Time travels

I do wonder how many towns the size of Canberra are supplied with musicians like this town.  Concerts just seem to roll in, frequently, during the week or conflict over the weekend.  And so I managed to fit a Canberra Bach Ensemble sets of four oratorios into the Saturday evening between a final rehearsal and a Maruki concert.  More on that next.  But it's busy.  And CBE concerts are not lightweight.  Four cantatas featuring ~50 performers comprising choir and soloists and period instrumentalists, some visiting from Melbourne or Sydney for the event, but mostly local.  That's 2 hours of performance with an interval in the middle.  Not shirking.  And each cantata preceded by a presumably related motet by another composer, all cantatas for the Jubilate Sunday, once the Third Sunday after Easter.  True to form, the baroque instruments were wooden and detuned and of considerable interest and some rarity or at least uncommonness.  We got a long necked Theorbo from violinist Shaun Ng, a sixth flute (essentially a descant recorder in D) that had been borrowed by Robyn Mellor from Melbourne, oboes d'amore and baroque bassoons and the like.  And plenty of gut for the tone.  The choir sounded glorious, the vocal soloists informed and clear, the whole a glorious and generous indulgence in the period and quite a learning proposition.  Thanks once again to Andrew and CBE.

Canberra Bach Ensemble performed under Andrew Koll (director) with Stephen Freeman (concertmaster), Greta Claringbould (soprano), Maartje Sevenster (alto), Timothy Reynolds (tenor) and Andrew Fysh (bass).

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).

Ridiculous, sublime, whatever

So, my second musical outing after Japan and following SoundOut was Canberra Bach Ensemble.  How can you not love Bach?  He's so much a great love of our era and his cantatas are big choral works which inevitably thrill and his counterpoint is sublime.  This was CBE's triumphant return concert after performing in Leipzig, Bach's most famous home, for this year's Leipzig Bach Festival.  It must have been thrilling for those who attended.  I know they picked up bass and keys there and maybe others.  These are not instruments to easily travel with.  But then this is the home of Bach and also apparently the oldest orchestra, from the Gewandhaus, and plenty of players who play Bach cantatas regularly, so no particular problem.  This concert was back to Canberra brick rather than German stone but the thrill was still there.  Four cantatas over two hours of performance.  I can enjoy the interludes, the recitatives and arias, the singers with solo or small accompaniments, but nothing does it for me like the choruses, with blaring period trumpets and blurting oboes da caccia and driving gut bass playing with oddly grouped lines that double up unexpectedly and carry on releantlessly.  Thrilling and exultant.  Loved this one as all!

Canberra Bach Ensemble performed BWV119,148,192,137 and an encore of a wedding cantata BWV195 at St Christopher's, Manuka, under Andrew Koll (director).  Singers were Greta Claringbould (soprano), Maartje Sevenster (alto), Timothy Reynolds (tenor) and Andrew Fysh (bass).  Stephen Freeman (violin) led the orchestra and Kyle Ramsey-Daniel (bass) performed on Dave's gut 5-stringer.

Calm and storm

It's coming close to Canberra Bach Ensemble attending the Leipzig Bach Festival mid-year.  But this is Easter so a Bach passion was in store, this time St John.  But the program referenced Leipzig and advised that the CBE program will be three cantatas, BWV 9,107, 178 and interestingly that they were assigned.  I checked with Andrew afterwards and, yes, they are assigned, partly for some consistency in performances at any one festival.  I also asked who was going.  About 50-75% of the group will be attending and the others will be replaced by local players.  Given the Gevanthaus and students, that should be easy enough.  So again St John Passion, again the glorious big choral sounds and the pensive recitatives and the varied solo voices and the period instrumentation.  Also again the infectious opening that keeps reappearing thoughout.  Dave was on bass and playing beautifully on a 5-string gut strung instrument.  I noted the twisty lines and odd intervals and unexpected harmonies and sometimes followed the bass line on IMSLP and I think I found the opening theme recurring through all manner of rhythms and accompaniments, not just in the obvious recurrences in obvious form.  If I am right, it just extremely extends my understanding of Bach and his brilliance, to pass through these quite unexpected harmonic movements and to hide them throughout in all manner of forms.  Am I right?  Dunno yet but I am intrigued.  As for voices, I must highlight the Evangelist, Richard Butler, who had the most wonderfully expressed, wide ranging voice for some complex lines.  Just a stunner.  And maybe mention the lute which I don't remember hearing in Bach before but here it was (literally) central.  But again this was a huge and successful endeavour by a large group of capable musicians and singers.  And very sensible of them to stage a long interval just when Canberra's recovered Skyfire to  light the local sky and add to the noise of Canberra Ave just outside St Christopher's.

