Play it again

This was a fascinating choral outing, perhaps limited in theme and definitely in lyrics but consistent and varied in style and periods.  This was a concert by the Llewellyn Choir under Rowan Harvey-Martin with accompaniment from Anthony Smith and the content was 9 versions of Dona Nobis Pacem (= Give us peace), that hymn sung in Catholic churches, sourced from an earlier Da Pacem Domine taken from various Biblical quotes and finally introduced into the Mass in 687CE.  So it's moderately recent for the oldest institution of the Western World.  Our takes were more recent but to several centuries back.  Famed names including Haydnx2, Grieg, Mozart, JS Bach, Schubert, renowned moderns Vasks, Part, Jenkins, and Margutti and M Franck.  All with an encore of the trad. standard version that the audience was invited to join in on.  That was fun.  Rowan joked that we should know the words.  The styles were varied even if the words weren't and theme was common and apt for the times.  So, a quite intriguing concert of very unusual structure nicely done by this experienced choir.

The Llewellyn Choir performed 9 versions (10 with encore) of Dona Nobis Pacem at All Saints under Rowan Harvey-Martin (director) with accompaniment from Anthony Smith (piano, organ, glockenspiel).

CIV26

The mysterious title refers to the 72nd Intervarsity Choral Festival held in Canberra over the last week or so.  Shilong put out a call for orchestral players to play with the choristers for the final concert in mid-January to end the 2 week festival.  Given the main work was Brahms German Requiem, I was a ring-in.  It was all brought together over those 2 weeks with the final concert of ~150 in Llewellyn on Saturday, no doubt preceding a celebratory pub party thereafter.  Thus is the way of intervarsity events, at least from what I remember.  It was a long program.  The main work was the German requiem under Olivia with Andrew Fysh and Evangeline Osborne soloing; delicate and desperate and driving over 7 movements totalling ~1 hour.  What a thrill to revisit this work in the luxurious surroundings of Llewellyn Hall.  Then a second half with Phantom of the opera, Slavonic dances, Sabre dance and Brahms again with his playful but still challenging Academic Festival Overture, all under Shilong, and a final work, Everything sings, with the choir and Anthony Smith accompanying.  The first week was only 2 calls for strings while the second was busy with 1 for orchestra, 3 for orch & choir and the final concert.  But the thrill of Brahms stays and this was memorable and concentrated and interestingly with an orchestra thrown together from several local ensembles.  And to top it off, we were recorded by an engineer with 40 professional releases to his name.  Looking forward to hearing that.  A worthy performance of several great works.

Vita et Mors was the final concert of the Canberra Intervarsity Choral Festival 2026 (CIV26).  Shilong Ye and Olivia Swift (conductors) various led the choir and festival orchestra through Brahms x2, Lloyd Webber, Dvorak, Khachaturian and a final song by TC Takach accompanied by Anthony Smith (piano).  Soloists for the Brahms German Requiem were  Andrew Fysh and Evangeline Osborne (vocals).

Most worthy rehash of rehashes

I recorded the first of Mike Dooley's set of compositions in the styles of a string of periods and renowned composers, from baroque and classical to the romantics and impressionists, Mozart, Bach, Haydn, Beethoven, Clementi, Chopin and the like.  I guess it was a learning tool but more.  This was authentic in a ranges of styles, so his piano concerto had been played several times and the set is recorded and on streaming sites (Michael Dooley Anachronisms).  This was Anachronism's 10 year anniversary, Mike had written some string quartet parts, there one or two newbies, not least a latin called Tango in Cheek, where each pianist lined up to play a part with the string quartet.  Very amusing but also interesting musically.  After all, Mike is a pretty decent jazz improviser and that calls for latins too, even if he read this one. There were a series of some of the best pianists in town, Anthony Smith, Emily Leong, Jennifer Hou, Aaron Chew and Andrew Ramsay taking their pieces and the Grevillea String Quartet, and a very decent audience ready with all proceeds going to a charity project to build a school for children in Nigeria.  And it was a long night: 2.5 hours with the interval.  But so impressive.  Much admired.

Mike Dooley (composer, piano) presented a string of his compositions written in different musical styles played played by Mike and Anthony Smith, Emily Leong, Jennifer Hou, Aaron Chew and Andrew Ramsay (piano) with accompaniment by the Grevillea String Quartet comprising Vanessa Driver and Shilong Ye (violins), Julie Kate Horneman (viola) and Alex Moncur (cello).

