Stars in eyes

It's not every Tilt gig that gets on to CJ.  We have some secrets!  But this was a great gig and we had an appreciative audience that hung around until we finished then left which is a good sign for the band and we played really well and I played the second set with my newish Japanese Fender P-Bass 1985 with lovely aftermarket Motown-styled pickup and I was renewing my feel for the diminutive e-bass and we even did a funk jam with Rhodes tones.  That's not our normal way but it was nicely firm all round.  And the ceiling was interesting thus the pic.  Thanks to James and Mark for a great night.

Tilt played at Old Canberra Inn.  Tilt was James Woodman (piano), Mark Levers (drums) and Eric Pozza (bass).

Puck dances

Sam Row played Debussy preludes book 1 at Wesley.  Twelve preludes, all manner of styles and themes, presumably in 12 keys.  The themes were especially interesting, so we had Delphic dancers and winds and hills and snow and a girl with flaxen hair and Puck and minstrels and an interrupted serenade and even a flooded cathedral.  Several were mild but at least Puck and Minstrels were busy and louder.  It was just a little uncomfortable early on being a single large work and an audience unsure whether to clap between the individual preludes.  In the end, Sam and audience settled into no applause until the end  and the final audience response was generous.  Sam was impressive, not least with this whole played form memory and this fascinating collection of stories and many keys was a great pleasure, and interestingly, with introductions to each preludes following the work.  Lovely and intriguing.

Sam Row performed Debussy preludes at Wesley.

Long time coming

Funny to drive for 2 days to attend and record a concert but that's what I just did.  I'd been in Adelaide visiting family and other than the rain, the 2-day trip was pretty comfy.  The concert was Kompactus Youth Choir celebrating their 15th anniversary at Wesley.  The first  numbers were by the current youth choir under MD and conductor Olivia Swift and the last 5 tunes included older alumni and variously  David Yardley, once Kompactus MD, and Olivia conducting.  Olivia also provided two songs, David one, and Kompactus  alumnus Patrick Baker another.  It was hard not to notice how varied were the songs presented, as well as how challenging and well performed.  This was seriously satisfying a cappella singing.  Olivia was beautifully in control of a choir that responded with delicacy and care and joy at times.  Especially for a few amusing pieces, like time with its tongue clicks for clock beats and I'm a train with all manner of trainy noises and of course a more complex take of the well known What shall we do with the drunken sailor.  There was a song on Turing which referenced his sexuality and well as thinking machines, and a song that was all the world like an instrumental, with foot taps and thumb clicks (Olivia called it body percussion) laying down a groove and singing providing a synth-like overlay.  And the two tunes by Olivia, something touching and complex called Soldier's grave, and another on creativity from hard work called Sleepless.  Interestingly, the lyrics for many tunes were poems; I guess that's the/a way in many choral works.  David Yardley led an early Kompactus tune called Butterfly, on the short life of the animal, and one of his original musical overlays for mediaeval lyrics missing music, A doomsday we schull ysee.  Then something that seems local, Rachel by Idea of North singer Trish Delaney-Brown, which seemed to be a call to Rachel, slow and pensive, then another amusing number called How to reach the Sun which detailed paper folding kites ultimately to the distance of the Sun (?!?), I think, and a final contemporary madrigal, Orange from Mounts of more soft ascent.  The tunes and lyrics were from all manner of countries and local and from some Kompacti.  The singing was dreamily good or amusingly playful.  I went away realising how much I love the human voice, at least when well done like this.  OK not perfect, but so bloody good.  So glad too that I could record this and worthy of the 12-hour drive to the gig.

Kompactus Youth Choir and Kompactus alumni celebrated the Kompactus 15th anniversary with a concert at Wesley.  Olivia Swift (musical director) and David Yardley (past musical director) conducted and Patrick Baker (alumnus), Olivia Swift, David Yardley and many others provided the compositions.

