Same not same

Wesley Music Centre is admirable in its support of young, upcoming musicians. Not sure how they afford it, but they maintain a string of Wesley Music Scholars and have done so for yonks, with graduates even working internationally. They also support local students appearing amongst the Wednesday lunchtime concerts that I record. This one was the return of Elena Nikulina's studio with four students, some of whom we have heard before. This was Oscar Wu playing de Falla and Bartok, Hannah Ni playing a Chopin Polonaise, May Li playing Glinka arr. Balakirev and Simon Wu playing Chaminade and Bartok. They all played capably and the concert was wonderfully satisfying. My unexpected new awareness for the afternoon was how a piano, in this case a fairly new Yamaha grand, was so different under different hands. To some degree it would be a function of the music, but May's tone was so delicate and endearing under her considered touch while Simon's was heavy and meaty. Preferences and styles come to mind, but the different presences of the same piano was obvious and unexpected. Just a lovely concert all round with a touch of learnings (to borrow an ugly neologism).

Students of Elena Nikulina, Oscar Wu, Hannah Ni, May Li and Simon Wu (piano) played at Wesley.

First Finlandia

This was a particularly good program, even for Maruki which reliably works its way through the repertoire.  The main work was Brahms Symph no.3.  I love any Brahms.  The rest was Rossini Thieving magpie and two by Sibelius, Karelia suite and the fabulous Finlandia.  It's not too difficult so I was surprised that I'd never played Finlandia before.  Wow.  Of course we all know and love it, but it's something else to perform it, read it, find the intricacies and dynamics and the rest.  I can appreciate how it's so loved: powerful and ecstatic.  Wonderful.  The other Sibelius had a touchingly beautiful melody in the second movement and the Rossini was joyful and mobile.  And Maruki was in fine form, playing well if a little reticent on tempo for me, and well attended by players and audience.  So, a satisfying outing at Albert Hall as the sun shone on a glorious Canberra winter day.

Maruki Orchestra performed Rossini, Sibelius and Brahms at Albert Hall under Kristen Simpson (conductor).

Many happy returns

I got to the National Press Club especially  for Mike Price, given he was a major member of the local jazz scene a few years back but he's been off in Qld for some time.  In Cairns for 8 years, he told me.  But then I realised Nick was a Canberran who'd returned after years in Macau and Chris had been a decade or so in Cyprus (?) so they are all returnees.  Fascinating.  As was their playing.  The NPC gig is pretty relaxed, but there was plenty of controlled energy in this one.  Mike's clean, swift, chordal styled guitar moving through various dissonances and chromaticisms but also just telling the harmony as it is, or spelling the lovely melody of some standard.  They were standards, played comfortably up-tempo, with solos for all, fours for Nick, often with a tagged ending for a little more guitar solo.  All nice.  Clean, capable, certain jazz, guitarist styled.  Is there bebop here?  It doesn't quite feel it but maybe it just doesn't sound it without a horn.  Certainly the lines and improvs were bop-styled.  Whatever, this was wonderfully capable and expressive.  Chris' bass was a lesson for me, up or across the neck, quick and broken syncopated lines over walks, nice thumb positions playing and a fairly common but effective hand formation that I must revisit.  Nick's drums are the essence of stable, but can explode given half a chance.  Mike was deceptively clean and correct, more tone than improv, revealing for me far more depth and adventurousness with my eyes closed.  The presence was standard jazz club with Mike calling a tune and Chris grabbing for his iReal Pro or similar: casual presence and serious performance (or maybe causal performance with serious preparation).  As I like it.  Travel has done us all good.

Mike Price (guitar) led a trio with Chris Pound (bass) and Nick McBride (drums) at the National Press Club.

