Culture wave

The National Museum presented Hallyu! as the Korean wave of culture, from K-pop to Squid game and film and fashion and it was all those things but I was particularly taken by my lack of knowledge of Korean history for that's how the exhibition started.  I was visiting with a very international pair of guests with visits and lengthy explorations of South Korea and local Asia and it just exposed our common community unawareness of other places and peoples.  Not to the extent of mistaking Austria for Australia, as is joked of, but not too distant.  This was an exhibition from the V&A but not as extensive as that may suggest, and was essentially limited to this recent era of international cultural influence, but it was still both enjoyable and informative in those pop fields.  We've all heard the song Gangnam style and seen the sharp dance routines and wondered if BTS will succeed after military service and we've been horrified by the peninsular post-war if we've enjoyed our side of it.  There's much more to learn, but the costumes and styles were enjoyable and informative and sometimes less than they appear on film when seen up close (stage and film costumes can be thus).  It was a culture of youth that was presented and it was fun if mostly just that.

Hallyu! The Korean Wave was an exhibition from the Victoria and Albert Museum on display at the National Museum of Australia.

Let's dance

Just a room or so away was something very different and it started less than 20-minues after Ida finished.  Ida's theme was Introspections with composers into the C20th on a solo piano; Salut! Baroque's theme was dance and its instruments dating back into the baroque (obviously).  And, unusually, Salut! was accompanied by a ... dancer.  And this was not a solo performer but 11 players with that dancer making the dozen on instruments of the era, baroque all (flute, oboe, recorders, violins, viola, guitar, theorbo, bass violin) and percussion and the ever present harpsichord.  The tones were far more gentle that a Yamaha grand played with intensity, although there was intensity here too, sometimes.  Otherwise, bounce and motion and rhythms of dance, even if the rarefied, refined and inviting but discrete styles of the time.  The composers were variously known: Rebel, Graupner, Erlebach, Telemann, Purcell, Oswald, Lully, Roman and the prolific Anon and the tunes or movements were sometimes expressed as tempos but often as dance styles,  In fact, the Jean-Fery Rebel seemed to list them all: Prelude, Courante, Minuet, Bouree, Chaconne, Sarabande, Gigue, Riguadon, Passepied, Gavotte, Sonate, Loure, Musette, although I notice no waltz and I'm assuming they are all dance styles.  So lots of rhythmic pleasure and energy ending with Anon with a rousing Romani folk dance of great pleasure.  These were some lovely musical styles and also some excellent performances from several notable names of the Australian baroque scene.  Thus an fascinating and varied night at Wesley.  Much enjoyed.  And thanks to Aimee for her visual addition to the gig.

Salut! Baroque performed an introduction to the dance at Wesley.  Performers were Aimme Brown (baroque dance), Sally Melhuish and Alana Blackburn (recorders), Sally Walker (flute), Jane Downer (oboe), John Ma and Jared Adams (violins), Brad Tham (viola), Tim Blomfeld (bass violin), George Wills (guitar, theorbo), William Naayan (percussion) and Monika Kornel (harpsichord).

My local returns

It's not always that I return for a concert-and-recording rerun but I did for Ida, because we share background, we chatted amiably and she played such an interesting concert on the Wednesday.  I was not disappointed on Friday.  There were embassy reps but not nearly the audience she deserved.  The last was an investigation into  the "Spanish Scarlatti", M Blasco de Nebra.  This themed as Introspections so more modern, romantic, roiling and varying in tempo and presentation, but again masterly playing.  Pieces from Sibelius, Faure, Busoni (he reappeared), Janacek and Ravel.  All accompanied by informed introductions of backgrounds, purposes, histories and the like.  Faure was written as a sightreading test at the Paris Con; two had lost family, Busoni a father and Janacek a daughter.  There were masses, waterfalls of notes,  repetition and variations, with  and without grand gestures, order and arpeggiations, a tribute to Bach.  Personal and touching and emotionally charged.  Ida again played form memory, these complex and busy pieces.  Then finished with not one but two encores: the Scarlatti Tarantella from the Wednesday lunchtime concert and one by de Nebra, perhaps also from Wednesday.  So Ida is not just a performer but researcher and teacher.  Very worthy of the return gig.

Ida Pelliccioli (piano) performed  Sibelius, Faure, Busoni, Janacek and Ravel with encores from Scarlatti and de Nebra at Wesley.