Exhilaration and fear

My outing with NCO and choir in Llewellyn Hall is a highlight of my year and this was a doozy: Beethoven Missa Solemnis.  Not at all easy but with plenty of mates to tackle it with.  Not just one but two choirs.  I counted 148 listed in the program, 86 choristers, 57 instrumentalists, 4 solo singers and Louis as conductor but I know of one who had to pull out so perhaps 147 total for the afternoon performance.  Whatever, it was big and exciting and hugely demanding to boot.  Everyone agreed to that.  A scary-fast Gloria with unisons and fugues to melt over, and a few other fugues throughout.  Many notes on dense pages, even for our relatively clumsy bottom enders.  Exhilarating despite trepidation and occasional terror.  It's probably the most demanding part I've known for preparation and where fingering  and string choice was of the essence.  The fast lines were often twisted not scalar and basses had two octave jumps and sudden semiquaver lines at speed and all manner of tempo changes and demanding confidence on first-up quiet, long notes and then that odd whimper to end.  There were spots to relax, but always the awareness of coming demands.  But we did it and it was well done.  Apparently this was the first performance of this piece in Canberra since 1990.  One of the choir had sung in that!  Missa Solemnis was written after Symphony no. 9, so after Beethoven's magnum opus.  He was deaf by then and exploring religion through doubt and the words of the Catholic Mass.  All fascinating.  For the performers it was exhilarating, demanding, scary, all those things as well as an impressive performance and something worthy to remember.  Amusingly, I was down at Manuka today, the day after, hearing the bells of St Christopher's, honestly able to say I'd attended 3 masses in the last two days (2 rehearsals and one performance).  As for now, I'm looking forward to Tim's recording and a listen.  Thanks to all and especially our leader Louis.

Beethoven Missa Solemnis was performed at Llewellyn Hall by National Capital Orchestra with Canberra Choral Society and the Llewellyn Choir and singers Sarah Darnley-Stuart (soprano), Emma Mauch (alto), Ryan O'Donnell (tenor) and Stivenu Talei (bass).  Louis Sharpe (Director) conducted and Dan Walker (chorus master) prepared the vocals.

Colossus

Bottesini is by tradition the bassist who towers over the craft.  I've heard Kyle Ramsay -Daniel play his music before but a full concert of just Bottesini is worthy of Kyle's title, Paradigm Shift, even if it sounds rather C20th sci-fi rather than virtuosic C19th contrabass.  The paradigm shift was the thought that the bass had a solo, lead, melodic role and Bottesini pretty much created that role himself.  It's a mighty task to take on but Kyle does it justice: all high harmonics, occasional drops to low notes, flighty sequences and loads of thumb position, even lower on the neck.  I was also fascinated by the lines played up and down the neck on the G-string.  Apparently it's a thing, common although not ubiquitous.  So we had variations on "Nel cor piu non mi sento", Elegy no.1 Dmaj, Concerto no.2 Bmin and Fantasia of "La sonnambula".  Some huge demands and capable responses.  Not something I would even think of approaching but I freely admire someone who does.  Kyle played with piano accompaniment from Edward Neeman, called in just days before due to last minute sickness.  You wouldn't know the change without being told.  So a concert of ridiculous demands and hugely worthy responses.  I remain in awe of Bottesini, of course, but also of Kyle for taking this on.  I guess I quote Giovanni B himself by saying "Bravo ... bravo ... bravissimo".

Kyle Ramsay-Daniel (bass) performed Bottesini with accompaniment by Edward Neeman (piano) at Wesley.

