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).

Good Friday Alt.

It was fairly quiet in town when we went to Molly, it being Good Friday, I thought.  But we are none too religious a society these days and Molly was alive.  Even buzzing more when Tom Fell's quartet opened with a take on Green Dolphin Street, with Chris Pound playing emphatic chords from the first beats of the A section.  Tom on tenor spelling out the melody then a lovely, inventive solo with a goodly share of dissonance over more driving grooves from Nick McBride and Damien Slingsby.  Tom took a solo that I could only love for its firmness but also fleet inserts and Damien solid and chordal, perhaps less than bop flightiness, and occasional solos from Nick through the night, but always driving, powerful grooves and insistent fills.  Do I need say I was very taken by this.  Then on through In a mellow tone, something sounding Shorterish that Tom later identified as One for BM, a track from his new album, Mantra, and Fee-Fi-Fo-Fum which is by Wayne Shorter and the bouncy Cold Duck time to finish the first set.  In the meantime, we had a few beers, watched the locals, admired the band to the hilt, me remembering Tom from years back and marvelling at his expressive fluency and dissonance of today.  We only stayed for the first set but it was a doozy.  Now to have another listen to  Mantra, Tom's first album, bought and signed for my shelf by Tom.  Chase it up.  It's this same band other than Steve Barry on piano.

Tom Fell (soprano, tenor saxes) led a quartet with Damien Slingsby (piano), Chris Pound (bass) and Nick McBride (drums) at Molly on Good Friday night.

Good Friday

It's Good Friday and thanks to a request from the venue, there is no applause after these Holy Week concerts.  Absolutely apt, although the music was delicious.  This was a larger order than the Lamentations: SATB vocals with 6 instruments, although we only heard 5 given absence due to sickness.  The composer was Christoph Graupner, prolific and a contemporary of JS Bach.  Apparently, his cantatas (1,400+) are well preserved and his reputation has grown through recent decades.  We heard "Where is Jesus going?" (GWV1119/39) on Christ's departure and faith and trust in divine guidance, and "We know that tribulation brings patience" (GWV1121/44) on suffering as a pathway to spiritual endurance, character and hope.  I quote from the program, of course, given the German was not obvious to my ears.  But lovely four part singing, occasional solos from all parts, enticing counterpoint and harmony and effective interplay of vocals and instrumental parts.  The instruments were two violins, viola, bass and harpsichord.  The missing instrument was cello, which certainly would have added  considerable embellishments in the mid-range, but the solo bass took on a clear, effective presence which also responded with and to vocals.  Fascinating to the ears of this bassist.  Then the quiet and pleasure after the two cantatas and perhaps some dissonance with the Easter story.  Thus is history and modernity.

Singers Greta Claringbould (soprano), Maartje Sevenster (alto), Will Millard (tenor) and Andrew Fysh (bass) performed two Graupner cantatas at Wesley with accompaniment from John Ma and Lauren Davis (violins), Brad Tham (viola), Isabella Brown (bass) and Marie Searles (harpsichord).

Lamentations 2

We are deep into the Holy Week music program at Wesley.  I've missed several concerts with conflicts and the Porpora Lamentations cover two sessions, Wed and Thurs, and I can only get to Thursday.  Alan covers the recording activity for me with my gear and I process the two sessions in one.  Its an exciting outing given this performance of Lamentations by Nicola Porpora (1988-1768) is thought to be the Australian Premiere.  Wed is sung by Greta Claringbould and Thurs by Maartje Sevenster, a powerful pair of local singers, soprano and alto.  Accompaniment is Ariana Odermatt on virginal and Rachel Walker on viola da gamba.  Wesley stalwarts and strong players all.  Holy Wednesday's lament is 1:10-14 The enemy laid hands on all her treasures followed by a short viola da gamba instrumental Recercada ottava sobre tenores Italianos by Diego Ortiz.  Maundy Thursday's lament is 2:12-15  They said to their mothers, "Where is bread and wine" followed by The Carman's whistle by William Byrd performed on virginal.   The Wednesday session "depicts the deep humiliation and physical suffering of Jerusalem following its destruction by the Babylonians in the summer of 586BC[E]".  The Thursday lamentation describes "describes the city as a 'scorn and a hissing' to the nations.  Jesus is famously 'the man of sorrows' who wept over Jerusalem."  The themes may be distant as I try to recall details of Holy Week from school days, but the music is delicate and full of dread and disappointment.  And maybe an Australian first.

