Guts

Limestone Consort are one of my local favourites. It's a small mostly baroque group that performs in the wonderful All Saints in Ainslie with its hints at deep, or at least mediaeval, European time. Eminently suitable for baroque concerts. This one was Limestone's first with gut and period bows for the gentle, earthy, authentic tones (and the more frequent tuning). Limestone will be playing at the upcoming Canowindra Baroquefest and they were preparing their program of Trio sonatas for that outing. Corelli, Mondonville, Stradella, Pachelbel, Purcell, Rosenmuler, Telemann and Handel. This was some very stately and dignified music played very capably and with much joy. Leader Lauren can smile with joy when performing. Otherwise it seemed like there was a good deal of quiet concentration, although I heard afterwards of some grins that might have ruined Olivia's embouchure (string players have it easy for making faces). We always learn something from Lauren's intros. She introduced trios in this context as two upper parts with basso continuo accompaniment. She touched on early, middle and late baroque and styles in Italy or France, perhaps England and Germany and we heard something of biographies, of Stradella as the embezzler and ladies' man and the first failed assassination attempt on him and the successful second (angry husbands, I guess), of Telemann as the most prolific of composers who was also the godfather of CPE Bach, of Purcell's inventive chords or comparisons of Corelli's Italian and Mondeville's later French styles. And the lineup was a little changed. This was two violins, cello, bass, baroque organ, with sometimes a recorder replacing the second violin. Flauto, or recorder, is a delightful and certainly period sound and quite a change from the otherwise string sounds. The responding top lines sound very differently from recorder/violin compared with two violins. I also noticed that the mix was quite bottom heavy, with double bass and cello, presumably unison but the bass an octave lower, assisted with the organ that would have also been playing continuo, although that's an unassuming sound. There's quite a pitch difference there with no intervening viola. So soft but with considerable range. And, as ever, such a pleasure. Limestone is a lovely local group. I enjoyed this immensely and no doubt Canowindra will too.

Limestone Consort performed baroque trio sonatas at All Saints Ainslie. This incarnation comprised Lauren Davis and Michell Hicks (violins), Olivia Gossip (recorder), Clara Teniswood (cello), David Flynn (bass) and James Porteous (chamber organ).

Dealing with complexities

The CYO were out again in force and they were a feat of goodies. They were certainly out in force: there were about 70 of them, with 6 basses - in these straitened times, probably the biggest orchestra I hear. It fitted the repertoire which included a feast of brass- and percussion-heavy tunes, fanfares and the like. Certainly Stravinsky Firebird suite and Shostakovich Festive overture but also Hindemith Symphonic metamorphosis of themes by Carl Maria von Weber. It was a big program, but otherwise the works were more restrained. This 50th anniversary series features guests. The guests tonight were from the orchestra, the winner and runner-up from the CYO concerto competition, Shirahni Mudaliar playing Mozart the first movement of his violin concerto no.3 (not at all brassy or raucous) and winner Chayla Ueckert-Smith playing Vaughan Williams concerto for oboe and strings (more rural and again not rowdy). Both played well. I found it quite an ear-opener to hear such an expanse of oboe, which otherwise bobs up amongst strings or up front to tune. You can't help but be taken in by the fanfares and thus the Firebird, but I liked the Hindemith for its more modern take on traditions. Interesting. In the presence of the ACT minister, I was mulling over the value of all the CYO and all these traditions. There are people who call the classics (or jazz, for that matter, or most high arts) something of the past, out of time, irrelevant, but then I think of the effort, the commitment, the complexity and demands. Kids who take on such complexities don't have to end up in music, but their training is of a level above then four chord simplicities of commercial, more popular but superficial forms, and it's those thus trained who will provide the informed citizens, the capable specialists and scientists that society needs and benefits from. In fact, from here comes our wealth. I've been bemused by the number of PhDs, doctors and the like that I've encountered in the community classical scene. The CYO is one starter for a rich, intelligent, informed life.

The Canberra Youth Orchestra under Leonard Weiss performed Stravinsky, Shostakovich, Hindemith, Mozart and Vaughan Williams at Llewellyn Hall. Soloists were Chayla Ueckert-Smith (oboe) and Shirahni Mudaliar (violin).