My local

Well I found it welcoming that an Italian concert pianist was on her third tour of Australia and visiting Canberra for the first time.  I could chat (a little!) in Italian and talk of Italy a little more.  Ida Pelliccioli is out of Bergamo, but has studied extensively in France and England and now has a mobile number with a French country code.  So she's a classic European international.  But then professional classical musicians, especially pianists, pretty much have to be international.  It showed in her playing.  The volume and tone on that Yamaha, the constant variation in tempo and dynamics, all expressive and hugely responsive and intended, was to die for.  I was recording and was stunned by the result, as I mentioned, that Yamaha with its edgy mechanical tone, so much a function of the instrument and super-evident with her strong playing.  And a fascinating program, gathered and explained Ida, centred on a little known Spaniard, M Blasco de Nebra, the "Spanish Scarlatti", "organist of Seville Cathedral and a virtuoso improvisor", bridging the baroque and classical.  We heard two movements of a sonata, as well as Scarlatti, Mozart and Schubert, related in some way and time.  Ida introduced all that, so the concert becomes a story told in words and also superbly expressive music.  From memory, of course.  Sometimes flamboyant or loud or other,  pensive or conversational, joyous or jovial, even touching on dissonant.  I'm often surprised that classical music foresaw so many musical concepts in jazz.  Cycles, dissonance, diminished, all there.  And looking forward to another adventure in music from Ida tomorrow as I write this.

Ida Pelliccioli (piano) performed de Nebra, Scarlatti, Mozart and Schubert at Wesley.

Canb Jazz Fest 4

I arrived back at Smiths while The Vampires were playing and can I say I was dumbfounded.  A deep groove, tons of effects, one tune with background samples, seemingly improvised little passages from each of the front liners, sax and trumpet, then unexpectedly paired, unison or rather octave lines in synch, all against a moving or repeated bass part, I'm assuming improvised but now not so sure, and sparse but expressive drums.  Bevan asked me later if I noticed the delay on snare.  I hadn't but delays were obvious on the front liners often, and an octaver playing down on the bass, but not the only effect there and not the only effect on all but drums, but maybe there were more on drums.  Dunno.  But entrancing.  They mentioned recording with Lionel Loueke.  It's a path to international awareness and they deserve it.  Well travelled, plenty of festivals in Europe and Americas.  And regular tours in Australia.  We were lucky enough to get one. Dub was mentioned.  Was this that?  Certainly the PB tone was very soft thuddy.  That fits?  Whatever, I was enamoured and enlivened.  Great stuff and refreshingly different.  Joss or other?  There's jazz training, of course, but this is not swing, but so what.  Refreshing the artz.  So in he end, a great few days.  Thanks to Nigel, Beth, Bevan.  A local gathering of great worth and I believe we can look forward to another next year.

The Vampires appeared at the inaugural Canberra Jazz Festival at Smiths.  They comprise Jeremy Rose (tenor), Nick Garbett (trumpet), Noel Mason (bass) and Alex Masso (drums).

Canb Jazz Fest 3

Day 1 was great if interrupted; day 2 will be the same.  First up a big band, the ANU Jazz Orchestra.  They played a string of tunes, maybe uptempo because MD Con Campbell observed that they'd finished early.  SO be it.  This was big, fat, horn heavy tones, solos passed around variously, some decent grooves.  They played 9 tunes, several by Sammy Nestico including Dvorak's theme which is an arrangement by SN of the Largo second mvt. from the new World Symphony.  But my fave was sponsored by a local for this band from composer Jenna Cave who appears in CJ frequently when studying at ANUSOM and last time I heard, was MD for her own jazz orchestra in Sydney.  What gives you hope was a lovely, rich piece with glorious harmonies rather than the sharp hits of many big band tunes, luscious harmonies and several movements.  Then a short quick drop-in to hear the Razzlers.  Dance worthy, period jazz that I know little of, but worthy. They had a few couples up on their feet and a very impressive presence!   Then Wayne Kelly with Ben and Mark in the bar upstairs.  Then Wayne Kelly with Ben and Mark in the bar upstairs.  This is the very trio that CJ first wrote up, in October 2005.  They look younger in that pic.  But what a band!  All originals, compositions from all members, sharp and beautifully played, mature and expressive all round, pizz and bow, sticks and brushes, plenty of excellent solos, rich in tones and harmonies and well arranged.  I noticed a post on FB with a pic of them in the ArtSound studio, I think 3 days before, so maybe this is a new album in train.  If so, it will be worthy!  Just one standard, I'm old fashioned.  Then Mereki Leten.  I've seen Mereki in various combinations in a few locations.  She's one to get out for the gig and that's great, and very often with Michael Larsen-Collins and sometimes with Greg Stott at her side.  This time that trio was grown with Gus Henderson.  Mereki had written a tune for this event and it was nice but her flute was playing up.  Thus played on tenor sax and with key change for her offsiders, but it went perfectly well.  Otherwise, a David Bowie tune on   flute, a lovely Stan Getz Sunshower, Nicola Conte and some standards.  Mereki plays with a lovely tone and confident although understated melody.  Nice.  Gus was also understated but took a solo or two and Michael was on a Bass VI, the Fender-designed octave-dropped guitar.  The Bass VI is having a run in town with Lachlan playing quite expertly, in Wanderlust and beyond.  And Greg, shredding here even beyond what I'd expected.  Just relaxed but expressive, quick and melodic.  What's not to like?  And a quick touch of Matthew Dennett and Robbie Mann playing CM Widor Toccata in F on two pianos in the Red Room.  I only caught a few minutes and really quite unexpected.  Then off for another family matter before a final return...