The Canberra Bach Ensemble presented Bach St John Passion BWV245 at St Christopher's Manuka.  Key performers were Andrew Koll (MD, conductor), Bianca Porcheddu (concertmaster), Richard Butler (Evangelist), Sitiveni Talei (Jesus), Grata Claringbould (soprano), Maartje Sevenster (alto), Christopher Warren (tenor) and Andrew Fysh (bass).  David Flynn (bass) held up the bottom end.

Back to Bach

My little wedding gig meant I was late for Canberra Bach Ensemble with their latest string of Advent cantatas.  It's obviously a nostalgic return for me to the cantatas at home in Leipzig and this group will be playing at next year's BachFest so it's virtually the same thing.  I just caught the second half and some lovely song, notably several appearances from a visiting Sydney tenor Thomas Hallworth and a duet from Greta and Maartje and some bass recitative from Andrew as well as a few features from Bianca and friends in the instrumental  section and a feature on the curved oboe da caccia.  And always Dave's very unrelenting bass part played on a gut 5-string with baroque bow.  Also noteworthy and parallelling the common role of organ in Leipzig was the final, thundering organ piece to finish the show, played by James Porteous on an instrument sequestered in the adjacent chapel.  I was not the only one looking for the source of that sometimes big sound.  Organ had a prominent role in the cantata services that I saw in Leipzig so it fitted wonderfully.  I was taken, too, but the voluminous strength of the SATB chorales when they took flight.   Loud and boisterous and not at all delicate, even if perfectly correctly performed.   This felt to me like the visiting Australian cousins with their outspoken ways, and it worked a powerful treat.  So I caught some, not all, and enjoyed it and look forward to our Canberra presence next year in Bach's town.

Canberra Bach Ensemble performed advent cantatas (BWV61,62,36,1) at St Christopher's Cathedral in Manuka.  CBE was directed by Andrew Koll (conductor) with Bianca Porcheddu (violin) as concert master and solo singers Greta Claringbould (soprano), Maartje Sevenster (alto), Thomas Hallworth (tenor) and Andrew Fysh (bass).

Early prep for Thomaskirche

I rushed off from one practice (Mendelssohn, Bruch, Tchaikovsky) to feed the dogs and then assist Tim to set up his recording of Canberra Bach Ensemble in St Christopher's.  It was quite a change of scene and musics.  CBE was playing three cantatas and a mass by Bach and a few smaller pieces by Schein and Schutz who had influenced JS.  So this was gut string intimacy and choral exuberance and vocal passion with early, even curved winds of all styles.  Something period and truly lovely.  I watched the various instruments and the frequent soloists and the milling of the choir entering and leaving for not too many choral movements.  The inherent sound of Bach was evident against Schein and Schutz, but they were worthy none-the-less and indicative of musics of the time, I guess.  There was not a lot of patter.  Andrew writes generous notes for his programs but remains fairly quiet on stage.  I particularly watched Dave on bass, as I am wont to do, and mostly it was easy reading other than a few quick and unrelenting and richly varied passages.  I could appreciate his concentration there.  So CBE is on track once again to visit Leipzig and its Bach Festival next June 2024.  Covid prevented the last expedition.  Let's hope they make it this time.  And good on them.  So wonderful to hear Bach with authenticity, and it can only grow in Bach's own venue, Thomaskirche.

