Chopin as is or should be

I think of Chopin as I remember playing it, a very inarticulate student take.  It wasn't pretty.  But to hear Chopin played by someone committed to it, who studied at the Fryderyck Chopin Academy in Warsaw, no less, was instructive and awe-inspiring.  Suddenly I could understand and appreciate the fame of this busy composer.  The tunes were Chopin favourites, so well known, but the presentation was anything but mid-level AMEB.  Raindrop prelude, Nocturne Eb, Grand valse brillante Eb, Minute waltz, Waltz C#min, Fantasie impromptu, Heroic Polonaise Ab and an encore of Mazurka Amin to calm things down.  The tempos were gloriously variable as were the dynamics, so we got minute waltz relaxing into a gentle pace and huge handfulls of energy appearing throughout.  And that Mazurka which was much less known but apparently a common encore in Poland, to calm the audience for an ending.  But such a committed and informed performance that told of Poland and its history and peoples like I hadn't heard before.  Stunning and quite an eye-opener.

Mark Jurkiewicz (piano) performed Chopin at Wesley.

A matter of will

I hadn't realised the extent of Andrew Koll's programming until after this latest Canberra Bach Ensemble concert at St Christopher's.  We chatted after and he told us of the theme, the will of God.  I had been amused by a translated line, Lord, as you will! (Herr, wie du willt!, apparently by extension, the Mind of God) but it's a clear statement of religious trust and faith especially of the time and place.  These cantatas covered this issue, mostly be being written for the same weekend of the religious year (third Sunday after Epiphany on consecutive years 1724,1725,1726), other than one written a week later (Septuagesima 1725).  I guess I could have read the program.  But from the start, I just closed my eyes to experience the rolling harmonies in repeated lyrical lines, through the various voices, all clear and precise and deeply beautiful.  The start was a quote from St John Passion on the same topic, God's will, presented as choir without backing, leading into BWV 111, then BWV 92, then an interval and BWV 73 and BWV 72.  Throughout this was openings and closings of choruses with arias and recitatives within variously from soprano, alto, tenor and bass.  It's a formula that's repeated in this these cantatas, once written each week for Leipzig churches.  To conceive of the intensity of this work, a cantata a week, is overwhelming but Bach did it and we have the pleasure of it.  The choir was 36 through SATB and the accompaniment was 16 between strings, winds and continuo.  There was a segment with two solo violins and Andrew highlighted that it was similar to Bach's double violin concerto and that's just indicative of his sharing themes in the whirlwinds of producing all this music.  And there were segments of quick, non-stop cello from Clara and delightfully precisely articulated and fast contrabass (not really a violone) that floored me.  I had my eyes closed for the baroque horn but heard baroque oboe and bassoons often enough.  But these are just things noticed amongst a night of glorious Bach religious cantatas played and sung with real love and considerable understanding.  A great, great pleasure.

Andrew Koll (musical director, conductor) led the Canberra Bach Ensemble at St Christopher's Cathedral in a choral excerpt from St John Passion and BWVs 111,92,73,72 on the Will of God.  Key performers were Stephen Freeman (Orchestra Leader), Greta Claringbould (soprano), Maartje Sevenster (alto), Timothy Reynolds (tenor) and Andrew Fysh (bass) and some favourite bottom-enders of mine, Clara Teniswood (cello) and  Kyle Ramsay0Daniel (bass).

History and today

The first Wesley Wednesday lunchtime concert for the year was a doozy, starting with Hildegard von Bingen and ending with modern Americana by composer Caroline Shaw.  And the performers were apt.  Rachel Mink sang and she told that her parents live near a property sung of, and the youthful and exploratory and very capable Ellery String Quartet provided accompaniment, with a range of noises and techniques, not least picks/plectrums on strings.  Both Rachel and Ellery were stunning and apt in performance, but I was somewhat befuddled by the modern music.  This comprised two works, each of several parts/movements.  First was Plan and Elevation: the grounds of Dumbarton Oaks, picturing the Cutting garden, Herbaceous border, Orangery and the like; second was By & By, comprising several parts putting ~century old lyrics on death and related themes from various authors to music: Will there be any stars in my crown?; Angel Band; O Death; I'll fly away.  But it did get me thinking as I followed the lyrics.  And also it had me intrigued by a range of tones and techniques used: bowings; slow harmonic movements; tapping instruments; most unexpectedly, plectra including a big blue one for cello.  Odd and unexpected and a very different aural space from Bach and the like.  I think of voice as more established and Rachel's was lovely and nicely controlled.  Voice remains the greatest instrument to my ears, but then it is us, not just our invention, so not unexpected.  And it speaks ideas not just impressions.  So, a concert that was challenging in techniques and heavy in themes so probably an apt start to a new year of music at Wesley.