A violin's voice

John Ma played a solo concert featuring his baroque violin and it was a revelation.  I'd heard of the importance of the bow and I know it, of course, but the way he made it speak spoke wonders.  Not to say his left hand wasn't doing a good job.  It was.  The intonation seemed so comfortable and lines were smooth and correct as expected.  Interestingly he spoke of music as speech and observed how it has changed over time so pop and baroque and more has song sounding like normal speech while classical and opera has developed to a different stage voice.  In that bow was such expression, delicacy, rhythm and note groupings, volume and dynamics.  It expressed the essence of what the music was saying, so the left hand and its pitch was just a support.  I'd heard the essence of this argument before but never witnessed it like this.  Perhaps because John was playing solo, that helped, or that the baroque compositions demanded such fluency and subtlety and also because he's such a good player with a history of major international performance groups, but regardless, this was that very observation spelled in front of our eyes.  Stunning and educative, if not the theme of the concert which was John and his English baroque violin made by Richard Duke of London, dated ~1770.  That was also interesting, as was the chatter about composers and history, but what I heard from that bow was the revelation of the day.  Now I understand.

John Ma (violin) performed on his Richard Duke violin at Wesley

Contemporary and Siena

Otherwise we just hung around with friends in Sydney, ate too much in Chinatown and thereabouts and got to the Gallery to see the new wing and a few old faves.   Of note were some contemporary Aboriginal works, a jukebox with songs of protest, a video of digital tunnels that you could navigate (I'm not game-trained enough to be particularly capable), an amusing and unexpectedly attractive big rotten lemon in shiny glass beads and a fascinating smell-sensory work of spices in stockings.  The Tank was closed for refitting.  Then the main gallery and the traditional stuff, not least the earliest European painting in the collection, a Madonna and child by Sano di Pietro dated somewhere within 1450-81 and a long-term fave of Circe by Bertrand MacKellar.  All lovely or challenging or at least interesting.

Harbour Banks(y)

Just up to Sydney for a weekend to catch up, mainly to catch up with mates from Edinburgh who were passing through.  We ate well and got to a few art events.  We checked out the local music scene, not that I know Sydney too well.  There was some jazz but not too obviously adventurous (not surprising on a weekend), and some classical that was sold out or exorbitantly expensive for what it was.  Otherwise, DJs.  Getting there we came across several demos and I always like them, even if they seemed pretty small.  Thank God some people still hope for better.  The Ukraine demo was underway; a demo against executions in Iran was setting up; the Christians were also setting up and singing and handing out brochures as we left.  Otherwise, Banksy at the Town Hall.  He's well known and interesting enough.  I liked his politics, including purchase of a yacht to save refugees on the Mediterranean.  He obviously does well out of his work (this exhibition seems pretty commercial and touring the world: "The show is now touring Australia after its incredible worldwide success with over 1,750,000 visitors!" [exhibition website]) but his heart seems to be in the right place.  I thought of Andy Warhol but perhaps with more empathy.   Certainly he'd used similar techniques at times and obviously referenced Warhol's Marilyn.  I particularly liked the reference to Phan Thi Kim Phuc, the running naked girl in Vietnam after US bombing, but Banksy had her between symbols of US capitalism.  Nice.  Lots more interesting if obvious commentary and just a few pics here.  Interestingly, if you bought an expensive ticket you could stencil a Banksy image on a t-shirt on exit.  Merch: as I said he's cluey in more ways than one.

Without limits [There is always hope], the art of Banksy was at the Sydney Town Hall.

One of many follies

I felt something awe-fully authentic in this concert.  It was period music, Bach and Bellinzani's take on La Folia, and we hear them often enough with gut strings but recorder and harpsichord presented the works in a milder, quieter form that made you think of sitting in an intimate room, a musica da camera, as it would often have been.  This was not the big event of a concert, but the intimate family event of the sala.  Jane Downer was back and playing on tenor recorder with Ariana on the delicate harpsichord.  First up was Jane playing a bella partita (Dmin), then Ariana playing two movements of another Bach partita (BWV826 Gmin), And finally together playing La Folia and 16 variations by Bellinzani.  Lots have done the La Folia variations (see the page on IMSLP on "List of compositions with the theme "La Folia"").  Apparently, it's "an early medieval Iberian dance accompanied by mime and songs, performed during celebrations of the solstice and New Year festivals" (Collins Dictionary) so obviously referencing good times.  With the delicious nature of Bach's musical invention, this was a good time.

Jane Downer (recorder) performed Bach and Bellinzani with Ariana Odermatt (harpsichord) at Wesley. 