Canberra Bach Ensemble performed at St Christopher's, Manuka.  Andrew Koll (musical director) led a choir of 25 and an orchestra of 18 with concertmaster Bianca Porcheddu (violin) and vocal soloists Greta Claringbould (soprano), Maartje Sevenster (alto), Richard Butler (tenor) and Andrew Fysh (bass).

Bach back

Great to see Bach back again.  Our local Canberra Bach Ensemble had a fairly short concert to reemerge after Covid and to start preparing for BachFest in Leipzig, now in 2024.  CBE is the first Australian group to be invited to BachFest.  We luxuriated in these great sounds, these fabulous baroque fugues and songs and instrumentals at that reduced pitch.  The orchestra was a bit smaller than previous outings, with 2 x violin, 2 x viola, 1 x cello, organ, 1 x flute and 2 x recorders although much was reduced to single seats and even just organ and cello for some pieces.  Bianca did a great job, but perhaps Clara was the defining instrument for the night, as the bass end (here cello) tends to be.  And she played for every piece, along with Anthony.  The choir could be blissful, especially in the Schutz with just organ and cello accompaniment, with the vocals were so, so clear and insistent.  The sopranos rang and soared and I was on the side of the stage with the tenors and basses and I heard them so clearly in their interplay.  The night started with a larger choral work with orchestral accompaniment, then through a series of arias variously for soprano, alto and/or bass, then a final three works by Bach antecedents, Heinrich Schutz and Andreas Hammerschmidt.  Then a drinks and nibbles in the local hall.  This was a fund-raiser and well attended and the musicians played for nix so not a full bore concert of cantatas.  Looking forward to the bigger outings in due course.  Bring it on!

Andrew Koll (conductor) directed the Canberra Bach Ensemble at St Christopher's in Manuka.  Instrumentalists were Bianca Porcheddu and Lauren Davis (violins), Lucy Carrigy-Ryan, John Ma and Elizabeth Chalker (violas), Clara Teniswood (cello), Anthony Smith (organ), Jennifer Bryan (flauto traverso), Robyn Mellor and Olivia Gossip (recorders).  Vocal soloists were Greta Claringbould (soprano), Maarte Seventer (alto) and Andrew Fysh (bass).  The choir was 24 (including Greta, Marrte and Andrew) comprising 6 for each SATB part.

Elation

Elation is an apt response to a Bach cantata in full flight so no surprise that I felt it at St Christopher's with Andrew Koll's Canberra Bach Ensemble. Andrew's been running these performances for a few years, each time with a chamber orchestra (23) and a decent choir (32) and some solo singers (4). This time it was Bach Magnificat and Meine Seelerhebt den Herren and Tonet ihr Pauken, Erschallet Trompeten. I know at least some of the last as a favourite, Christmas Oratorio. Bach repurposed this one. The works start and end with, and perhaps feature in the middle, a choral work of volume and exultation. In between, the soloists sing of Mary or Maria or other as the theme states. There was one solo organ passage with hidden organist that had the performers looking at a loss, but otherwise, it's an impressive sight. 50+ performers playing works of elation and depth and busy, sequenced familiarity. Bach is familiar to the modern ear even if one work isn't. The instruments are all baroque (so bassist Dave was on a 5-string with gut and baroque bow) and they got workouts. I heard the busy-ness for Dave and frequently cellist Clara so was not surprised to see Dave's part, but it was forboding none-the-less. And endless stream of a moving pattern, crochet-2 quavers, over the page with Da Capo to mark an end of sorts. They did great jobs with considerable concentration. The whole group sounded great, if just a little washed out in the reverberant environment. The winds were from Australian Baroque Brass with their odd trumpets and troms; the choir was lovely, nicely strong with preponderant sopranos; the featured soloists take a great load and did it with panache and I remember a particularly fascinating piece for massed females, three in concurrent, contrapuntal song; the orchestra just sat and spelt out the support with ease and sometimes features, several times from Aaron on Oboe d'amore; the continuo was delightful from Ariana; the leadership was joyful from Bianca, although I don't remember any solos. Too bad. I'd like to have heard her featuring again. The group is booked for the Bach Festival in Leipzig in June next year, so it's not just me who recognises they are doing something right. Just lovely.

