Man interrupted

I was distracted by family matters for this final AYO concert. I heard CPE Bach and William Walton by TV from the foyer. The Bach sounded lovely in its dignified way, if nothing like the real thing, but the Walton didn't come over so successfully on these little speakers. Perhaps the audio should be better in the foyer, but then TV is standard. I got in for Genevieve Lacey playing three Bach reinventions by Elena Kats-Chernin and they were both convincing with truly impressive recorder playing and a joyous and respectful revision by Katz-Chernin. Alexander Orchestra under Brad Cohen played Stravinsky Suites for small orchestra no.1,2 and they were variously restrained and riotous so very satisfying. Then the ultimate major work of the night and of the Camp, the huge Bishop Orchestra under Erik Nielsen playing Schoenberg Pelleas and Melisande. I remained distracted but caught a huge work of grand scope and strangely not split into movements. One to revisit under different circumstances.

Genevieve Lacey (recorder) performed with the Smalley Chamber Orchestra. The Bishop Orchestra under Brad Cohen performed Stravinsky. The Alexander Orchestra under Erik Nielsen performed Schoenberg. Both performed at Llewellyn Hall for the Australian Youth Orchestra National Music Camp 2016.

Penultimate

This was the third orchestral concert of the AYO National Music Camp and the penultimate concert for the series. It was a beauty and much anticipated, for the Beethoven 7 and the John Adams. The Carl VIne was less anticipated. In the end, I enjoyed John Adams, played by the Smalley Chamber Orchestra with a conductor. I was intrigued by the loops and the minimal but continuing changes, mulled over the history of the concept of loops given their ubiquity in much contemporary electronic music (and my recent desire to purchase a looper), although I did feel the piece carried on somewhat. Not so all minimalism, but this was quite early and new. But how well played it was, and clearly conducted by Monica Curro. Then Carl Vine Tempest Suite. This was unanticipated because I/we did not know what to expect, other than Australian composer, but how much I enjoyed it. Luscious, balletic music with romantic flourish and expanse. An unexpected gem played by the Alexander Orchestra under Brad Cohen. I followed the conducting and had no idea where his 1 was, but his flourishes seemed to draw nice dynamics from the orchestra and it sounded great. Then the Beethoven symphony no.7 after the interval. I was floored. Typical Beethoven, which I am now coming to recognise from playing a few. Dogged, always moving, never clumsy, incisive starts, canons, quick scherzo and the rest with some dastardly difficult lines for bass and presumably equally so for the other parts. Pretty much scalar, but long scales over the whole neck and back again, and again. Congrats to these kids who can perform such a feat at this true speed. I stand in awe.

The Smalley Chamber Orchestra performed Adams under Monica Curro (conductor). The Alexander Orchestra performed Vine and Beethoven under Brad Cohen (conductor). Both performed at Llewellyn Hall for the Australian Youth Orchestra National Music Camp 2016.

AYO(NMC2016)2

James Crabb commented on the energy backstage before the gig, that all concerts should be so alive. It's something that I've noticed before and that makes the AYO's National Music Camp something special. These girls and guys are young and committed, working hard and having a ball. They are also very capable and well trained and it's all obvious and a key to the pleasure which is this series. The second concert was another orchestral outing, again with the chamber and two large symphony orchestras. The Alexander Orchestra under Erik Nielsen opened with Weber's Oberon overture. I've played it so could follow closely and I admired the series of rapid bass lines. Megan asked had I played all that. Yes. Perhaps not quite so fast; I'll have to return to the recordings to confirm that. What got me was the clarity of lines at that speed. Playing fast is not so difficult, but fast and clearly with no faking is the test. These notes were all there and distinct. Then the Smalley Chamber Orchestra playing Elgar Introduction and Allegro. I liked the composition and the performance. I found the piece superbly attractive for strings and can only hope to play it sometime. James Crabb joined both symphony orchestras to lead and feature on Piazzolla Acongagua. This is a concerto for bandoneon and orchestra, played here on chromatic accordion. Typical Piazzolla, enhanced tangos, simple harmonic movements, attractive and mobile. JC did a nice job leading and a very impressive job on the accordion (much enjoyed for delicacy and speed and phrasing). Strangely, the Bishop Orch played the first movement, then gave way to Alexander for the next two. Weird and interrupted but it worked well enough. Then, after interval, the Bishop returned under Brad Cohen for the exhilaration of John Adams Short ride on a fast machine (apt given Summernats is on just up Northbourne Ave) and Ravel Daphne and Chloe which was, to me, feeble after the excitement of Adams. I guess it deserves another listen in a different environment. The whole went out live on ABC Classic FM and the other orchestral concerts will also be broadcast over coming weeks. All lively and capable and exciting and a great first afternoon and evening for the AYO.