Of the hour

This concert was called Folk and Fantasy and it was at Wesley on a rainy Saturday night and it was far too poorly attended.  This was a real shame.  The group is the Hourglass Ensemble.  They are coordinated by Andrew and include a star-studded international cast playing a challenging, modern chamber repertoire.  An indication of their seriousness is their 2 European tours and 42 commissions since their formation in 2015.  And this concert revisited a performance in the Utzon Room at the Sydney Opera House.   Impressive!  HE seem to be a core of 3 players with various invitees, including internationals or players with serious national or international experience.  Tonight, it was 6 players performing new works from 5 Australians (not least Sally Greenaway and Elena Katz-Chernin) and one American.  All lyrical and attractive stuff, some lengthy works, various tunes heard on radio, and one solo piano work by Schumann/Liszt.  We heard some serious chops, too, strings and piano and winds, delicate, careful, accurate, delightfully light when required.  I melted over both strings, violin/viola and cello, and the piano was busy, often busily arpeggiated, and of a wonderful touch.  And flute and Andrew's clarinet/bass clarinet pairing.  The whole was richly varied in tone from differing combinations, a duo, various trios, a piano solo, a final all-in quintet.  There were two Australian premieres, one by Elena Katz-Chernin and a playful US work called Ralph's old records in 5 parts with various revisits to early jazz and blues.  Just delightful and authentically jazzy, if presumably not improvised.  Not all contemporary music is rattles and clatter, although some rattles appeared jokingly amongst the record collection.  This was joyful and often playful and some really star playing.

The Hourglass Ensemble performed music by Anne Cawrse, Richard Grantham, Sally Greenaway, Schubert/Liszt, Elena Katz-Chernin and Kenji Bunch at Wesley.  HC comprised Ewa Kowalski (flute), Andrew Kennedy (clarinet, director), Anna Rutkowska-Schock (piano), Alexandra Osborne (violin, viola) and Andrew Wilson (cello).

Mid C20th pipes

It was a challenging and thus interesting organ concert from Callum Tolhurst-Close but maybe a bit unexpected for some.  Certainly there were some delayed applauses that suggested the music was not too well known or understood.  Not a Bach on show but one Saint-Saens and several lesser known names form 1930s-1960s: Thalben-Ball, Langlais and CH Stewart.  The Thalab-Ball was an elegy that slowly grew from quiet to loud then decayed to an end.  Just suiting a decent pipe organ.  The Langlais was a Kyrie Orbis factor, loud from the start, then quiet then loud again.  The CH Stewart was a gathering of five songs on hymn tunes, mostly more sedate than the previous works.  Saint-Saens Fantasie no.3 finished the program.  It was written a little earlier and sounded milder and perhaps earlier still.  Hyperion records notes its "sparse, minimal textures and ... thinly accompanied hautbois solo".  This was perhaps the most relaxed work.  The early works played with dissonant harmonies and varied organ tonalities which seems perfectly of the time if maybe SS wasn't.  Whatever, not a fugue amongst them but plenty of interest in tones and colours.

Callum Tolhurst-Close (organ) performed at Wesley Church and Rachel Mink (soprano from Luminesence Chamber Singers) turned pages.

Thanks Sean and all

It's an amazing and fabulous thing that jazz players can come together and play decently with no history, or at least no personal history.  The history that serves is the studies and practice and listening that makes for the essence of jazz.  So Dave couldn't do this gig and Sean sat in.  And it was a great gig and very much enjoyed by us and well complemented by listeners as they left and even as encountered on the streets.  That's nice.  Mostly standards, and that's part of that history mentioned above, but also several tunes from James that aren't just walks. Congrats to Sean for his ear.  It happened a few weeks back, too, at Old Canberra Inn, when only I could make it and the sit ins made up 2/3 of the band, namely Ross and Mark.  But this was another entertaining and challenging gig to everyone's entertainment including us.  How I love music like this!  Casual with beer on amp but deadly serious too.  Jazz is something special.

Tilt Alt. were James Woodman (piano), Eric Pozza (bass) and Sean Kirk (drums) at Molly and Ross Buchanan (keys), Eric Pozza (bass) and Mark Levers (drums) at OCI.