Night off

It was my Wednesday night off so off to OCI for a beer and chat and jam. Wayne, Ben and Mark S have been running this now for several years and it's quite a scene. On a cold winter's night, it's cosy in the genuine old slab hut pub, the beers are good and the gastropub food is on. But most interesting is the playing. Hugh sat in for Wayne this night. Either way, this is a hot and supremely capable and swinging band. The tunes are standards and jazz tunes, but there's no tiresome commonness here. They are great musos and play with invention and communication. A huge pleasure. Hugh and Wayne are different styles, but equally capable. Ben was just a master last night, soloing on German bow or pizz, all the time interesting, melodic, phrased rather than scaled. And Mark is always sparkling. And it's a welcoming gig with Ben knowing everyone on the scene and always inviting anyone to play. Peter played with Mark L and Hugh, then Tim; I played with Tim and Hugh then Brendan (using Peter's 5-string NS with high-C, then Ben's bass); Tim played with Alec and Hugh. Maybe others? All manner of tunes from various fake books, mostly memorised. I particularly noticed some fine jazz tunes from the house band, not least Moment's notice. The beers was good and the scene busy and the room warm. It's a great night out for musos and mates. If you're free on a Wednesday, 6.30-9.30pm.

Hugh Barrett (piano), Ben O'Loghlin (bass) and Mark Sutton (drums) were the host band at the OCI jam session. Siti-ins included Mark Levers and Tim Butler (drums), Brendan O'Loghlin (piano), Peter Barta, Alec Coulson and Eric Pozza (bass).

Two up

Two days, two concerts, one program, one tour. Well, We played Cook on Saturday and Gunning on Sunday. It's a tradition in Musica da Camera to play local and regional concerts for each program (presumably a well established tradition as MdC dates back to 1979). So two up. It's an interesting experience. I felt the Gunning concert was more relaxed, but also slightly less sharp. The experience from the day before showed, but also the edge for the first concert dissipated a little. And the sound was hugely different: quite precise and controlled in Cook; loud and awash with reverb in Gunning. Such is a shire hall, outside looking every bit like the local shearing shed. Perhaps it has been. The theme was Old and new: moderns Rautavaara Fiddlers and Chesky Psalm no.1 for strings, all odd counts and dissonant intervals. Then some stately classics, Fuchs Serenade no.2 and Mercadante Flute concerto no.2 Emin. Then Britten Simple symphony, apparently quite well known but new to this neophyte. There were some fast, challenging lines (I like them), some hugely challenging counts (interesting and difficult) and then the whole challenge of making it all sit together well, intonation, feel, time and the rest. This is a capable little string orchestra, for this concert, under a capable director, Leonard Weiss. There were some little errors, some quibbles about placing the beat (it's especially an issue playing pizz), perhaps sometimes a little slow thus heavy because it's a new program and not repetitively performed repertoire, but it was seriously good and well done. Musos are always questioning of their own performances, anyway: they hear every little quirk, every little slip. As it should be. Listening back to audio and viewing video, I'm surprised some remembered slips were trivial and largely invisible. That's the band. For this program, there was also a soloist, Jodie Petrov, playing the Mercadante flute concerto. Apparently it's a standard of the flute repertoire. Variously jaunty, pretty and delicate, driving and bouncy. Nice tune and Jodie did a great job. So, two takes on one program, one local and one regional, one clean and one wet, both eminently presentable. Congratulations to my mates in this one. Proud to be a part of it all and somewhat humbled by some seriously good playing around me.

Musica da Camera performed Britten, Chesky, Fuchs, Mercandante and Rautavaara at Cook and Gunning under Leonard Weiss (conductor) with soloist, Jodie Petrov (flute).