Land and skies

This was a concert of open skies and land and nature, and not only of Australia. But there were Australian themes and local composers and the performers were obviously local and very worthy.  I like Canberra Choral Society and consider our annual outing of NCO/CSS in Llewelyn a highlight of my year.  This was accompanied by jsut piano, but the very worthy Anthony Smith with MD Dan Walker up front and featuring some of his arrangements and one composition and Mike Dooley in the room for a rendition of three movements of one of his works.  The concert started with Iceland, a capella with moving parallel fifths - stunning - and there was Philip Glass on piano and a Burt Bacharach South American gataway, a Swingle Singers lyric-free song from the film Butch Cassidy and the Sundance Kid, and a delicious Appalachian round, and a theatre piece from Kate Miller-Heidke and others on rabbits and colonialisation.  Then images of open Australian open spaces and big skies from Dan and trees and Norwegian tundra.  And Emily Dickinson on the Moon and sea and Lili Boulanger on the Sun in French.  Throughout, this was carefully expressed and well intoned and could be thrilling and fascinating.  For one, I loved the round.  So, another deeply satisfying outing for several mates and the CCS.

The Canberra Choral Society performed in Wesley church under Dan Walker (MD, conductor) with accompaniment from Anthony Smith (piano).

Boys' turn

It's not so much boys as young men when the Canberra Grammar School performs at Wesley, but given recent posts, it fits.  This was a smaller, shorter and more discrete performance.  A pianist was unwell so couldn't perform.  Otherwise, it was mostly solo performers with piano accompaniment -  clarinet, voice, alto sax-cum-voice - and a solo guitar.  All in preparation for HSC exams in coming weeks/months.  Some things never change, though.  First piece was a Katz-Chernin rag and it was lovely, played on clarinet, followed by a Poulenc second movement.  Second movements are commonly the slow,  contemplative ones.  Then that solo guitar, playing a tango, which fits guitar so well.  Then voice, but somewhat more modern in presence and in style, with one tune from the famous rap musical, Hamilton, and a similarly wordy, rhythmic, rap adjacent lyric with some sung pitches, Gnarls Barkley Crazy.  Then would be the missing piano and a final discombobulatingly different vocal with a Finzi tune that I'd heard before, all classical voice, perhaps tenor, incessantly melodic and story telling  and not at all rappy and two alto sax numbers from the same performer.  So a vast mix of styles and takes and tones.  Really quite a satisfying outing from the boys-to-men at CGS.

Canberra Grammar School students Alistair Bridgewater (clarinet), Pace Allen (guitar), Jarvis Christie (voice) and Willem Hehir (voice, alto sax) performs mostly with accompaniment by Anthony Smith (piano) at Wesley.

Satriani and more

I was amused just how different were the Wesley concerts of the CGS and CGGS (Canberra [Girls] Grammar School).  The CGGS concert was huge, with a string of performers, with choirs and larger ensembles, and located in the larger Wesley Church venue.   The CGS concert was mostly single or pairs of students with an accompanist performing in the Wesley Concert room ... and with two electric guitars.  But I enjoyed both the gigs.  Perhaps the difference was that the CGS concert featured 6 performers preparing for the HSC music exams.  So we had a Sally Greenaway, Elgar, Joe Satriani (unexpected, all tapping and chordal fingering, obviously on an e-guitar, not surprisingly Ibanez), Richard Percvile, Paganini, JS Bach (on another Ibanez electric guitar, this time a wide, flat maple-necked 7-string) and Hindemith.  The playing was good to excellent and always entertaining: the piano accompaniment from Anthony Smith was also excellent; interestingly one performer, Ben Monro, appeared on two instruments, cello and trumpet; those two Ibanez guitars and especially the Satriani were unexpected but interesting; the other instruments were flute, oboe and viola.  So a mix of capable players in preparation for exams.  Great.

Six players on various instruments appeared at Wesley in preparation for their HSC performance exams.

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.