Grammy

Well that's a first: my first time to record a Grammy-award winning artist.  It was just the evening of our MdCC concert and I threw the recording gear in my car and in the end I got the gig.  The group was a touring boys' choir out of Silicon Valley called Ragazzi Boys Chorus.  They tour regularly; they total ~250 students in SF and toured with ~100: the pizza boxes on the way in just confirmed numbers.  They had just played St Patrick's, the huge Catholic Cathedral in Melbourne and they are due to perform in the Opera House in a few days.  So our diminutive Wesley Church seems a throwaway but they performed with verve and pleasure.  They sang in three combinations, the whole, the trebles, another, then a few songs from our own marvelous Oriana Chorale and an all-in.  Ragazzi had sung a range from de Victoria to Bridge over troubled water under Kent Jue with a notable number of Australian compositions.  Impressive.  One group had a series of soloists; another was presumably TTBB or maybe higher; an Ave Maria had a section in the organ loft behind; introductions were by the students.  There was a piano accompanist for most pieces and once a student conductor and djembe.  And some seriously effective singing.  (BTW, their Grammy was for a recording by the SF Symph and Chorus with Ragazzi and SF Girls' Chorus of Persephone, Best classical album 2000: impressive).  But equally impressive was our own Oriana, singing the best I've heard them, singing three quintessentially Aussie songs a capella (truly in Wesley Church) with Olivia Swift directing for this outing.  Then an all-in with boys arrayed against walls and on the altar with Oriana, singing Pemulwuy,  How Ausie can you get?  A great pleasure.

Ragazzi Boys Chorus performed under Kent Jue (MD) with Oriana Chorale under Olivia Swift (conductor) at Wesley Church.

Accademics

Brad Tham led our latest Musica da Camera outing.  It was his first outing as a conductor and he did a great job, as conductor and also as an inspirational soloist in a Vaughan Williams concerto.  It's his Concerto Accademico.  I've been thinking it's an etude for students, given the odd twists and timings throughout, but apparently it's a homage to a Bach concerto.  I don't hear that at all, but so be it.  Suffice to say it's tricky.  The other works were a lovely pavane by John Dowland , all drenched melancholy and obvious renaissance origins, and two other longer works for string orchestra by Dag Wirren and John Rutter.  Neither looked particularly challenging, at least in the bass scores, but they too proved tricky at speed.  Fast counts do that.  But the outcome was capable and satisfying given some late concentration on my part.  It's such a pleasure to play with this group.  I will miss it given a break for a few months.  Thanks and cheers to all.  Impressive.

Brad Tham (conductor, violin) directed and soloed for Musica da Camera at Cook.

More of Mozart

It's axiomatic that everyone loves Mozart.  But Mozart covers a range and he's renowned for operas but they can be new to me.  This gig was piano and soprano, so heavy on arias and operas.  And the one solo piano piece was a series of 12 variations but Twinkle twinkle little star?  Actually the tune is mediaeval French, "Ah vous dirai je maman", and it's known well enough.  Either way, Mozart remains a huge pleasure.  This was another Wednesday lunchtime concert at Wesley and the performers were Hilda and Madeline.  The song was from La Clemenza di Tito and Marriage of Figaro and a religious work, Exultate Jubilate.  There was passion and tears and bouncy and joyous in there, but also religious adoration.  And the variations were a range of rhythms and tempos but also unexpected chromatic movements nad harmonic alterations.  All interesting and a pleasure to be close and intimate with such works of genius and love for the performance.

Madeline Anderson (soprano) was accompanied by Hilda Visser-Scott (piano) at Wesley.