War out the door

It was the Canberra Symphony Orchestra playing another Llewellyn concert, this one nominated Horn and it was just a series of pleasures. First up was the crowd-pleaser, Borodin Polovtsian Dances from Prince Igor. Well, it's a rollicking thing with memorable themes, enough to make it into the popular repertoire as Strangers in paradise and it's got particular relevance for me. I'd heard it played very capably by choir and orchestra of the combined Canberra Grammar Schools in the wonderful CGGS hall when it was a revelation to me as a newcomer to classics. Easy listening, perhaps, but exciting and melodious and inviting. CSO did a great job. Then the matter of the horn. Hector McDonald played Richard Strauss Horn concerto no.1 Eb major. HM has been 27 years as a principal at the Vienna Phil amongst his illustrious career in Europe, but he started out here, in Sydney and later Canberra, playing in Llewellyn Hall and with the CSO. Some old band mates were playing behind him on this night. He's obviously not so well, as he explained later, but his playing is sweet and pure, so another pleasure. He encored with a bit of Vienna, playing Johann Strauss Sweet tears with harp accompaniment. Then the final pleasure, not at all a frivolous thing: Prokofiev Symphony no.5. Apparently it was written with WW2 outside the door, first performed with cannon in the background. It's big, unrelenting, mobile and flexible and tactical as war is and battles are. An overwhelming experience only enhanced by taking a seat in the front row, under the cello, in Dave's line of sight, not too successfully trying to follow Nicholas Milton. But what a work! I'd listened to some that morning and it seemed heavy and tortured but in life it was powerful, forceful, varied and, again, unrelenting. Fabulous and capably done by the orchestra. So, a wonderful concert with all manner of styles and all manner of receptions. Great stuff.

The Canberra Symphony Orchestra played Borodin, Strauss and Prokofiev, under Nicholas Milton (conductor) with soloist Hector McDonald (horn).

Classics all

These were Miro's classic hits, and classic they are. Just seven tunes, but every one hugely attractive, all different, all locking into a groove and spelling a hugely inviting melody. Also from somewhere, referencing something or someplace. Bronte gets in there. Bronte Cafe is a famed piece, having been used on Radio National for some program theme tune (was it Landline?). It's about a local cafe when Miro lived in Bronte by the sea in Sydney and it drives with the greatest of infectious grooves. Then there's one about Mandela and South Africa with the perfect title, Pressure makes diamonds. Wow! Again a work of mastery with an amusing story that Miro can recount for you sometime. The mysterious, caravanserai-relaxed Dakkar, all slow tones merging to form a long pensive theme against the unshifting regularity of an underlying groove. Or Delicatessence, somewhat similarly, thoughtful and gentle and inquisitive in melody and gently insistent in drive. Mambo Gumbo is a street-wise New Orleans beat and For Woody is a driving swing with a quintessential syncopated jazz melody overlying it. And Miro's masterpiece, Peace please, a ballad of optimism confronting sorrow. All great tunes, all heard often enough but never enough for me. And the playing was equally satisfying. Miro leading the lineup with John up front, always stunningly inventive and effective. Newcomers to Canberra, Hugh on piano and returnee Brendan on bass, both stunners, in solos and accompaniment. And Col again welcomed on the scene. I loved the African percussion colours in his intro and outro on Dakkar on a slit percussion box. In all, a intimate and communicative outing with Miro's great music and this hugely satisfying local band.

Miroslav Bukovsky (trumpet, flugelhorn) led a band with John Mackey (tenor), Hugh Barrett (piano), Brendan Clarke (bass) and Col Hoorweg (drums) at the Canberra Grammar School Gallery.

Sundae jam

Another drop in to the Sunday afternoon jam session at Smiths. Again with house band Josh Buckler, Hugh Barrett, Anthony Irving and Andrew Howard. Today's visitors included singers Erissa and Claire, a guitarist (sorry, forgotten your name), Tom on guitar, Geoff on drums and two bassists, Phil Dick and me. Given recent visits by Brendan Clarke and Ben O'Loghlin, there seem to be a session, a six-string, a collective of bassists around. This was great fun. I got two tunes in, with bassist Anthony doing a quite decent job on piano. Sunday afternoons suit me: it's a quiet time. Just one of two regular jazz jams in town. The other is Wayne, Ben and Mark at Old Canberra Inn on Wednesday nights. Both are capable and welcoming. Get to one or both when you can, to play or just listen.