The Canberra Bach Ensemble performed at St Christopher's, Manuka. Andrew Koll (musical director, conductor) convenes the group. The Australian Baroque Brass under John Foster (trumpet) assisted. Vocal soloists were Greta Claringbould and Karen Dalzell (sopranos), Maartje Sevenster (alto), Richard Butler (tenor) and Andrew Fysh (bass). Bianca Porcheddu (violin) was concertmaster, Ariana Odermatt (continuo) accompanied, Aaron Reichelt (oboe d'amore) soloed and some mates, Clara Teniswood (cello) and Dave Flynn (bass) worked hard down the bottom end.

A blessed Easter 1

This is a blessed Easter in Canberra: we can hear both Bach Passions. The first was a grand affair, St Matthew Passion at St Christopher's at Manuka with 31 musicians in two orchestras and ~140 singers from two choirs. The musicians were from Canberra Symphony Orchestra and the like with BJ Gilby and Pip Thompson as the two orchestra leaders. The choirs were Canberra Choral Society and Australis Voices (one of the Woden Valley Youth Choir family). The whole was conducted by Andrew Koll of local Canberra Bach Ensemble fame with solo vocalists Robert Macfarlane, Jeremy Tatchell, Greta Claringbould, Maartje Sevenster, Christopher Roach and Andrew Fysh and a series of choir members playing smaller parts (identified when in character with a coloured scarf). St Matthew's is big regardless, but this was unabridged, totalling 78 movements, variously chorales or recitative or aria, in two parts with an interval. 3.5 hours in the original German. There was a script and translation projected but it wasn't always easy to read. Impressive and demanding, even for audience. But the time went. I loved the returning choruses, the voices were sometimes startling, always reverent, relevant. The Evangelist holds it together by telling the story, but what a job. Robert McFarlane was hugely impressive in this role. It's a story we know well enough, although spread over 3 hours there were features and references that I didn't know so well, so educational too. Other than the basses on stools or Pip or Barbara who occasionally stood, or a peak at the solo Viola da gamba down the aisle, I could see little. But then I mostly watch the bassists anyway. They were Kyle Daniel and Isabella Brown, both of CSO. Mostly it was delicious Bach contrapuntal fare but just once I was aghast, well into the first part with reference to Hell. It was bass hell: a very long fretful passage of semiquavers. But they pulled it off. Otherwise, I noticed how cleverly Bach expressed the plot or theme of a chorus in his writing. Somewhere in the second part I realised how effective it was then I heard it ongoing. And that haunting chorus that recurs, sung by both choirs (is it Wir setzen uns mit Tranen nieder or part thereof?) that just has your skin squirming with its simple beauteous melody and deep intimacy. Just a stunner. A fabulously successful outing for this work of great genius. Congratulations to all. Now for Bach's other survived passion on Good Friday...

JS Bach St Matthew Passion was performed at St Christopher's Manuka Canberra Choral Society and Australis Voices, two orchestras led by Pip Thompson and BJ Gilby with solo voices Robert Macfarlane (Evangelist), Jeremy Tatchell (Jesus), Greta Claringbould (soprano), Maartje Sevenster (alto), Christopher Roach (tenor) and Andrew Fysh (bass) under Andrew Koll (conductor).