A dedication

I wasn't the only one who wouldn't miss such an impressive selection of Melbourne jazzers visiting Canberra.  Smiths was packed and we got a show of a special intensity and beauty.  I was wondering what to expect, but from the first notes the front line of trumpet, alto and tenor was bell-like with precise harmonies and interpretations and the written lines were a dream, rich and varied with sometimes unexpected twists of intervals or chords.  Just lovely.  The back line was as impressive, steady and precisely intoned bass (it's a concern with my playing at the moment so I can only admire Sam's intonation) and exploratory drums and richly effected guitar and of course the joyous smile and rich complexity of Andrea Keller on our Smith's piano.  Along with Andrea and leader Sam Anning, the players were Mat Jodrell, Carl Mackey, Julien Wilson, Theo Corbo and a newby for me, Kyrie Anderson.  Enough said.  This was not a night of flashy solos, but the solos were did hear were perfectly formed things, adorned only as required, stunning and beauteous.  They were launching Sam's new album, the third from his septet, a tribute to Archie Roach who he played with for 3 years and who he obviously admired immensely.  And the players on the night were the band on the album, so we got their awareness of the music and, from the top, a clarity and presence that was studio-like.   They played acoustic, or at least all but bass, guitar, piano did, and yet it could be very loud from my pretty close seat.  Acoustic, so sadly no mix on my part.  I complimented Sam on his compositions after.  I think I can mention that he does an exercise of writing five themes in 30 mins and these often join into a tune or otherwise lead to one.  So this is music based, rather than lyrical, but there was one poem recited at the end of one piece and at least one piece had an obvious  theme, of music and life partners Ruby Hunter and Archie, written after the death of Ruby.  I hope I don't offend or break protocol in mentioning these names, but  they were mentioned openly at the gig and were the theme of the album.  This piece was light and joyous and bouncy and quite different from many others, which more seemed in tune with the album title, Earthen, and Archie's comments and Aboriginal Australia's relationship to country.  Whatever, this was a stunningly capable and emotionally-rich concert to launch the album and I was not alone in my admiration.

Sam Anning (bass, composer) launched his new album dedicated to Uncle Archie Roach at Smiths with fellow composers and recording artists Mat Jodrell (trumpet), Carl Mackey (alto saxophone), Julien Wilson (tenor saxophone), Andrea Keller (piano), Theo Carbo (guitar) and Kyrie Anderson (drums).

Surveying the future

The pic is of the current batch of Wesley Music Scholars performing Mozart Ave verum corpus and it was deeply satisfying but it was just the final number for this concert and it wasn't really indicative at all.  In fact, there were all manner of combinations playing all manner of musics, from Gaelic and classical, contemporary to jazz and even one original. Impressive.  But the Mozart was lovely.  Otherwise Brad and Anika played a lovely chaconne as a violin duo.  Phoebe sang time-free and unaccompanied Gaelic song, then a Handel aria.  The Ellery String quartet (Brad and Anika with Pippa and James) played two fascinating contemporary pieces: one a groove-strong country-like piece that had me think of the Ozarks and a Holly Harrison number called Swoop that just must have been about Magpies.  Then James alone playing a Kodalj cello concerto in non-standard tuning (C and G strings tuned down a semitone for an open Bmin).  Then an as yet unnamed unaccompanied vocal quintet singing that original by Jesse, Peace offering, and another Irish traditional song.  Then some jazz: Evangeline singing From the start and Autumn leaves to Martin's piano, and then the  ending with the lovely, delicate Mozart.  Quite a ride and some great playing.  The quartet is nicely established and comfortable and impressive.  The other groupings were less settled, perhaps, but plenty of promise.  So just lovely.

Wesley Music Scholars performed at a Wesley Wednesday lunchtime concert. The scholars were Evangeline Osborne (soprano), Phoebe Bourke (mezzo-soprano), Pippa Newman (alto), Martin Magill (tenor, piano), Jesse Hill (baritone) and the Ellery String Quartet comprising Brad Tham (violin), Anika Chan (violin), Pippa Newman (viola) and James Munro (cello).