Weekend 2

Sunday was another 3pm mega event.  I was somewhat hassled, having a first go at multitracking recording.  I have most of the gear and the knowledge, but not sure of cables and stands and the like.  In the end, I managed most if not all that I'd like, but it was informative and satisfying.  Super embarrassingly, my phone went off in the performance.  I had "Do Not Disturb" on.  Note to all: check your Android Do Not Disturb settings (and I guess whatever in i-World).  I get few calls and I've never had a call interrupt a concert before, but this was a repeated call, and that was allowed as a default setting on my phone!!!  Suffice to say, not now.  And at the end, a Melbourne mate arrived, unexpected, at the concert, finding me.  Strange events.  But how was the concert?  Just wonderful.  I sat near the Evangelist (tenor) and he impressed.  So did Jesus (as he should)!  Hayley was on bass and did a wonderful job.  I enjoyed following the violins and always enjoy bassoon.  Why are they always so capable and clear toned in our bass range?  I followed the words (recitatives in English; chorals in German with translations).  The story touched me, taking me back to Catholic schooldays.  Not converted, but touched.  Wondering about why this tree or that event.  These stories are old and have resonances that our society isn't aware of these days.  Well, it is the Bible, after all with its long resonances for our/my Euro  culture.  And thinking of German Easter Sundays in Bach's days, presumably the congregation hearing St John's Passion part 1, then a sermon (we had coffee!), then part 2, then I guess a mass and the rest.  They were committed. And also thinking of several musos who had said they'd prefer St Matthew's Passion, given this was so powerful.  Well, it may be a bit better on records, but not much, and the presence and surroundings, even if just modern brick, seemed apt and  the music, both written and played, was fabulous.  How much did I enjoy this?  Enjoy may not be the word, but very much and deeply.  Many thanks to Igitur Nos and Matthew Stuckings and the crew he gathered for this performance.

Igitur Nos Chamber Choir performed under Matthew Stuckings (musical director).  Igitur Nos performed as a choir of ~20 with several soloists and a chamber orchestra of 14.  Soloists were Kent McIntosh (Evangelist, tenor), Sitiveni Talei (Jesus, baritone), Maartje Sevenster (contralto), Cassandra Hmble (soprano), Colin Miller (Pilate, baritone) and Great Claringbould (soprano).  Anthony Smith played continuo (keyboard ). Hayley Manning (bass) provided the bottom end.

Melting moments

I'm now listening to Emma Kirkby and Christopher Hogwood and the Academy of Ancient Music playing Mozart Requiem and they are better than SCUNA was last night.  But that's saying nothing.  I still melted in the ensemble passages, the power and commitment were there with nice intonation and some standout voices peaking through.  They were missing one bass soloist (the other covered) and others from Covid or whatever, but they were still eminently satisfying.  And the soloists had nice voices and worthy intonation, if a little more projection might have helped.  But they didn't have the support of a period orchestra, just a pipe organ, but again, well played by one of our local stars, Anthony Smith, under the baton of another, Matthew Stuckings.  This is music to draw tears and I did feel the pull at times from power and pensiveness and serious intent.  It's from another era of course, but eternal in a cultural way even for those less religious.  An alternative to social media?  Yeah.  Be drenched in a major choral work and rediscover your soul, eternal or otherwise.  So not Emma Kirby and AAM?  No, but SCUNA have history and commitment and, even as a non-auditioned choir, that intent and capability and intelligence that is endemic in Canberra and is why I love this town.  And I've hardly even mentioned that Mozart is a god and these works are to die for.  I melted over this.  Great work!

The ANU Choral Society (SCUNA) performed Mozart Coronaton Mass and Requiem at Wesley under Matthew Stuckings (director) and with repetiteur Anthony Smith (pipe organ).

Jelly's roll

Mila was rushed at first, arriving quite late, for some reason held up.  It showed for some of the Bach prelude that started the concert.  She was playing solo violin this piece, and the arpeggios over the fingerboard gradually got more convincing and settled as she settled.  I have no problem with this.  Then into some confident, rich playing on the following fugue then the Mozart, Ravel and Prokofiev, all with accompaniment from Anthony Smith.  The first pieces didn't surprise me at all, Bach being Bach and Mozart also being his joyous self.  The Prokofiev was different, initially sparse, but then into busy and intriguing, not least the pizz.  It was a violin concerto as were the others, but quite a different beast,.  And then to the most different, very far from Bolero, Ravel Tzigane,  He'd written the piece for Hungarian violinist Jelly d'Aranyi from a commission.  Lots of feature solo passages with harmonics or screeds of notes then into bouncy then dissonant pizz stuff with piano.  Even a touch of danceable fours.  A strange but fascinating piece, no doubt a show piece for both Jelly and Mila.  Mila did it great justice.  So impressed with this intriguing piece of great unexpectedness.  Mila did a great job.   They teach them great and young. 