A=440>415

The Canberra Bach Ensemble returned with a program of Nunc dimittis cantatas. I had to read the informative program and a little more to understand the history of all these, of the Canticle of Simeon (Nunc dimittis) and the Feast of the purification of the Blessed Virgin Mary (Candlemass) and Martin Luther's reworking of Nunc dimittis as Mit Fried und Freud ich fahr dahin (in peace and joy I despair). Suffice to say this was nothing like the joyous series of advent cantatas that made up the last CBE concert. All four cantatas were restrained cantatas and one or two seemed to have just one chorus. But this is Bach so there were memorable passages none-the-less. I particularly noticed one with pizz strings in a tenor aria. The program says this "despicts the passage of time like a ticking clock, anticipating the 'allerletzten Glockenschlag' ('very last bell-strike')". Also different is the tuning: CBE had moved from A=440 to 415, standard baroque pitch. Not all instruments were gut, but plenty were, and same with the associated baroque bows. I particularly noticed Dave's huge- but downy-sounding gut-strung bass. A pair of viole da gamba appeared for the first cantata and I was surprised how hushed they were: sounding well under the cellos who were well under the single bass. The first cantata (BWV106) was supposedly written for a funeral; the next two (BWV125&82) were written two years apart for the Purification feast (Did Mary need to be purified? Apparently so.) The final cantata (BWV95) featured those authentic period instruments, cornetto, baroque oboes and the like, and finished with a chorus. Ah, there's a touch of that exhilarating joy that Bach cantatas are known for. The singing was wonderful throughout although I especially noticed the males, not least one duet for bass and tenor. And in some ways, it was a feat of endurance, being a very hot afternoon in Canberra. So a different series of cantatas, a learning experience for those who followed the Nunc dimittis connections, a concert of transition for the CBE and, as ever, a wonderful outing.

Canberra Bach Ensemble performed four Bach cantatas (BWV106,125,82,95) at St Christopher's, Manuka. Andrew Koll (conductor) directed, with Leanne Bear (violin, leader) and singers Keren Dalzell (soprano), Maartje Sevenster (alto), Robert Macfarlane (tenor) and Andrew Fysh (bass).

The eternal glory of JS

This being the run-up to Christmas, these were for Advent and again we were regaled with a generous program of four Bach cantatas. It was Andrew Koll's return with his rebirthed Canberra Bach Ensemble and it was several hours of great beauty and order and often of spine-chilling thrills. I can only hear the choral segments as a thrill, especially at the end of a cantatas, after the more subdued recitatives and arias. For when the chorus releases, all hell breaks loose. No, that's certainly the wrong metaphor, for Bach composed for the glory of God and these are clearly and transparently glorious, as well as gorgeous. I don't bother to follow the text (sung in German with an English translation). Perhaps I should. Just once I did, when soprano Emma and bass Andrew were singing to each other with quizzical smiles. I discovered he was Jesus and she was the Soul and they were pledging that their love would never part and committing to graze together amongst the roses of Heaven. Apparently, this cantata associates with a Gospel reading (Matthew 25:1-13) of virgins awaiting the arrival of the bridegroom. These are celebrating a central Christian feast, after all, and it is of a different era, even if the music doesn't sound out of place for modern ears. But I just listened. Enjoying the interplay of solo voices, the engulfing chorus parts, the structure and counterpoint of instruments with their ever-forward baroque motion. And it all sat so well. Andrew has drawn together a wonderful cast of performers so there was so little to query. I loved that double act of soprano and bass towards the end of the performance. I admired Leanne's busy violins and Dave's excellent bass part, sometimes doubled by Kristen on bassoon or Anthony on organ or Gillian and Clara on cello. I enjoyed the solo arias but especially the sparse, spacious recitatives, where story is told with minimal orchestration, just one or two instruments, continuo organ with cello or perhaps violin. And the choir of 27, occasionally featuring the tenors alone, or a soloist who walked out front for a role. They performed four cantatas, BWV 61,36,62 and 140. Someone commented that a concert of one composer is to be preferred. I'm not sure (I don't mind Beethoven with Mozart or even Glass). But this was just Bach and it was wonderful. Congrats to Andrew for a successful outing and for the renewed CBE. A great pleasure to be enveloped in several hours of such glory.