Fare thee well, Dudok

I've talked of the Dudok quartet here several times not least for their excellent and varied  performances, but there's also a personal aspect given Marie-Louise stayed with us and the rest, Dave, Judith, Marleen, stayed close by and we drove them and chatted widely, about music, of course, but also about Amsterdam and climate and arts and bikes and more.  They are a warm group and committed and aware so quite fascinating and to top it off, Marleen had a close friends here after studying at ANU.  Small world.  I love all that about visitors.  We tried to show them the local scene, but their time was short and they were busy, but they were all at a gig at Verity Lane and we passed by Smiths and Marleen dropped in to Molly while Imogene was having a break.  We obviously talked of sex shops and Amsterdam dope but also the Bimhuis and Concertgebouw and instrument funding and Blue Poles and how they recently played with the Night Watch as a backdrop (wow!).  But these things come to an end with a drop off at Jolimont for Murrays to Sydney and the long flight home.  The next evening I was playing at Molly and it seemed so long since they'd left and yet they were probably just landing.  Let's hope they get back here sometime soon. In the meantime, just to confirm that Dudok has inclusive tastes, see them playing an arrangement by Oene van Giel of Giant Steps for string quartet.

The Dudok Quartet Amsterdam comprise Judith Van Driel and Marleen Wester (violins), Marie-Louise de Jong (viola) and David Faber (cello).

Finals

The final concert was a big one, long and plenty of performers and tunes.  It was called Mulanggari and was heavy on first nations themes.  First up was Stiff Gins with our mates Dudok and Kevin Hunt, perhaps others.  SG are entrancing, inviting, singing songs with gloriously correct voices and lyrics that I didn't catch, but I fully expect are worthy, bridging Euro and Aboriginal languages and themes.  Jonathan Zwartz had a role in developing, writing or orchestrating some of this.  A relaxing outing for our Dudok accompanists.  Then an interval a country, sometimes dissonant , often double stopped Ben Ward bass solo piece written by Brenda Gifford. And a ecstatically driving piece for three percussionists by Holly Harrison.  The players were Claire Edwards, Veronica Bailey and Niki Johnson and the piece was wonderfully powerful and rocky with a kick drum and a huge pleasure.  Then a larger group for Wadhu (skin), composed by Brenda Gifford and the solo played by Claire Edwards at Verity Lane earlier in this festival.  As I remember this featured violin Veronique Serret and didjeridoo William Barton.  Then another larger work, Burruguu (time of creation), by Nardi Simpson.  And a final work, again by Nardi Simpson and arranged by Jonathan Zwartz and Roland Peelman, with the further addition of Luminescence Chamber Choir.  The stage just keep growing.  Then a final few words, of thanks to Roland for a great third decade of CIMF and off to chat and drink outside the hall.  The final party, especially for CIMF staff and volunteers and performers and various associates is a well loved ending for the festival.

The final concert of Canberra International Music Festival this year featured first nations, European, reconciliation and related themes.  Works by Nardi Simpson, Holly Harrison and Brenda Gifford (composers) plus perhaps others were played by a cast of musicians featuring Claire Edwardes, Ben Ward, Stiff Gins Artist Stiff Gins Nardi Simpson and Kaleena Briggs (vocals), Luminiescence Chamber Singers (choir), Roland Peelman (piano), Kevin Hunt (piano), Dudok Quartet Amsterdam, Ellery String Quartet, Veronique Serret (violin), William Barton (didjeridoo) and more.

Bach Brandies

I'm sure Christian Ludwig and his mates at Brandenburg would have sat around drinking brandies or similar while they listened to this music.  The Bach Akademie Australia performed all six of Bach's Brandenburg concertos over two concerts for the CIMF.  The concertos were originally entitled Six concertos for several instruments, so the lineup changed and the stage was remade between each concerto.  I have played no.3 several times and practiced some others, but I hadn't realised the immensity of the satisfaction of this music until I heard them together.  They are all mega-renowned and so enticing.  Musical Director violinist Madeleine Easton led most but John Ma took one.  There were lots of faces form AHE and the like and a few local Canberrans and a fave baroque bassist Pippa Macmillan.  Pippa was hugely strong and has obviously played these before...  John was an admirable leader too for no.6 and Madeleine of course.  As with such an ensemble in Australia, there were several faces and names who share their skills around.  Day 1 was 1,3,5 and I wondered that I may find day 2 less interesting.  No way!  Day 2 seemed more comfy, but also 6,4,2 were well known and wonderfully involving.  I melt over the fugues and they appear here, of course, Pippa strongly spelling out her part and driving it nicely.  But this is a group activity and such a pleasurable outing.  Just lovely as well as composition diamonds.