Greta Claringbould (soprano), Maartje Sevenster (alto), Ariana Odermatt (virginal) and Rachel Walker (viola da gamba) performed Porpora lamentations at Wesley on Holy Wednesday and Maundy Thursday.  The pic is from Maundy Thursday with Maartje Sevenster singing.  And thanks to Alan Hinde for tracking the Wednesday performance.  

Many happy returns

Once again our great joy to return to Red Hill Primary School with memories of kids and Sausage sandwiches without the politics.  But this only gets a post if we play with someone new.  This time, it was Gus Henderson and it all worked a treat, including a take in a New Orleans groove.  Always a pleasure.

Tilt Alt. comprised James Woodman (piano), Eric Pozza (bass) and Gus Henderson (drums) at RHPS.  Thanks to Lin for the pics.

Playing a home gig

Over many years I've seen talented and experienced Australian musicians, often Canberra-trained,  returning home in travels, presumably to catch with with family and friends.  With recent ructions at the SOM these returns may decrease over time but I caught one at Wesley.  Justin Bullock and Alexina Harkins graduated from the Canberra School of Music about 15 years back.  Justin is now regular guest principal bassist at QSO.  Alex moved to Berlin and "accidentally remain(ed) there".  Amusing story and common enough.  They have both played with numerous groups here and in Europe.  They came together this day for a duet playing Bach two part inventions, a Gliere suite for viola and double bass and a contemporary piece by Cathy Milliken.  There was huge joy, stunning performance and quite some preparation involved in this program.  I just sat in awe with Justin (but then I play bass).  Perfect intonation, delightful tone, just a few tricky lines that briefly affected his smile.  To see such players in such intimacy with such glorious music for such a special and effective pairing is a special pleasure. 

Justin Bullock (bass) and Alexina Hawke (viola) played Bach, Milliken and Gliere at Wesley.

Jamagain

I am somewhat overwhelmed by processing and Wesley Holy Week recordings and more but I managed an evening at the Smiths jazz jam.  I caught up with a friend I'd not seen in jazz contexts and played for a least a few tunes with the band.  Perhaps jams go this way, but the players were all the same as I remember from the last jam there and interestingly several singers so several ballads.  I find the singers tens to define the music that gets played.  Singing is, after all, the most immediate and personal for of music making, and there were some decent singers.  And guitars, horns, interestingly, a range of percussion.  Not quite a drum circle but a rhythmic feels even if with no latin tunes that I remember.  Whatever, it was fun.

Jazz jams are held at Smith weekly on Tuesdays.

From outside in

Usually I'm playing in NCO so to attend a concert as an audience member is to sit out and look in and I was mightily impressed.  NCO has grown of late, so 16vl1,14vln2,10clo,6bs.  Six basses, with 2 new names I'd not met.  The format was pretty standard, so a fanfare, a concerto, an interval, a symphony, but they were all hugely impressive works, often challenging, often popular and familiar.  First up was Natalie Williams Sonic Boom, a fanfare, raucous, loud, inviting, huge fun, with Natalie in the audience.  Then Mendelssohn with his violin concerto that is familiar as all out, delightful and pretty and a hugely successful work.  Mia Stanton played that one with panache: Canberra girl returning home for a gig.  Then Saint-Saens Symphony no.3 Cmin, known as the Organ symphony, with organ (obviously) and four handed piano and some very demanding quick lines for the basses, several octaves up or down the neck.  The organ was a bit quiet but the presence was there in key passages.  I didn't know this one, although I did recognise some melodies.  I stopped to consider a while.  Louis has brought this orchestra to big dimensions and impressive in capability not just volume.  They no longer fit easily on the Snow stage; it's a growth to admire, impressive in development and quality.  But Canberra is like that: a town of significant capabilities.  Congrats to Louis, Mia and all.

National Capital Orchestra performed Natalie Williams, Mendelssohn and Saint-Saens under Louis Sharpe (musical director) with soloist Mia Stanton (violin) at Snow Concert Hall. 

Catching up is hard to do

This is Adelaide and I attended a launch party for a novel and it was by a close cousin and I thought of it as a personal event so not for CJ.  Not true.  This was the launch of Lara's fourth book, a novel following three books of woman and dog self-help guides.  Four books!  I am impressed.  Even some recognition on Amazon, especially for her third release, apparently well received and well purchased.  This last novel is an amalgam of people and dogs and a story of human relationships and loss of a much loved dog with a few places and events that look close to home to a relative.  And this is something dog lovers will understand, those with that awareness of the commitment of dogs, that immense attachment that so well invites our response.  As dog lovers will recognise.  So Lara, best of luck with your fourth book, Gidget and Grace / Lara Casanova.

Thanks to Lara for the pics of her book launch