Andrew Koll (musical director) conducted the Canberra Bach Ensemble playing four Bach advent cantatas at St Christopher's Cathedral. Leanne Bear (violin) led the orchestra. Vocal soloists were Emma Griffiths, Chloe Lankshear and Keren Dalzell (sopranos), Maartje Seventer (alto), Paul Sutton (tenor) and Andrew Fysh (bass).

Burning cool

Let's face it. Bach is cool. The audience may not have been big enough and the hair commonly grey, but the four Bach cantatas played by the reformed Canberra Bach Ensemble were a great success and a huge pleasure. The cantatas were BWV119,131,138,34. All religious; I guess all written for Bach's weekly turnaround performances. Huge, complex works; riddled with brilliant counterpoint, often leaving tacets for various players, even violins; joyous and appealing or tragic and saddening; featuring solo voices or magnificent choruses. I wondered a feminist thought that had never entered my head: this is not an era of women's equality, but there are soprano voices and alto voices from women, presumably originally sung by women. Perhaps the orchestra of the time was all male. But the thought passed as the music again spelt its magnificence. Andrew Koll was conducting an SATB choir of 27, including four solo voices, also SATB, and an orchestra of 27. No small feat. The place was St Christopher's Manuka and the sound was heavily reverberating, the seats were wooden pews. I recognised many players and singers so virtually all local, and Andrew commented on the strong local musical scene (despite ANU's wobbles). The sounds were presumably authentic to the era, different from a modern symphony orchestra. This group included recorders and Cor Anglais and organ continuo and massed trumpets and important bassoon bass lines and early walking bass. I loved the solo singing, Emma's soaring soprano through Maartje and Owen down to Andrew's bass: the vocal ornamentation and the earnest religious themes. But the choir is magnificence itself as it raises voice, a towering beauty of harmony from many fine voices. So a smile breaks on your face. It's blissful at these times. Bach is cool; a big Bach ensemble playing capably like this one is a thing of great joy. This was. The event was introduced by the German Ambassador but unusually she returned at the end of the performance, turning to the performers to talk for some time. This is German but now everyone's music and the German Ambassador was thanking Canberrans for playing it. To me, this just confirmed the success. CBE is returning for four Advent Cantatas in mid-November. It's a busy time, but I can only suggest don't miss it.


The Canberra Bach Ensemble was led by Andrew Koll (conductor) and Leanne Bear (orchestra leader) with soloists Emma Griffiths (soprano), Maartje Sevenster (alto), Owen Elsey (tenor) and Andrew Fysh (bass).

Jubilate SCUNA

This was one big gig and the best that I've heard from SCUNA. A big choir; lots of music; a fascinating series of takes on common themes. We heard two versions of Psalm 100, Jauchzet dem Herrn by Schütz and Jubilate Deo by Gabrieli. We heard a pair of Magnificats from Anerio and Anon and four Cantate Dominos from Monteverdi, Pitoni, Croce and Hassler. Two masses, Symphoniae Sacrae a 12 and Missa Brevis in F, both by Gabrieli and a Renaissance bracket with four songs of des Pres, Arcadelt, di Lasso and Parsons. To top it off, we heard an original piece by a member of the choir, in the style of all this, Domine, quid est homo? by Mark Chapman. I was speaking to a few of the choir before the performance and they were insistent on this. So they should be. What a link of past to present, that we have early music written today at ANU.

This was the best I've seen SCUNA, the most confident and the most hard working. The space was big and wet and the sound was full and rounded with voices merged to one. Just as the choristers like it (although too wet for many other styles). I thought I could identify the difference of Italian and northern - the Italian as more exultant and gregarious and the German as less ornate, more respectful, but I didn't convince myself from this collection, mainly because he balance was too Italian so statistically unreliable. Also one piece (the Cantate Domino of Giovanni Croce?) seemed to change in national character, firstly slow and devout, then more independent and outgoing, so what value that judgement? A Monteverdi Cantate Domino had me thinking of pop embellishments and how nothing is new. I enjoyed following a few sounds. The Allen organ was dramatic when it let go those low notes, deep and space filling and persistent, and it was ever present, more so than a little baroque pipe organ. The voice of Paul Eldon, visiting tenor, stood out a mile. The majesty of the baroque trumpets that sounded for several tunes. There was variation, too. Full choir or small choir, or full choir with semi-chorus, two small orchestras and that organ. St Christopher's doesn't have the presence of a mediaeval stone buttressed cathedral, but it's an apt place for all this religious joy and exultation. So this was a wonderful concert, much enjoyed and very extensive and intellectually challenging with its revisitations of common works.