The ANU Jazz Orchestra performed under Con Campbell (MD, conductor).  Wayne Kelly (piano) performed with Ben O'Loughlin (bass) and Mark Sutton (drums).  Mereki Leten (tenor, flute) performed with Greg Stott (guitar), Michael Larsen-Collins (bass) and Gus Henderson (drums).  Matthew Dennett (piano) performed with Robbie Mann (e-piano).  They performed at the inaugural Canberra Jazz Festival at Smiths.

Canb Jazz Fest 2

Then a return to a few jams, the Gypsy Jazz Project in the upstairs bar playing entertaining, inviting music.  Anthony Irving was playing his very capable bass.  I got a go for a few tunes that weren't even in my iReal Pro.  The bass was Smiths' house bass, a bit heavy after my setup, but I managed a few tunes with much enjoyment.  Then off to the Red Room (AKA McGregor Hall) for formal jazz jam.  Lachlan on bass with his Bass VI, Aine singing, Mitch drums...  Then downstairs for Vince Jones second set.  Another diverse jazz experience!  Quiet, pensive, thoughtful, purposeful lyrics.  Vince asked us to be quiet, and the atmosphere fitted the thoughtful nature of it all.  Matt McMahon, James Hauptman, Brett Hirst, all strong and beautiful and tight and subdued, except a little more demonstrative when John Mackey took some solos, but that's John.  Interestingly, Vince called some collective improvs with John and that worked nicely too, if birds of slightly different feathers.  But John is a listener too.  I admired Vince for his concerns, if a little more natural than mine, and his paired peace signs to end the set.  And his story and revisit to Gil Scott Heron.  And his detailed, improvisatory style of singing.  The revolution will not be televised, but it may make Smiths Alt. on a good day.   Which brings me to the audience.  Mature, smart, varied, friendly, intelligent, but this is a jazz crowd and this is Canberra so no particular surprise.  I even got a story out of it related to Parliament, a journo, but that's for gossip not for a website.

Vince Jones (vocals, flugelhorn) performed with John Mackey (tenor), Matt McMahon (piano), Brett Hirst (bass) and James Hauptman (drums).  They performed at the inaugural Canberra Jazz Festival at Smiths.

Canb Jazz Fest 1

Thanks to Nigel and Beth and Bevan for the latest take on a Canberra Jazz festival.  They have the venue, a main stage and several smaller spaces, so this is very likely to be workable and the return next year had already been announced.  Great!  And Day 1 was a friendly, often inspiring outing.  First up was Tom Fell and his quartet which I raved about when I saw them recently.  Tom with Damian Slingsby, Nick McBride and James Luke on bass this time, so a classy and capable outfit playing music from Tom's new CD and at least one standard, Isfahan, with a plea for peace in our times.  Not the only performance that had such a theme appear.  I wrote sweet, correct, understated, adult, but there were some spots where it let go too.  Tom's soprano sax is his expansive, dirty, dissonant instrument: his tenor seems to pop up for more balladic numbers.  Then upstairs for Mic Knight trio, a reformation with offsiders who have now left Canberra for Melbourne given the ructions at ANUSOM, Evan Teece and Oliver Stott.  These were more let-go, unrelenting takes on standards, Almost like being in love, Green Dolphin St, Stella.  I like the unrelenting outlandish playing and but personally melted over James Luke's certainty and clarity with Tom.  Brett Hirst was to offer that later, too.  Then Wanderlust, Miro's fabulous, band of stars with the most delicious originals melodies out, not least Bronte Cafe, once regular star on ABCRN.  I had to leave towards the end.  I managed ~35mins and they had only finished their second tune.  This was Miro with James Greening, John Mackey, Alister Spence, Fabian Hevia and Lachlan Coventry.  Miro said they hadn't played together for 18montsh but you wouldn't know it.  Smooth, inventive, glorious harmonies on delightful melodies, almost casual passing of solos, with Miro looking around in admiration and joy.  It all started with a considerably free piano solo, then into the bass groove and head.  Solos from front line, Miro essential, James playful, John nicely developed but ultimately explosive.  Perhaps piano and maybe bass and drums, then to the head.  Then a joyous chatter and into Bronte Cafe.  It's a wonderfully joyous tune, again Miro and explosive John, but amusingly then James bringing it down with his communicative leading solo.  That really was a wonder, and perhaps then Fabian's solo.  Not sure.  But suffice to say I dreaded that I had to go, but some duties called.  