Mila Haydon (violin) performed the music of four European masters with accompaniment from Anthony Smith (piano) at Wesley.

Mixtape

It was another tough outing to record at Wesley.  Well, I jest, of course: it was a great pleasure.  Today was current CSO Kingsland Resident Artist, Lucy Macourt, playing with accompanist Anthony Smith.  I say mixtape with some truth, given a violin solo Piazzola tango etude to start and an arrangement of Gershwin Summertime from Porgy and Bess to end.  But the core was most of the program and it was nothing like this: Cesar Frank and Fritz Kreisler.  The Kriesler is well know, his Praeludium and Allegro. Not so sure of the Frank Sonata in A major.  But both were a pleasure and quite a challenge.  Lucy did it all proud and loud.  She's not a meek voice on the violin.  Strong and determined and very definite.  I liked it.  Anthony is always a pleasure.  I do wonder how these accompanists do their job.  They must be great readers, especially given the complexity over varied lines and chords and hands on a piano.  All beyond me, but this was a great pleasure.  Then strangely, as I left, I saw a mate from FNCO and MdC, Sally, and it turns out she's Lucy's aunt.  Clearly a musical family; I wonder what that would be like.

Lucy Macourt (violin) performed at Wesley with accompanist Anthony Smith (piano).

Masters

Thanks to George for asking me to record Georgina.  I've watched Georgina for several years and played with her occasionally but as is with youth, she's blossomed.  She's now in her honours year in violin performance (UQ) and seeking entry to a Masters program.  My recording is a help towards that.  How they play!  She performed with accompaniment by Anthony Smith, so this was a mighty pairing with some unique music.  First up, a movement from Saint-Saens Violin concerto no.3.  Then some solo Bach from his Violin sonata no.3.  Then the odd one, Ravel Violin sonata no.2.  Why odd?  Just not at all like baroque or classical or romantic.  This had growls and rhythmic grooves and the like.  Some reminded me of modern US music, perhaps even country.  I guess that was the growls; the grooves perhaps suggested funky something or other.  But so nicely played all around.  Nicely intoned, alive and vibrant, fast and sometimes furious, delicate and formal as required.  I can just hope she takes a Masters spot.  I cna only imagine she deserves it.

Georgina Chan (violin) performed a recital with accompanist Anthony Smith (piano) at Wesley.

Weddings, parties...

A chamber group from the Maruki Orchestra played for the funeral service of Anne Bicknell at Albert Hall. It's not a normal gig but Anne was a foundational member of Maruki and had rehearsed the day before she suddenly and unexpectedly collapsed. Anne was always a helpful, supportive smiling face, welcoming and musical and no doubt a much-loved and worthy doctor as well (she was a GP in Ainslie and Director at BreastScan ACT). Her musical interests ranged widely, from AYO to the Australian and International Doctors' Orchestra. The musical tributes included her nephews Charles and Raphael Hudson singing Handel with Anthony Smith and our Maruki chamber-sized group playing Beethoven Violin concerto Dmaj op.61 mvt.2 Larghetto with John Gould as soloist. Anne will be missed.

Maruki Orchestra, John Gould, Charles Hudson, Raphael Hudson and Anthony Smith performed at the funeral celebration of Anne Margaret Bicknell.

Our fave Beethoven

ABC ClassicFM has its annual Classic100 awards and this year it was for favourite composer and Beethoven won it. Probably you could have guessed the outcome, but Bach (no.2) and Mozart (no.3) were always runners, too. So it was opportune for the Llewellyn Choir to stage a Beethoven program. The main work was his Mass in C major; the others were Egmont overture and Choral fantasy. It was a great program and wonderfully performed. I hadn't heard the mass, but a mass is inevitably recognisable and thus familiar comprising the same run of titles, and, I guess, text. After all, the Catholic mass is a standardised and repetitive thing with a long history. The Egmont overture is well known but perhaps my least favourite on the night despite the effective performance. The Choral fantasy was new to me and a strange thing harking to the ninth symphony. It's solo piano for the first adagio movement, then into piano accompanied by orchestra and the choral section with two vocal soloists for the last few minutes. Odd and somewhat amusing but with some nice lines and several passages that clearly lead to the choral symphony. Renowned local piano accompanist Anthony Smith appeared as a piano soloist and did a great job. Four soloists appeared in the mass and their voices and interweaving harmonies were a great pleasure. I especially enjoyed Greta's soaring soprano and Paul's firm and strongly enunciated tenor. The Llewellyn Sinfonia was a nicely capable outfit and a great pleasure, obviously brought together for this program but featuring a string of CSO and such players. Nice to see the bass section of Max McBride and Dave Flynn. So, this was a great performance and a huge pleasure and, from the drinks and congratulations after, widely seen as a success. Wonderful and inspiring.