The ANU Choral Society (SCUNA) was conducted by Andrew Koll (musical director) with cantor Paul Eldon (tenor), Anthony Smith (organ) and Charis Messalina (concert director, soprano). Too many others to mention, but suffice to say about 70 singers in two choirs and 17 instrumentalists in two orchestras.

Magnificence

SCUNA presented Bach’s Magnificat and Handel’s Dettingen Te Deum and it got me thinking. The Magnificat is actually the earliest Marian hymn with text from Luke’s Gospel, but in English we can hardly avoid the likeness with the word magnificent which has such common if careless use. So what is magnificent here? I felt the Handel was the “magnificent” one, being outspoken and undiminished and loud and glorious, but really it’s a much simpler work. The Bach is the richer and more complex music and clearly the harder one to perform, with that busily baroque ornamentation and the five soloists. I must listen again but it seemed much more worth the effort. But I loved them both. Megan had a bookgroup mate in the choir and she confirmed the Handel was easier; the Bach was a stretch. But I thought they did worthy justice and the joy of performing such works was clear. The fanfaring trumpets were in the gods, on a balcony above the rest; the soloists to the left came out for their parts; the large choir was arrayed in several rows across the back, behind repetiteur and chamber orchestra and conductor Andrew Koll. The setting was the Anglican church of St Paul’s at Manuka with its impressive organ and large altar area, big enough for all these performers, and bell ringers’ balcony, where the trumpets were located. The annual convention of Australian and New Zealand Association of Bell Ringers, the ANZAB Festival of Bells, had been here for the weekend and I’d heard the eight bells ringing several times but missed the Anzac Day peal. The altar is behind a large arch which I felt may have dulled the sound, but this music is not easily cowered. I particularly enjoyed the elation of timpani and baroque trumpets. A haggard atheist could almost believe God is in this beauty. Certainly Bach and Handel did. I also particularly enjoyed some solo parts: the soprano, of course, because it’s pure and reaches for the Heavens, but also a duo of baritone and alto. At one time, I was stuck by the sinuous melodies outlined by oboe and bassoons. I’d noticed musicians arriving only 10 minutes before the gig, and that looked like cutting it fine. But it all turned out nicely on the night. I felt the orchestra was particularly fine. This is music that oozes joy, and it was just highlighted by hearing SCUNA warm-down by singing their theme in an adjacent room as we departed. A joyous event with music that’s magnificent: Bach’s rich interplay of thoughtful lines and Handel’s sheer forthright declamation and a generous crew to perform it all. Lovely.

The ANU Choral Society (SCUNA) performed JS Bach Magnificat BWV243 and GF Handel Dettingen Te Deum HMV283 at St Paul’s Anglican Church at Manuka with Director Andrew Koll, Keren Dalzell (soprano), Samantha Lestavel (mezzo-soprano), Julia Wee (alto), Norman Meader (tenor), Nicholas Beecher (baritone), Anthony Smith (repetiteur) and Leanne Bear (orchestra leader).