Tom Fell (soprano, tenor) performed with Damian Slingsby (piano), James Luke (bass) and Nick McBride (drums).  Mic Knight  performed with Evan Teece (bass) and Oliver Stott (drums).  Wanderlust comprised Miro Bukovsky (trumpet, flugelhorn) with James Greening (trombone), John Mackey (tenor), Alister Spence (piano), Lachlan Coventry (bass) and Fabian Hevia (drums).  They performed at the inaugural Canberra Jazz Festival at Smiths. 

Fresh ears

They are young and they play four saxes, like a string quartet only dirtier and noisier, and maybe that's why they are so challenging.  And they were.  I love baroque and the big names but it's refreshing to hear the minimalist textures  moving pitch or key, and the melody sharing between voices, soprano, alto, tenor, baritone, and the varying roles at different times.  And sometimes the huge beauty of a long-held chord or the circular breathing (pretty sure I saw it from at least two players) or the crescendos ending sharply on high.  These were interesting composers, modern, mostly with music for sax quartet, although they did a few arrangements of traditional pieces that had been performed by the Danish String Quartet.  And these seemed to be personal relationships with the composers, Australian or otherwise, obtaining permissions and sampled backgrounds and presumably charts, too.  Not once otherwise have I heard electro-acoustic music on a classical stage.  This was samples of a baby, a Salvation Army band and was it the streets of NYC (?) that they played along to.  Lots of six feels, some fours, perhaps a 7, but maybe just the count challenge of polymeters.  They played composers I didn't know, Jabra Latham, Gemma Peacocke, Alex Turley, Jacob TV and a few traditional tunes, so not really something you know, but I would love to get to know this.  Fabulous fresh ears and sounds.

The Andromeda Saxophone Quartet performed at Wesley.  ASQ comprises Paige Gullifer (soprano sax), Ryan Piccione (alto sax), Henry Docker (tenor sax) and Sam Dong (baritone sax).

Revisits

Robert Schmidli was one of the first classical players I recorded and I always enjoy a revisit.  Today's was Beethoven, Chopin and Liszt, a trio of history.  He introduced the pieces with significant observations, thus we learnt of Beethoven observing that he'd studied with Haydn and leaned nothing from him, although his Sonata op.2 no.2 Amaj showed a large influence, if the later movements were more distinct.  Then more about a line that Beethoven said should be played by one hand and how it's usually played with two and how experts have avoided playing the piece so as not to use other than Beethoven's advice.  But then piano keys were smaller then.  And furth, it was particularly interesting to hear him chatting after with Helen, displaying the flourish that requires one (or two) hands, and how a crochet in one line is sometimes played staccato and the difference it makes.  Thus are the concerns of a pianist of a certain level.  Then on to Chopin, a Tarantella (an Italian dance to cure the bite of a tarantula, it seems) and a Berceuse, a lullaby and set of variations with a repeating bass note (ground bass?) repeating on beat 1 of a slow 6.  Then to finish, a Polonaise by Liszt, his Melancolique, in various parts, mazurka, sentimental middle, building to an end and cadenza, all complex runs of fast fillers and leading lines but with quite clear, simpler melody to my ears.  A lovey event to revisit and again record.

Robert Schmidli (piano) performed Beethoven, Chopin and Liszt at Wesley.

