Blak and white

Excuse any careless writings on this topic, but this outing invited all to the National Gallery of Australia to take part in a workshop which "seeks to foster awareness and real change through conversation and self-reflection".  Free, one hour, on the opening day of the 5th National Indigenous Art Triennial entitled After the Rain.  The thought attracted me deeply, some discussion, critical thinking, self-questioning; all matters of importance in this and other fields and of much value as we recall the Voice referendum (and even the Republic referendum before that).  It was to be led by artist Aretha Brown, well spoken, challenging but inviting.  There were tables with tablets and questions to ponder and discuss.  Perhaps there were too many people, but we mainly just heard of the massive work surrounding us and the stories it recounted.  That was worthy if not quite what I'd expected.  But there was history there, as seen through Aboriginal eyes, mostly pretty well known even by the likes of me, with just ~100 years of history in Australia, not 65,000.  So if not quite as I'd hoped, it was a worthy hour and I look forward to return to peruse of the Triennale sometime when I'm not so busy.

Aretha Brown (artist) presented and discussed issues from her work at the National Gallery of Australia.

Theatre and the Church

Rhythm Syndicate did a concert of two halves: the first a series of songs from musical theatre and film; the second various carols and Christmas songs.  I enjoyed the second but was thrilled by the first.  I guess theatre has to sell itself more than religions with millennia of history, although they can do it pretty well too.  Mary did you know was a modern and feminist tune with religious themes and Silver bells and O holy night and the like are classics.  The theatricals had the pretty Memory or the touching Moon River or the rollicking Everything's coming up roses.  I was particularly taken by the harmonies from a group of ~18 arrayed as SSATB.  The parts weren't perfectly clear, perhaps given the gutsy volume in the space, but they were lovely and the sopranos rang out above as they do and Harrison's piano was reliable.  Sarah Louise was up front as conductor and added another level of excitement by prodding emotional energy and associated dynamics from various parts at various times.  A lovely, stirring end-of-year gig from Rhythm Syndicate.

Rhythm Syndicate performed at Wesley under Sarah Louise Owens (director) with accompanist Harrison Whalan (piano).

Jamtime

Family friend Alysa invited me to the jam session at Smiths given her band were the hosts for the night.  It was upstairs and I managed a beer without accidentally joining the life drawing class.  It was pretty quiet at first but then various players joined in.  I didn't chase names this evening but there were several (3?) pianists, two drummers with host bassist Michael as one of them and otherwise Smiths-haunt rock steady drummer Mitch, a few saxes and a clarinet, a few guitarists and singers, including host Alysa.  Thanks to Michael for use of his gut-style bass, strangely fat and soft and pliable under the fingers.  Interesting.  Peter and I did a few tunes with two basses, a first for me: Peter on his intriguing Ibanez SRAS7 fretted/fretless 7-string and me on gut double.  The tunes on the night were mostly reliable standards.  I enjoyed what I played but sadly missed Have you met Miss Jones, a fave for its early Giant steps B-section.  Ballad Lover man appeared twice and was a pleasure.  But all good fun and chatty so thanks to Alysa, Michael, Mitch, Peter and all.  Just some pics.

A calendar and more

Kompactus performed a 1.25 hour work in 24 parts with huge complexity and obviously considerable emotional depth at Wesley.  I got to record it and the quiet passages were almost inaudible and the loud passages forthright and often dissonant and there were even passages where the audience was invited to take part by following repeated lines from the choir.  The lines give away the quiet desperation of the piece and involve the public in the hopeful response: "Let us believe in the resurrection fo the Earth", "Is it impossible to plant change?", "How can we let it all slip through our fingers?", How can we believe these dayes will end?", perhaps one or two others. There's a quiet religiosity to the text, too, and an inverted year of summer and winter which shows this a northern hemisphere and I look later, southern California.  The work was Dale Trumbore A calendar of light with libretto by Barbara Crooker.  Not sure if it's been performed before locally, but it was a challenge, with dynamics aplenty, very edging harmonies in at least a standard 4 parts, perhaps more.  But Kompactus with Olivia were up to it.  This was a totally convincing performance and deeply touching, somewhat beyond the expectations of just a choral work.  This comes from composers with current relevance and this has that in spades.  Just fabulous that Kompactus would take it on, and they did it worthy justice.

Kompactus Youth Choir performed Dale Trumbore A calendar of light at Wesley under Olivia Swift (MD, conductor).