The Smiths Jazz Jam house band was Hugh Barrett (piano), Andrew Howard (drums), Anthony John Irving (bass) and Josh Buckler (tenor). Sit-ins included Erissa and Claire (vocals), Tom Sherringham (guitar), Geoff (drums), Phil Dick and Eric Pozza (basses). (Names updated, thanks for the comment / Eric)

Listening

Listening improves with experience, like many other capabilities. Last night was the Australian Haydn Ensemble. I've heard them many times but I noticed I'm hearing more now. Not all the time, but more frequently. I play music something like this (although don't play it quite like this!) so my awareness has been honed, my hearing attuned. So I marvelled at the way the phrasing moved between players; how the phrases were spelt out together, in conformity, yet not lifelessly cloned; how individual instruments would spell out their parts (Anthony's cello was impeccable) so even a note had form and life, or would bounce with staccato; how the whole was dynamic and expressive and how a few passing glances would hold this all together. The tunes of this are often not so very difficult to read or to play, mostly with harmonies and melodies that fit scalar or arpeggiated patterns except for the occasional oddball phrasing that may trips you up or some cadenza that flies with semiquavers. This is not music of dissonances or odd times but of order and dignity and some humour, except maybe for the slow middle movements that can be things of exquisite beauty. There were the tuning interludes, which are so much a part of this period music, but the rounded tone is the end result and so lovely. And these are friends: those glances were often little smiles and the guys joshed at the end and they all glowed with pleasure. The theme was the baroque oboe and a few quartets named "the Hunt". The format was quartet for all, string quartets or three strings with oboe. The music was Haydn String Quartet ‘The Hunt’ Op.1 No.1 Bbmaj, Mozart Oboe Quartet K.370 Fmaj, Janitsch Oboe Quartet Gmin and Mozart String Quartet ‘The Hunt’ K.458 Bbmaj. This was a small incarnation of the AHE, a core with oboe, but they are always intellectually thoughtful and musically wonderfully satisfying. That delicacy and unity that a string quartet can portray, this time with music and instruments located somewhere in the early classical period. Just a joy as always and an education in just performance.

Australian Haydn Ensemble performed Haydn, Mozart and Janitsch at ANU University House. On the night, AHE comprised Skye McIntosh (violin), Simone Slattery (violin), James Eccles (viola), Anthony Albrecht (cello) and Amy Power (oboe).

Dark

It's not so much that I have anything new to report, but we played again at Molly, that dark underground speakeasy, and Rich took some neat pics with his camera phone that works a treat in very low lighting. So here are a few.


Tilt Trio comprise James Woodman (piano), Eric Pozza (bass) and Dave McDade (drums). Tilt played at Molly).

Why the ado

The why for the much ado. The first why was National Capital Orchestra performing its third concert for the year. This was called Emperor in reverence to the Beethoven Emperor concerto which featured after the interval, but there were other wonders. The first half consisted of two modern Australian compositions, complete with composers in attendance. It's always a thing of honour and some little trepidation to play for the composer, and I presume it is for them to hear their works played live. First up was Nigel Sabin and his Symphony 1996. It's a portrayal of Australian life, of land and sea, of pasts that never were (sounds like much of our current politics), of light and even the Republic that's yet to be, given our nostalgia for our multi-citizened head of state (I jest, a Queen doesn't have citizenship, does she? We are her subjects in whatever land). I particularly loved my first notes, a few bars of pizz which just spoke busy offices in old films, but there was much more, with heaps of odd changing counting. Quite a challenge at times. Then Christopher Gordon's Suite from Moby Dick. It was an early work from him, sometime in the 1990s, to accompany a TV miniseries put together by Americans in Australia. Again, some changing counts, but more flowing and sea-faring and story-telling, specifically of the white whale and Ahab and the Pequod and the chase. Here it was obvious how the orchestra plays its best with the nerves of performance. Both these fell together neatly, the counts played well and the narratives were evident. This is a community orchestra, but the intent and challenges and performance was very worthy. Then interval and one of the major piano concertos, Beethoven's last one, his Fifth in Eb major, the Emperor Concerto, played by Katherine Day. Katherine was trained in Melbourne and London and is now resident in Canberra and now works at the ANUSOM and more. And what a pleasure to play this music with her, both in performance and in rehearsal, so we have played this with her several times. A fine, sometimes rollicking, sometimes profound work with some fine playing, on the night without music. My vision was less on stage, but in rehearsal it was fascinating to listen while Katherine mused, looking into the distance or to Leonard. Again, great playing by the orchestra, too. It's a full day for the performers. It amuses me to see the profs arriving with the audience for a concert at the Opera House or Llewellyn or other. Our experience was not like this. We arrived before 11am to set up the risers and stage and for a revisit and warm up. Then lunch and a beer at the pub and Christopher Gordon speaking at 2.15 and the concert at 3pm then pack up. A full day but immense pleasure, from the music and the great playing, from the excellent little theatre, TheQ, from the good cheer amongst musos in black at the pub and the rest. A great day. Congrats to all and special thanks to Nigel, Christopher and Katherine and Leonard and Martin and the Committee who brought it all together.