The second concert of the Australian Youth Orchestra National Music Camp 2016 was orchestral, with the Smalley Chamber Orchestra, Bishop Orchestra under Brad Cohen (conductor) and Alexander Orchestra under Erik Nielsen (conductor). They played Webern, Elgar, Piazzolla, Adams and Ravel.

AYO(NMC2016)1

It's a long wait between drinks (beers) for the Australian Youth Orchestra to return to the Wig & Pen, or should I say Llewellyn Hall. Their National Music Camp is annual, but shared on alternate years between Canberra and Adelaide. 2016 is the year for Canberra. Canberra is strangely devoid of people at this time, seemingly more-so this year. I walked a possible ANU student-to-be through a very, very quiet campus (other than for an occasional youth in concert hall black). I'm told she's since chosen Melbourne, and given a campus and town so devoid of activity, I may have done the same. But I know Canberra's actually more interesting than that, being national capital, home of 5 universities, highly educated, seat of the federal bureaucracy and Summernats. Despite the sonambulance, Llewellyn was alive. The first AYO concert was orchestral. The performers were just a little wary at first, but gained confidence by the bar. First up was the Smalley Chamber Orchestra with Handel Concerto grosso in C minor then Veress Four Transylvanian dancers. That second was new to me, with even the movements having strange names, Lassa, Ugros and the like. This was a very large chamber orchestra, playing in a large space and it worked a treat. Then the Bishop Orchestra under Brad Cohen with Ravel Rapsodie Espagnole. I realised how satisfying and big sounding can be an orchestra of 100-or-so players (eight double basses). It's bigger than any orchestra I've heard since some Mahler in London many years back. It was an immense pleasure to feel Ravel's swells fill the space so copiously. And such good playing from such a young cohort on these Spanish scales and rhythms. Then the Alexander Orchestra, under Erik Nielsen and similar sized, came back after interval with Schumann Rhenish symphony no.3. These guys are good, not just energetic and keen.

The first concert of the Australian Youth Orchestra National Music Camp 2016 was orchestral, with the Smalley Chamber Orchestra, Bishop Orchestra under Brad Cohen (conductor) and Alexander Orchestra under Erik Nielsen (conductor). They played Handel, Veress, Ravel and Schumann.

AYO2014/8 (Orch 4)

The final concert of the AYO National Music Camp for 2014. We can hope for 2016, providing the ANU comes good with its support. I hope they do. The quality of music continues. The Hopkins Chamber Orchestra under Geoffrey Lancaster opens again, this time with Beethoven Creatures of Prometheus excerpts. This is Beethoven so the changes are inevitable and clear but it's also a ballet, so this serves a different master and also serves a classical mythical theme of civilisation replacing ignorance. They played four movements, different in style, strings buzzing with rapid movement at mf volume, flutes and oboes and harp and a solo cello cadenza. Then the Alexander Orchestra under Richard Gill performed Rachmaninov Symphony no.2 in D minor. Apparently it's his first symphony, and Rachmaninov never granted it a number, just left it with the moniker Youth. A nice romantic work with a big end. After interval was the final work, Alexandre Bloch leading the Bishop Orchestra in Stravinsky's Petruschka. It's another ballet work. I'd expected demonstrative and it started that was, but passed through so many sections and emotions. By the end I felt I'd attended a theatrical work, telling a story through scenes and actions and repetitions. It's a murdered puppet's love story for a ballerina (mmm). Perhaps more a product of the era, but I heard Gershwin and West Side Story and some intriguing piano harmonics. The program notes talk of this and the Firebird featuring "two unrelated major chords, played simultaneously and separated by the interval of a tritone". For the jazzers, this is tritone substitution. The program notes also say it's "hitherto unknown before in Western music" and called the "Petrushka chord". Apparently another segment has two trumpets playing melody, one in C major, the other in B flat. Tritone substitution and sidestepping (although that's usually by a semitone). Jazz improv, anyone? Then a truly deserved standing ovation and the cutest of encores. Alexandre Bloch is also a cellist and composer. He put together a classical-themes-best-of medley called "On board the music camp" for this encore. About 6 or 8 renowned themes jointed together quite neatly. Megan recognised Brahms and Tchaikovsky. Then the melancholy joy of the end, at least for the participants. Congrats to AYO again. Magnificent and an eye-opener for what a week in time can do.

The Hopkins Chamber Orchestra under Geoffrey Lancaster performed Beethoven Creatures of Prometheus excerpts. The Alexander Orchestra under Richard Gill performed Rachmaninov Symphony no.2 in D minor. The Bishop Orchestra under Alexandre Bloch performed Stravinsky Petruschka.