blackadder (trumpet), Paula Chateauneuf (lute). Sara Macliver (soprano) sang.

All plot and no theme

We hope against hope, of course, but to be presented with politics as realpolitic is to be disappointed. Bruce Hawker was introducing his diary of the campaign trail with Rudd in the recent election. Michelle Grattan was leading the conversation. These are both insiders with the fascination of insiders. I just found it disheartening. It’s necessary but feels unclean. I was interested in just what Bruce couldn’t answer, mainly about what was in Rudd’s or Gillard’s head. This is a guy who spent hours with Rudd over an intense 8 weeks or so, but he didn’t present much knowledge of Rudd’s desires and thoughts*. [BTW, I also noticed that despite the time together, he still referred to Rudd where some others had first names]. This was a story of actions and responses and travel and occasionally touching on policies. It’s not his role, of course. He’s not a policy guru but an election campaigner. He mentioned how he’d worked with Carr on an election against Greiner in NSW when Greiner had a hung parliament and “we did just the same thing that Abbott had”. Successful but disturbing. Success is all, I guess.

So what did we learn? Campaigns are pressure cookers and the days are long. Many decisions are made daily in response to party, polling, campaign office and more. Labor’s campaign office lost 110 staff when Gillard was rolled. The four issues for change before the electron were carbon tax, party reform, economic challenges and asylum seekers. There was discussion over election dates and Rudd was “extremely consultative”. Gillard played a constructive role right up the night that Rudd was rolled. Young staffers demand a very different industrial environment and this was a problem in Rudd’s office “to some extent”. There was “overblown rhetoric” to justify rolling Rudd [but then, those 110 campaign staffers and a string of minister resigned when Rudd returned]. Rudd as the public face with Gillard as the Labor worker were an effective pair, at least early on, but this was “not a long term plot”. A questioner observed there’d been no mention of the Coalition during the discussion. I hadn’t noticed this but it was revealing. BH argues that as “bad as it was” Rudd’s campaign avoided a “horrendous outcome”. Labor’s 54/5 seats would have been 30-ish; Labor now has ~30 seats with <3% margin (presumably Reps) and doubt about Abbott remains. He discussed a “massive campaign [by News Ltd] against us” especially by the Courier Mail and Daily Telegraph. There was a suggestion that Rudd should have ignored this, but it had become “total war”. The slogan “A new way” was a “big mistake” as it “lent itself to mockery”. But the segue to “building the future” was relatively painless. “We do rely on polling, I’m sorry, we do” but at least this is to mould the message rather than to create policy. The ETS was ahead of its time [not sure I agree with this one] and the Greens voting with the Coalition to scupper it was a tragedy. The turning point of the campaign was the NT policy, but there were also leaks from campaign HQ. Yes, they “wargamed” a Turnbull return. It’s “hard” to stop the media cycle and the attempt creates opportunities for Labor. Mobile phones are mostly missed for polling and the influence of social media is hard to measure and Focus groups are keys to campaigns.

There were a few other snippets. I’d heard or read of many; few were really a surprise; I agreed with some and less with some others. This is the necessary but uninspiring side of politics and this pair, both Bruce Hawker and the ace Parliamentary Press Gallery person, Michelle Grattan, are functionaries. Interesting, necessary, mostly known if you read and listen, but far from the purpose of it all.

*PS: There was a question about what Rudd would do now in politics. BH clearly didn’t know or have an intuition, musing that Rudd couldn’t have a third attempt at PM but could maybe have a role as an elder statesman or could resign. An hour later, returning home, we heard Rudd had given his resignation speech that evening in Parliament.

Bruce Hawker was interviewed by Michelle Grattan and the Paperchain Bookshop for the launch of his new book, The Rudd rebellion : the campaign to save Labor / Bruce Hawker. Melbourne : Melbourne University Press, 2013.