Boho then and now

I enjoy musicals although I don't get to many but I was lucky enough to be offered tix to Rent at the Canberra Theatre.  Rent is a rock musical from the mid-1990s, out of NYC, a winner of numerous awards, well toured and modelled on Puccini La Boheme; a story of a year in the life of a group of bohemians in NYC's East Village in the time of AIDS.  Some parallels are obvious: AIDS for Consumption; largely parallel characters; Mimi for Mimi; several musical quotes.  There's more same sex and drums and guitars.  Otherwise, I guess the issues of bohemian life are similar: money, friendships, commitment, housing, heating, eating, partying and the like.  The script was virtually all sung except an introduction and ending.  That's interesting but also can be harder to hear and comprehend, so the first half, a long Act 1, was pretty confusing.  We were not the only ones reading the Wikipedia plot description in the break.  When I did hear lines, sometimes I found them unexceptional and conversational, but I didn't concentrate on this.  I did more concentrate on the music and singing and dancing and presence and performance.  The music was rock, so fairly few chords and mostly fairly simple melodies.  The band was not easy to see, but I heard drums, bass, guitar, keys, sometimes perhaps a doubled guitar.  Leaving, I saw two screen at the back of the theatre, presumably so performers could see the conductor.  Dunno.  A jazz bass walk appeared at one time, I think associated with contacting parents who were a butt of jokes.  Also a guitar solo or two in good screaming metal style.  All good.  I liked the music, the incessant drums, the mix with some really excellent vocals.  Overall, I found Mark was my all-round favourite, catching my eye for singing, dancing and presence.  The central character Mark (Noah Mullins) has elements of the creator, not least poor housing and losing a girlfriend to another girl.  He's a film maker who documents these goings-on and is later queried by flatmate guitarist/singer/songwriter Roger (Jerrod Smith) when he finally takes a commission.  Interestingly, there's a projected film at the end which is presumably the original artists.  Roger and stripper/addict Mimi (Martha Berhane) fall in love but Roger keeps Mimi at arms length to protect her, thinking he has AIDS.  She ends up heartbroken and  homeless and virtually/maybe dies of AIDS but seems to magically resuscitate after seeing a vision of tranny friend Angel (Chad Rosete) who earlier died of AIDS in the arms of lover NY Univ-rejected philosopher  Collins (Nick Afoa).  There's some suggestion (Wikipedia?) that all other than Mark died of AIDS, but Mimi does seem to survive, let alone the others.  Not sure of that one.  It all happens from one Christmas to the next, in Alphabet City.  The summary tune was Seasons of wonder, covered by Stevie Wonder and more.  Its hook is "Five hundred, twenty five thousand, six hundred minutes / how do you measure a year in the life / How about Lo-o-ove / How about Lo-o-ove": the theme is obviously love.  The whole cast ends singing this one.  Creator Jonathon Larson had also written Superbia, somewhat influenced by George Orwell 1984, and Tick, Tick... Boom!, an 'autobiographical "rock monologue"' (Wikipedia) then ended up dying suddenly aged 35 the day before Rent was first performed as an off-Broadway preview.  What goes around, comes around.  Bohemian poverty in life as in art, in two operas a century apart.  No match for West Side Story, but a well intentioned rock musical with some great performances.  I thoroughly enjoyed it.

Rent is a rock musical by Jonathon Larson.  It was staged at Canberra Theatre.

Gina

Well, one has to check out the famous pic, doesn't one?  No, the painting of Gina Rinehart is not flattering but it's become one of the most notable in Australia after attention was brought to it by a campaign to disappear it.  The National Gallery decided otherwise.  I was amused that someone suggested it could have been bought then destroyed.  That may be the way of unflattering paintings, or maybe not: politicians are known for buying and saving cartoons of themselves and they are seldom flattering.  Not sure.  But it's not alone.  Vincent Namatjira seems to paint others in much the same way when he paints people of power and influence and even himself.  We continued a walk through of the Aboriginal wing at the Gallery.  I am taken by the new wave of Aboriginal art, the vibrant, outspoken politics of it all, but also the more traditional themes, often done in western techniques.  A room of linocuts intrigued both of us.  Just a quick visit as is possible for the local gallery.

Spectrum bottom ender

Tilt Alt. played again at Old Canberra Inn and as often happens we had a visitor half expecting a jam session. This is actually a great pleasure and sometimes we have sit-ins. This evening we just chatted to Ben Jones. Ben plays bari sax in Spectrum Big Band and perhaps involved in its admin. With any luck we'll get that sit-in at another gig. At least we got a selfie with Ben.

James Woodman (piano), Eric Pozza (bass) and Mark Levers (drums) played as Tilt at the Old Canberra Inn. Ben Jones (baritone sax) listened and chatted.

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).