Rachel Mink (soprano) and Ellery String Quartet presented America Voices at Wesley.  ESQ comprised Brad Tham and Anika Chan (violins), Pippa Newman (viola) and Chloe Law (cello).

Returns, day 2

Day 2 of my Blues weekend was a very different experience.  This was the monthly Canberra Blues Society Pro Jam session.  I've attended these numerous times in the past and just recently hankered for a return.  It's fun and friendly and a hive for some old friends and it has its challenges but it's not too difficult outing for a jazzer.   The feels were comfy enough but the keys were somewhat unpracticed: guitar keys (E,A,D) instead of horn keys (F,Bb,Eb,Ab).  Those open strings on the tonics rather than the 3rd took some care, and someone showing me bass tabs in place of written music (for a Lady Ga-Ga tune, no less) flummoxed me:  I understand the system but have never used it.  I played my Mexican Fender Jazz bass and the sound was loud and proud through the gear on stage so I enjoyed that immensely.  The session runs with music from 1pm with a host band, this day with another band, then a few short jam sessions of 3 tunes each, essentially led by a singer or other leader.  In my case, all 12-bars but with different feels and nicely led.  I enjoyed it immensely.  Pics are of the two first-up bands: the host band JD Band led by DJ Gosper and the host band for the next jam session, the Blues Accelerators.  And cheers to the mates I met from Quartic Sol: Thomas, Jacinta and Sam.

The Canberra Blues Society Pro Blues jam is held monthly at the Harmonie German Club.  Host bands were JD Band and Blues Accelerators.

Returns, day 1

It's a blues weekend and the fact that I had to renew my membership to the Germo reveals how long it's been since the last one.  Saturday was a show-cum-cover band playing Hendrix and musics of his era, late-'60s, early-'70s.  Hendrix was first up and the band was a trio as expected with plenty of driving bluesy riffs and blaring strat and it was a doozy.  I loved it.  All Hendrix except but with a few SRV tunes towards the end.  Then a short break and more blues.  I'd expected some Led Zep, Cream and the like, but we got perhaps some more SRV blues, ZZ Top, lots of Stones, then even some ACDC and even Stevie Wright's Evie, and it seemed pretty apt in this company.  So heavy on blues and less on the prog-leaning side, but nicely done with committed, searing guitar, two interesting bass solos, one with unison voice, and solid, heavy percussion from a new drummer on his first or second gig with this trio.  For the Hendrix set there was some stage dress, especially from guitarist/singer Steve Edmonds wearing a historical military jacket and scarf which looked great, but the second set reverted to standard blues black.  Nothing unexpected here, but I'd liked the dress-up.  The Hendrix was more for musical appreciation, but the SRV and ZZ Top and Stones had the audience up for the dance floor.  Sound was good with a house PA and busy soundman.  So all round, a great outing with memories, if just a little disappointing to miss the expected Zep and Cream and Deep Purple which were core influences to my earliest bands, but the field of classic rockers is too big for one set.  What's not to like with a power guitar trio ... other than ringing ears?  (PS. Sound did not exceed 90dB)

Steve Edmonds (guitar, vocals) led his trio in a Hendrix tribute at the Harmonie German Club a dn arranged by the Canberra Blues Society.  The other performers were Graham Burns (bass, vocals) and Ben Elliot (drums).

SoundOut 2025-3

 

Then the internationals again, this time for a sax quartet of Richard, Bertrand, Rhys and Jean-Luc playing steady, slowly shifting tones with perhaps some circular breathing in the mix.  All this to visual projected accompaniment from Nicci Hayes who had appeared in the previous year.   And to finish off, some younger local performers, Alex, Gabriella, Jamie and Stuart, as a new generation, from Canberra and Sydney, comprising drums, tenor sax, guitar and invented instruments.

The saxophone quartet comprised Jean-Luc Guionnet (alto, France), Richard Johnson (tenor), Bertrand Denzier (tenor, France) and Rhys Butler (alto) with Nicci Hayes (visual projections).  The final session was performed by Alex Tucker (drums), Gabriella Hill (tenor), Jamie Lambert (guitar) and Stuart Orchard (guitar, invented instruments).