Ranges of uprisings

Oriana Chorale's latest concert was called Uprisings with a theme of revolutions and the texts read of uprisings but not so sure of the music.  And the revolutions were just sometimes Soviet or the like and often enough the modern takes on the personal as political.  Shostakovich appeared in four of 10 poems on texts by revolutionary poets but the others, the more moderns, were gay marriage and anti-racism and women's voices on their rebel blood and harmony in diversity by Sebastian Allen, composer-in-residence, a world premiere.  But there was also the past, with Thomas Tallis writing form within the English Reformation, a chorale of a German composer who took his life from conflict of his religion and serving the Nazi regime.  And an intriguing wok on Indigenous recognition and reconciliation with words of Oodgeroo Noonuccal and Psalm 137:4 ("How shall we sing the Lord's song in a strange land?").  So a fascinating program worthy of followed lyrics.  The modern tunes were rich in complexities of harmony, especially.  How to find those sharpened intervals with just dots on pages and a voice?  These chords could be doozies, but thus is much modern music-making.  Tallis was like a relief for a time, rich and full and relatively predictable.  Shara Nova was rich in such harmonies.  There were also a tune for the males and a tune for the females, the latter led within by Olivia Swift although with musical composition by otherwise MD Dan Walker.  Shostakovich appeared quite consonant and tame against some of the living composers.  And to end, the Perfect chord, the title of the world premiere composed by Sebastian Allen, one of a few with solo passages, here a glorious melody from soprano Jade McFaul.  So a varied and quite magnificent program from an adventurous MD and a very capable choir.  Congratulations are due.

Oriana Chorale performed at Anzac Memorial Chapel at Duntroon under Dan Walker (MD, conductor) including one World and one Australian premiere.

Classics

Of course the Goldberg Variations by JS Bach is a classic amongst classics.  Maybe I think that because I know pianists who have learnt it (or parts of it), like Chopin waltzes or Fur Elise.  But it was a major work for Charles Huang to take on and perform at Wesley, from memory, the gentle introductory theme and the 30 variously choppy and demanding variations that lasted ~43 minutes.  I wondered if he was less comfortable on the slower, more intimate passages, but Charles was a master at the complex, demanding, quick, rollicking variations.  Maybe the fast stuff was just scarier and it's what he had practised most.  Whatever, I am in awe of such a player, young, a local winner of various competitions, a blaster in piano and a hugely entertaining listen.  Bach did his bit OK too, of course!  Such a pleasure.

Charles Huang (piano) performed Bach Goldberg Variations at Wesley.

After the rain

After the rain is the title of the Fifth National Indigenous Art Triennial at the National Gallery.   I had attended the opening to hear Aretha Brown introducing her major, large, monochrome work in the foyer, but only managed a return pretty late in the season.  It runs to 27 April.  I admired a goodly part of the exhibition, enjoyed some, was deeply impressed by several, learnt something from many.  There were 7(?) rooms, each with a theme, some with several or at least several artists featured.  I was particularly taken by rooms dedicated to Albert Namatjira, with paintings, pottery, a glorious house of stained glass, a witty portrait by Vincent Namatjira.  There was film and a room of timer flying foxes, another of Aboriginal gay scene, one of starry skies, paintings pf rain clouds and a knitted woollen statue of woman  with children.  Thea Anamara Perkins, granddaughter of Charles Perkins stunned me with her paintings, one of her on a phone at a desk, many stunning others.  Then a lovely desk that suited the scene, a rest space after the exhibition, to read catalogues and the like.  Another beautiful work.  A wonderful experience for pleasure but also understanding.

After the rain is the Fifth National Indigenous Art Triennial, held at the National Gallery.  

Artemis 2 Triptych

Artemis 2 - Earthrise

Artemis 2 - Dark side of the Moon

Artemis 2 - The search for water on the Moon

My Artemis 2 Triptych, after a visit to NGA and James Turrell "Within without" Skyspace.  As Artemis 2 circles the Moon.  Without excess seriousness.

Stabat Mater

To finish off this Easter season, at least the music side, it was Stabat Mater by Greta Claringbould and Toby Cole at Smiths, upstairs at McGregor Hall, with accompaniment by Linus Lee and Zachary Connor, piano and cello.  This was a revisit to last years vigil, then with just Linus on piano.  The addition of a cello spelt out the accompanying melody line with vocal-adjacent tone and demanded from the piano a less expansive role and more defined role.  Nice.  Great high vocals are expected from and delivered by this pair and the melodies and harmonies in the work are gloriously beautiful.  I chatted with some audience and this was their return too: such is this work and these performers.  Others have done this work, but probably the Pergolesi here is the most renowned and loved.  Taken with candles and centred spot in a close setting and this is an experience of inestimable beauty and touching intimacy.  How could it be otherwise with such a topic: a mother standing below her son on a cross.

Greta Claringbould (soprano) and Toby Cole (counter tenor) performed Pergolesi Stabat Mater at Smiths, McGregor Hall, with accompaniment by Linus Lee (piano) and Zachary Connor (cello).