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.