National Capital Orchestra under Leonard Weiss (conductor) performed Nigel Sabin Symphony (1996, Canberra premiere), Christopher Gordon Suite from Moby Dick (Australian premiere) and Beethoven Piano Concerto no.5 "Emperor" with soloist Katherine Day (piano). The composers (other than Beethoven) attended. And the bass section comprised Roger Grime, Geoff Prime and Eric Pozza (basses).

Much ado 4

Last minute practice, Friday night before Sunday afternoon gig. This time with our other Australian composer, Nigel Sabin. We are playing his Symphony 1996, again filmic and sea-themed and with some varying modern counts. Back at our usual rehearsal haunt. And a run through of Beethoven Emperor Concerto. I think of myself as liking the moderns, and I do, but I was carrying a beaming smile as I played the Beethoven. It really is fabulous. There's a reason for Beethoven's reputation. Not that piano soloist Katherine Day didn't have some part in that, too.

Nigel Sabin (composer) and Katherine Day (piano) rehearsed with National Capital Orchestra under Leonard Weiss (conductor) prior to a concert two days later.

Much ado 3

Now it's getting serious. National Capital Orchestra is coming within a week of performing. The program is Beethoven Emporer concerto and two modern Australian pieces, both very filmic and seafaring: Christopher Gordon Moby Dick suite and Nigel Sabin Symphony 1996. But most interesting is the involvement of the composers. Both will be there on the day; CG was at our last practice; NS will be at our next. Beethoven isn't coming. The apprehension is higher for Leonard, our conductor, as his interpretation is on show and open to comment by the composer, but the whole orchestra is on display. Not exactly nerve wracking, but another experience with some demands. We did it last concert with Carl Vine. It's an interesting twist on a rehearsal. The concert is NCO, TheQ, 3pm, 6 Aug.

Composer Christopher Gordon attended a rehearsal of National Capital Orchestra under Leonard Weiss.

Much ado 2

I've played jazz for yonks and now classical and I'm amused to find a similar joy and comradeship in both fields. They have lots in common: application to a demanding artform; commitment of significant time, often for little financial reward; inner satisfaction, especially when you play well, or the performers click; shared goals for those who play in ensembles. Of course, they have their differences - reading and interpretation on one side; improv and groove on the other - but they also overlap. I'm finding some technical aspects of my jazz playing benefitting from classical, but finding less time for improv and some jazz-specific matters. But to the matter in hand: a Maruki afternoon playing session. Not a formal practice, but a get together with some chamber charts to sight-read with food and drinks and socialising on the side. I sat out for some that didn't have a bass part, but did manage a few movements of the Trout (the quintessential double bass chamber piece) and most of Dvorak Serenade in E major with several recognisable sections. Somewhat like the Smiths jazz jam session that clashed for time. Players of one field or another enjoying musical interactions. Challenging and fun.

Some members of Maruki Orchestra met for a playing afternoon.

Much ado 1

Here's a visit to another music institution in Canberra. There are many. This is a choir, again there are many. Now called Canberra Community Chorale; previously it was the University of Canberra Chorale. I sat in on tenor for one session. The normal guide is AJ America with accompanist Lucus Allerton. They were off somewhere performing with Luminescence Chamber Singers so Tobias Cole filled in for the day, on both roles. This was good. Toby did an excellent job, training in odd times (7/4 required for this piece) and modes (dorian and mixolydian were practised and phrygian required for this piece). Also, interestingly, rounds of the modes, resulting in some delicious harmonies and a complex musical environment. The choir sings songs for the first semester and a major work for the second. Last year's was Mozart Requiem; this year's is Bob Chilcott Requiem. To be played with a chamber orchestra at Wesley Church in November or thereabouts. Nice. Best of luck.

The Canberra Community Chorale was led in practice by Tobias Cole.