Bach Akademie Australia performed all 6 Bach Brandenburg concertos over two concerts for the Canberra International Music Festival.  Madeleine Easton (violin) led most but John Ma (violin) led one.  Poppa Macdonald was a stunner on bass. The pic is of one of four roughly similar ensembles through the two concerts.

Keith alt. at Smiths alt.

Bram de Looze is a solo pianist from Belgian who's hailed as "the new Keith Jarrett" so it's not surprising that Wayne and Alex and Leo and surely other jazzers were there amongst the CIMF attendees.  ABC was there too, recording with some pretty classy gear on a Bosendorfer borrowed from the Music School.  Nice to see that Bram will get that exposure and also inviting to hear a change from the normal upright.  Bram played alone, of course, for one set.  Yes, I thought of Keith Jarrett too, if not for his temperament but for his improv style and approach.  Not lots in the way of song structure but a glorious, overwhelming take on melody and all manner of effective substitutions and rhythmic plays.  This really was exciting playing if missing the interaction with others and the underlying structures.  But there were a few tunes with moving chord patterns, although very subtle and complex, and some inviting dropping left hand grooves.  I once saw Keith Jarrett in Adelaide and this style is not my fave, but I have to admire the skills and that feel for substitution and that quick right hand and the complexities of the combined hands playing all manner of solo inventions that was a stunner.  There's development but also that essence of individual playing that had him just stop on a spot, at least once.  So something jazzy and very sharp for the festival.

Bram de Looze (piano) performed for the Canberra International Music Festival at Smiths Alternative.

Rolling rhythms

I was a little unprepared for Steve Reich.  Not that I don't love his minimalist repetition (I do) or that I didn't recognise Different trains when it was played, but that variation on a theme which was this concert.  I should have checked the program; it was obvious enough.  This was three works by SR, sandwiching one by Kate Moore, Australian resident in Amsterdam, and another by Meredith Monk.  Clapping music was Florian and Roland Peelman clapping in various interacting syncopations, poly-whatevers, reading a repetitive and slowly sometimes suddenly changing patterns.  Fascinating and to be indicative of the other two by SR: variation over time, rhythm patterns that move suddenly or malleably so you feel comfy counting 4 then realise it's a 3 feel or perhaps both and their relationship is changing then maybe something else intrudes, perhaps with another repetition in whatever time if the same tempo.  It's discombobulating but fascination and very much of our times, or the last few decades.  Different trains was like that too, but different with a string quartet (Dudok) playing against three other recorded quartets (also Dudok) and voices (Dudockians, I guess) looping however.  And this one was amplified so maybe effected.  That I don't know.  I did feel the three recorded quartets were less present and tonally authentic than the real one in front of us, but that would probably be PA or settings.  Guitarist Pavel played the middle SR, again instrument over recorded instrument or more and maybe voice.  Roland Peelman played the solo Kate Moore piano piece in the repetitive, mesmeric style of the concert, and played with violist son Florian for the very NYC Gotham lullaby which was melodic and pretty but again stylistically exploratory.  A very instructive and involving survey of Steve Reich and his influence in a program aptly named American Modern. PS: no group pic at the end so only Dudok after Different trains.

The Dudock Quartet Amsterdam, Pavel Ralev (guitar), Florian Peelman (viola) and Roland Peelman (piano) variously performed Steve Reich, Kate moore and Meredith Monk at the National Gallery for the Canberra International Music Festival.  Dudok comprise Judith Van Driel and Marleen Wester (violins), Marie-Louise de Jong (viola) and David Faber (cello).