Here and there

SCUNA called this concert Here, there and back again. Although I had forgotten the name at the time of the concert, I felt this movement. Firstly, the music was mediaeval accompanied by lute and harmonium and recorders. This speaks to me of belief and piety and great cathedrals but add percussion and classic 1 2+ or 1 2+3 rhythms and it’s more bawdy dens and rollicking wenches. Then I noticed a drone and more recent harmony (an understandable challenge to the choir) and touches of English that I recognised, speaking of sleep and love. This was obviously modern but still had resonances of deep choral history. The two feel returned with a dancable gait. Then more from the past and a return to the present singing “break my heart again … trying to pretend” and an end with gospel and blues: Swing low sweet chariot with a classic black male call, a blues lament and an odd but amusing disjunct of barbershop. It was a short concert or twleve short pieces and with no chatter with the audience. I would have liked to hear just what it was we were listening to. It’s common for choirs to have a historical bent, and SCUNA certainly displayed one here. Even the modern tunes had a relationship to the past despite more modern harmonies or lyrics. But it’s obvious the group enjoys its outings, and they are a decent choir singing a range of musics. I particularly enjoyed renewing a love of male voices when one tune featured a passage reminding me of chant. I enjoyed the solo voices and the gospel calls and the mediaeval sound of recorders and drums. I could imagine boisterous swilling and dancing as in one or another Breughel. But barbershop is where it ended, and that’s much more of the present. So, this was a lovely Sunday interlude that happened to celebrate the weekend of Australia day. As I left I thought of identity, a recurring theme on this weekend. Give us something to identify ourselves in the sweep of history, as this concert did. Better a greater understanding, than some nationalist symbol of us and them. SCUNA performed at the High Court for the Musical Offerings series, with Andrew Koll (conductor), Anthony Smith (repetiteur, keyboard) and Steven Weller (percussion).

Christmas as in schooner

Christmas is a time for choral concerts (any other time, too). This year’s was SCUNA with a program called Celestial harmonies : music for contemplation and celebration.

There were some strange but intriguing associations in this concert. Three versions of O magnum Mysterium, from de Victoria (~1600), de Cristo (~1600) and Lauriden (1974). There were several Schubert songs, one by a small sub-choir of women (SSAA), another by soprano accompanied by clarinet and piano. Then Rachmaninoff. The Vespers (or better, All night vigil Op.39, no.1-7) was performed by the full choir with organ and soprano voice. The Vespers were choral and predictable, but the two piano pieces, splitting each set into two parts, was an unexpected bit of programming. They were Prelude in D flat major and Etude-Tableau in C minor. Just the thing to challenge the jaded Christmas carol ear: not particularly celestial but riveting and an awakener. Then a few final tunes to end a generous concert, an encore and a rendition of Laudate nomen Domini (Christopher Tye, ~1550), apparently the theme song of SCUNA. I found the choir gelled better with some simpler harmonies. These were relatively complex charts: not just SATB, but SSAATTBBP, where my P is Basso Profundo (apparently down to D). I fancied the extremes of sopranos and basso profundo when they clearly rang out. I enjoyed the interplay of voices passing through harmonies. I really enjoyed the firm, confident solo soprano of Sarahlouise Owens in combination with choir for the Vespers and clarinet and piano for a Schubert. Despite its odd presence and slightly wonky upright, I relished Anthony Smith playing Rachmaninoff. This was a turn-of-the-century Russian romantic blast of huge handfulls of notes. It’s a surprise to see Anthony outside his continuo, subsidiary role for a change. The whole was led by Andrew Kroll with casual seriousness.

Finally, I enjoyed visiting St Andrew’s, which I pass by regularly. I expect this is our grandest church, even in its unfinished state. Canberra has a batch of post-religious brick constructions that lack the solemnity and magnificence that’s due to churches. This one is still awaiting its dome, but it’s sandstone in a stubby Greek cross design, high and spacious, nicely detailed with quotations inscribed in Art Deco script and furnishings with swirly gothic decoration, and with a heaven-seeking tower and gargoyles. Too bad about the British desire to hang flags in churches (I only noticed one), but for 99-year old Canberra, this is magnificence. And as for that name: SCUNA as in schooner; a perfectly lame university pun. Ya gotta love it. SCUNA (ANU Choral Society) was conducted by Andrew Kroll in large mixed and small female formations, accompanied by Anthony Smith (continuo, piano) and featured Sarahlouise Owens (soprano) and Hannah Freedman-Smith (clarinet) at the Church of St Andrew, Forrest.