Biggie B9

I've recently been living off this quote from Dave in the bass section of the CSO: "It's not that hard; it just takes a year to learn it".  He was talking of the bass part of Beethoven Symphony no.9.  I just saw them playing it and the bass section did a fabulous job, clear and present and crisply played.  The next morning I looked at the B9 bass part and I can see what he meant.  Lots of notes over 25 close pages of bass clef, but it's in Dmin so just one flat, and key changes to just 2 flats and 2 sharps at various times and pretty few accidentals, so the fast runs are scalar and mostly consistent.  There are some big intervals and the lower notes that get played on their extensions so some clumsy stuff, and the tempos are not very forgiving although pretty consistent, but it is a work of supreme genius so worth the effort.  The CSO did a great job at a decent tempo.  The singers were satisfying.  The choir was prepared by Tobias Cole and was good but I just wanted it bigger.  I guess ~100 on stage with choir of ~40.  The vocal segment only comes in the final movement, although that's the longest.  The choir sat from the start, but the feature singers entered after the second movement, I guess to allow that transition to the final thrills.  They don't sing masses, but they were lovely to hear: always the presence of the soprano, the fullness of mezzo, the bigness of bass and the humanity of tenor.  But mostly my ears were for the basses.  I did notice a revealing passage where a lines moves from bass to cello to viola to seconds to end with the firsts, not always identical but related.  For me it was a revelation for the violas.  Otherwise, Jessica Cottis was flowing and expressive in her conducting and informative with her introduction, as were the EU Ambassador to Australia, Gabriele Visentin, and CSO CEO, Rachel Thomas, who introduced the concert.  The Ode to joy is the EU's anthem, of course.  And not to forget composer Miriama Young who wrote the introductory piece, a brooding and fairly short Daughters of Elysium, who appeared on stage to applause after.  But it's hard to share with B9.  It was given as 71min duration but it felt nothing like that.  I guess it's a function of how well it's known, although I did notice the repeated themes a few times, especially in the third movement.  But the explosive styles and the uplifting power and the thrilling fugues just take you over.  Perhaps not apt for a classical concert but my head was often nodding and my mouth a grin.  Just so fabulous.  I just hope to play this great work one day.  Congrats to our local orchestra and great to see so many local faces on stage and off.  Bravo and thanks!

The Canberra Symphony Orchestra performed Beethoven Symphony no.9 and Miriam Young in Llewellyn under Jessica Cottis (musical director, conductor).  Kristen Williams (violin) was concertmaster.  Solo singers were Emma Pearson (soprano), Ashlyn Tymms (mezzo soprano), James Eagglesone (tenor) and Adrian Tamburini (bass).  Tobias Cole (chorus master) prepared the CSO Chorus.  The bass section comprised Max McBride (principal), Kyle Ramsay-Daniel, David Flynn and Muhamed Mahmedbasic.

Christmas in July

Chrissy in July is not a thing for me but Handel Messiah is usually something we hear at Christmas but this was winter, unseasonably cold outside.  Canberra Symphony Orchestra put on Messiah with its Messiah Chorus auditioned and convened by Tobias Cole.  The numbers were not huge, ~35 instrumentalists and ~40 chorus and four soloists.  The program didn't say, but the solo singers were Chloe Lankshear and Andrew Goodwin and Adrian Tamburini along with Tobias.  The basses were old mates Kyle and David and Hayley but only Kyle and Hayley on the night.  Kyle played most as solo when the front lines played.  The work is a dream, of course, and well known and loved and it's deserved.  Quite a few fugues (I love a fugue) and plenty of rich choral passages and those soloists with harpsichord or organ or solo violin or often a smaller ensemble, but the extravagance and delirium of the choral passages and full orchestras are what really does it for me and most.  We duly stood for the Hallelujah chorus, but we had to be goaded / invited.  I was not the only one who'd forgotten that rite of passage.  And the choir was good.  First up I thought the women were good, but the lower voices are always less appreciated or obvious but they showed their colours and impressed.  So impressive all round.  The trumpet passage (aptly in The trumpet shall sound) was lovely; the solo violin was satisfying, the parts were convincing.  I felt just a little discomfort in timing or perhaps some rushing in the tricky bits early on but that settled.  As for the bass, I was surprised by some tricky parts and look forward to printing the part for a gander. Anthony Hunt from State Opera of SA was upfront and led comfortably.  And that lovely scalar semiquaver stuff by voice (paralleled by instruments, too, of course), is demanding and tricky and a real test.  I was surprised how capably the chorus carried this out.  We expect it from the soloists, but it seems more difficult for massed voices who are perhaps less trained.  So we all left with joy and excitement and satisfaction after 2 hours and interval for a pretty long night of music.  Just such a pleasure: nicely done and such joyous music.

Canberra Symphony Orchestra with the CSO Messiah Choir under Anthony Hunt (conductor) with soloists Chloe Lankshear (soprano), Tobias Cole (countertenor), Andrew Goodwin (tenor) and Adrian Tamburini (bass).  Kyle Ramsey-Daniel and Hayley Manning (bass) played the low end.