3Bs (-1)

Bach, Beethoven and Brahms are the 3Bs but this concert concentrated on the last two, sandwiching the C19th and the developments of modern statehood and universal democracy.  (I wonder how they might record our times).  The two slices of the sandwich were the two imported chamber groups, Trio Karénine from France and Dudok Quartet Amsterdam (with friend and guest Florian for viola no.2) who played Beethoven Archduke piano trio and Brahms Prater string quintet.  The difference was immense and informative: Beethoven all order with passion and Brahms was much more malleable.  Some, too, is in the performers and their approaches and maybe especially the piano, which imparts the percussive edge and complex harmonies to the music which is very different from the mellifluous and hugely emotional tones of a strings-only quintet.  Whatever, it was a pleasure to hear the two and a somewhat unexpected joy in our new Snow Concert Hall. Maybe the big Steinway helped!

Trio Karénine performed the Beethoven Piano Trio no.7 Bb maj op. 97 “Archduke”.  TK comprise Paloma Kouider (piano), Julien Dieudegard (violin) and Louis Rodde (cello).  and Dudok Quartet Amsterdam comprise Judith Van Driel and Marleen Wester (violins), Marie-Louise de Jong (viola) and David Faber (cello) and Florian Peelman (viola) joined them to perform Brahms String Quintet no.2 Gmaj op. 111 ‘Prater’.  They performed in the Snow Concert Hall for the Canberra International Music Festival.

Keys for all

The percussion section is so often little considered although they are not just like jazz drums, playing rhythm as important as that is, but they also play pitch with keyboard substitutes on vibes and marimba and pedals on timpani or tubular bells as well as the complexity on seemingly simple instruments like the triangle.  They have to count, too!  But this was Claire Edwardes of Ensemble Offspring fame and she played a solo gig so no sitting counting, but two keyed instruments, vibes and marimba, and the seemingly simple temple blocks, just 5 loud wooden blocks with the most complex of polyrhythms played.  The concert was another eye opener and musically joyous and virtuosic.  The melodies and harmonies and developments were immensely inviting and relatable to the most piano or other instruments, while the tone is relatively sharp and short, sometimes damped, otherwise ringing quietly.   I am thinking vibes and metallics more than marimba with its wood.  Claire played a quieter tune on vibes on coral bleaching called When it's gone by Julia Potter.  Thanks to Claire's inviting presence, we heard of the stages of bleaching from lovely blue to forbidding white.  Then Ross Edwards, those temple blocks, one from Amsterdam, a Brenda Gifford solo excerpt called Clan from Wadhu, and more Amsterdam contacts with Joyful melodies, a co-composition by Claire with Kate Moore.  Just a joyous and virtuosic outing on solo percussion.  Lovely!

Claire Edwardes (vibraphone, marimba, temple blocks, electronics) performed at Verity Lane for the Canberra International Music Festival.

Some visiting delights of Amsterdam

It's a little different with mates.  I was recording so nabbed the front of house spot to turn on and off the recorder and get some good pics so I was right under the eyes of the Dudok Quartet.  Marie-Louise viola is staying with us and we are driving the group frequently so I would be watched.  Suffice to say it was so easy with Dudok Quartet Amsterdam.  They were such a huge pleasure from the start, both musically and as entertainment.  This was casual with chatty and informative introductions and a group ethic that the audience is part of the performance.  Then they started on Mozart and it was alive, mobile, energetic from the start.  Judith spoke of her playing this as an early piece with David ~age 18 and how their teacher had wondered at their choice, given it's demanding and so exposed.  They soon won a competition playing it.  Whatever, I was stunned by the performance form the first bars.  But they play all manner of styles and welcome the modern.  The second piece was a recent original by composer Holly Harrison who was in the audience. That was another competition winner.  All pizz bass-like lines (with all manner of cello pizz techniques to all four fingers), loud dissonance that verged on noise, modern sounds of pop and jazz, seeming to verge on delirium at times.  Then a composer I didn't recognise, Grażyna Bacewicz, with her post-WW2 String Quartet no.4.  I found it worthy and attractive.  It didn't catch me quite like the other two, but I must listen again.  As a short encore, they played their arrangement of Tchaikovsky Piano prelude no.17 with the most delicate and lovely violin from Judith.  Joyful and a delight but also a concert of considerable intent and superb performance, both as individuals and stunningly as a group.  They talk of spending most days together when not performing, in their home studio.  It shows.  Just delightful and superbly capable.