SoundOut 2025-2

Then Zosha Warpena from USA playing hardanger d'amore.  This caused quite a thrill, both for the performance, sometimes drone-like or rhythmic developing from a 3-feel, all with overlaid vocals, and the instrument.  We weren't alone in being perplexed by the instrument.  Hardanger is a Norwegian viola with 9 strings (read Wikipedia), four played and 5 resonant strung underneath or through the neck, a flat fingerboard lending itself to double stops, gut strings and baroque-like convex bow.  Quite lovely and something quite new to the room.  Zosha told me she's studied classical violin but did her masters on the hardanger and the vocals were something of her invention.  Quite lovely.  Then a session with piano, soprano sax, drums, trumpet/flugelhorn and cello.    Hubbub pianist Frederic Blondy was enthusiastic and creative and essentially led this performance to my ears.  Italian soprano saxist Gianni Mimmo was fabulously expressive in fluid, harmonically clear and penetrating response in somewhat like bop-styled chordal movements and cellist Peggy Lee of Canada/Melbourne strongly parallelled and supported the piano with obviously well-trained ostinato and other rhythmic patterns.  Miro listened and inserted himself several times with busy and apt jazz-like phrasings and Sydney drummer Hayley Chan was reserved primarily on cymbals. 

Zosha Warpeha (hardanger d'amore, vocals, USA) performed solo.  Federic Blondy (piano, France) performed with Gianni Mimmo (soprano, Italy), Peggy Lee (cello), Miroslav Bukovsky (trumpet, flugelhorn) and Hayley Chan (drums).

SoundOut 2025-1

There are 4 SoundOut sessions and 3 workshops, but it's a busy weekend so I can just get to one session.  Unfortunate, as it's a big year with a slew of internationals, even a whole band from France, as well as our locals and others.  My session was no.3, Saturday evening.  I walked in to hear a rising clamour from tenor, alto, soprano saxes, guitar and drums while visual artist Locust Jones made black on white painting against a wall, sometimes with his nose.   Several of these musicians were from Hubbub, that French group, along with an Italian soprano saxist and SoundOut director Richard Johnson.  LJ also had a series of large-scaled politically-themed painting in the main gallery and they were fascinating.  Then Great Waitress+ with clarinet, piano and accordion. I felt this was strongly led by Magda Mayes, Berlin pianist, with apt harmonies from Laura Altman on clarinet and a light wash of colour and presence from Monica Brooks on accordion.

Locust Jones (visual artist) performed visual arts with musical accopaniment from Jean-Luc Guionnet (alto, France), Gianni Mimmo (soprano, Italy), Jean-Sebastien Mariage (?, guitar, France), Edward Perraud (drums, France) and Richard John son (tenor).  Great Waitress+ comprised Laura Altman (clarinet), Monica Brooks (accordion) and Magda Mayas (piano, Berlin). 

Bigs and littles

Callum Allardice appeared upstairs at Smiths, in McGregor Hall, in quartet format.  Interestingly, his merch was essentially two albums: one of this very quartet playing this format in this concert and this music  and the other a much bigger outing called his Cinematic Light Orchestra, comprising the band with significant orchestral accompaniment, strings, horns, all written and arranged by Callum.  I was impressed both ways.  Some of the tunes from the large ensemble were played on the night by the quartet and this was significant.  Callum writes his music and it's rich and evocative and can expand to the millions but is served perfectly well by a quartet, at least one that's receptive and aware and with musical maturity to respond.  Callum lays down most melodies with a clear, perhaps distorted or delayed but uncluttered tone, perhaps call and response in the melody, certainly interesting and complex, followed by solos to explore but respond to the essence of the melody.  Luke is rich in response too, but such differently toned on piano, and perhaps more open to expansive interpretations.  This is essentially the rhythm section of the orchestral outing, and they were to die for.  Tom quite simply spelling varied rhythms for immense ensemble stability if with lovely, neck long arpeggiations to fill and engaging if uncomplicated thumb position solos spelling the tune with a lovely respectful response, providing admirable firmness for Hikurangi to let fly often enough on drums.  It's a common theme for firmness and bustle to coexist between bass and drums.  In the end, I took the quartet CD given it's a better representation of the gig on the night but the two display the capability of Callum and his writing, despite his Berlin experience (as him about that!).   A hugely rich and satisfying set of tunes and capable expression by the band.  This was the first of their east coast tour, so catch them if you can.

Callum Allardice (guitar, composition) led a quartet with Luke Sweeting (piano), Tom Botting (bass) and Hikurangi Schaverien-Kaa (drums) upstairs at Smiths.