The Dudok String Quartet Amsterdam performed at the Albert Hall for the Canberra International Music Festival.  Dudok are Judith Van Driel and Marleen Wester (violins), Marie-Louise de Jong (viola) and David Faber (cello).  Holly Harrison composed the recent commission, Balderdash,  BTW the quartet is named for Willem Marinus Dudok (1884-1974), Dutch modernist architect born in Amsterdam.

Crisp probabilistics

This was guitar of a magical beauty.  I did see John Williams once but in a massive hall; being close is something different.  Clear, crisp, deeply felt playing, complex fingered chords, surprising limited obvious right hand finger movements, occasional lightning scalar runs.  These are strings well played, trebly with little obvious sustain, from quick playing or broad movements.  Just sometimes a lingering tone. Just lovely and best up close like this.  He played four pieces, by jazz guitarist Ant Law, five preludes by Villa-Lobos, an original by Pavel and some Bach to finish on.  The original fascinated me.  It was called Wave 1 and was his first work performance at a recital.  The inspiration was the famed double-slit experiment that passes waves and particles and forms various interference patterns displaying ambiguity and probablistics (see Wikipaedia ...).  I was fascinated that you could hear the interference patterns in poly...s and changing times.   Pavel played this without introductions or applause between tunes, citing music listened as on a CD, without written music and with a malleable sense of time and a lovely sharpness that cuts to the bone.  Just revelatory.

Pavel Ralev (guitar) performed for the CIMF at Verity Lane.

Lush gardens

These were the gardens of Spain, as interpreted by Saralouise Owens and Natalia Tkachenko at Wesley.  The program had that title and interestingly, flowers and pines and various growing greenery appeared frequently in the lyrics, but this was more of love, mostly lost or rejected, amongst florid words and literary circumventions and Spanish rhythm and dance.  Saralouise played the parts wonderfully, more operatic in presence than classical mezzo.  I loved that presence and not unexpected from her.  Natalia is back for a visit after leaving Canberra a few years back for greater Washington DC but  she is expected back.  What a wonderful pianist, the most glorious care and affection in her hands and awareness in her accompaniment.  The music was several series of songs by de Fall, Lorca, Toldra and a few others by Valverde and Trad.  Trad was a humourous song once sung by Anna Bishop.  Saralouise is writing a theatre work on AB, once a well travelled singer, a scandalous woman who eloped with her lover, travelled far and wide through goldfields, including several visits to Australia, singing for several royalties, making and losing fortunes.  Looking forward to Opera's Bad Girl when it's released but in the meantime, the earthy, emotive and clever Spanish songs did a treat.

Saralouise Owens (mezzo-soprano) and Natalia Tkachenko (piano) performed Spanish songs at Wesley. 

Something new, borrowed

It's with considerable awe that I've come away from a few concerts recently.  The latest was the first concert of CIMF2024 at Verity Lane, a solo voice and electrics/electronics outing by Lotte Betts-Dean. She's a mezzo-soprano, but more.  This was a combination of classical singer's chops and compositional awareness with recordings of voices, loops, various electronic marvels.  I'd half expected something improvised given the concert title Vocal Electrics, but no these were compositions, formal works, composed by a series of composers, mostly fairly recent, but going back to the era of Dada.  There was one commissioned work by Nicole Smede with Canberra and aboriginal relevance.  Suffice to say I was stunned.  Ten tracks, little separated although obviously quite diverse in character.  I hadn't collected a program and initially guessed they were movements of one work, mostly "devoid of semantic language".  Lines like "The place as it were / new born baby" and "I am ... I am" may have sat together but the rap was distinctly something different.  Lotte had grown up in Berlin amongst European languages and the birth of electronica of various styles and listening to Portishead and her father was composer Brett Dean and he was experimenting with electronic music at the time.  So it was a family outing.  To me, it was something of awe and wonder and newness.  Just fabulous and expansive and inclusive of styles and so well performed, too. 

Lotte Betts-Dean (mezzo-soprano, electronics) performed for the Canberra International Music Festival at Verity Lane.  She performed works including a commission by Nicole Smede.