Llewellyn Choir and Sinfonia performed a Beethoven program including his Mass in C major in Llewellyn under Rowan Harvey-Martin (conductor) with soloists Anthony Smith (piano), Greta Claringbould (soprano), Jennifer Bennett (soprano), Ellen Malone (mezzo-soprano), Paul McMahon (tenor), Peter Ellis (tenor) and Christopher Richardson (bass). Lisa Stewart (violin) was concertmaster and Max McBride and David Flynn (basses) filled the bottom end.

Good hands

One week Wesley scholars; following week ANU Open School. I caught a selection of Open School players at Wesley. These are the H-course/prep students, so Year 11/12 on a range of instruments each playing a short chamber piece, two with professional accompaniment. They are keen: so keen that one had to have rush off to an exam and the program order was changed to allow him to play. First up, a Doppler rondo played by Luka and Jenni on two flutes with Geoffrey on piano. I think it was Luke who had the exam. Lovely, tuneful piece with strangely different flute tones. I guess flutes do have diverse tones, as any instruments do, but I seldom hear tow together like this. Then a movement of a Mozart Oboe concerto by Gudrun with Anthony in accompaniment. Mozart can only be a pleasure. Then a seriously challenging work, Joshua playing Scriabin Sonata Fantasy no.2 G#minor (what key is that!). Stunning and daring and well done. The flautist Jenni returned to play a solo piece, Clarke Great train race (1993), that so obviously spelled out the sounds and tempos of trains. Played from memory. Then Rohan on trumpet with Anthony accompanying on Turrin Caprice for trumpet and piano, strong and toneful. And to finish, Isaiah playing a solo violin Bach Partita no.1 Bmin. A great range of materials, all well played, all showing the seriousness of the kids doing this. My favourite was the stunningly challenging Scriabin (G#min?) but I enjoyed it all immensely. It seems our musical future is in good hands.

ANU Open School of Music students played a concert at Wesley. The performers were Luka Ruwette (flute), Jenni Pittock (flute), Gudrun Drake (oboe), Joshua Clift (piano), Rohan Heffernan (trumpet), Isaiah Bondfield (violin) with Anthony Smith (piano) variously providing accompaniment.

Gloria!

We were celebrating the day after the election ... at least the death of Queen Mary but also her birthday and, I guess, Jesus. This was SCUNA, the amusingly named choral society hinting at inebriation, and they had their orchestra (virtually all players from NCO) and two solo singers, soprano Veronica and mezzo AJ under Lennie. The tympanis were out for the renowned and hugely memorable funeral march. I'm told the tymps were added later and this arrangement was used in the renowned '70s film, Clockwork Orange. "He cometh up and is cut down like a flower" / "of whom may we seek for succour" / "who for our sins art justly displeased" / "deliver us not into the bitter pains". It's a heavy feeling. This was perhaps the most intense and stunning work but not the Gloria of the program. That was Vivaldi's. First half Purcell with the Queen's funeral march and Come ye sons of art, written for a birthday of Queen Anne (royalty was presumably good for commissions; these days I guess it's the mining industry) then Vivaldi Gloria in D major after interval. So a generous program to raise the spirits or, with QM, to delve into depths. Glorious music throughout. The two soloist vocalists were great and fitted neatly together in duet passages. I especially enjoyed AJ's solos. The choral singing was generous and the musical passages nicely presented. Evelyn on cello was busy and did a particularly satisfying job. Lenny led it all and even doubled on trumpet at one time. I know of harp and carillon and he was toying with a violin in the break. What else does he play? So, a great comedown from election weekend. Who needed it?

SCUNA (ANU Choral Society) presented Purcell and Vivaldi at St Peter's Lutheran Church. Leonard Weiss (conductor) directed with soloists Veronica Milroy (soprano) and AJ America (mezzo soprano) and accompaniment by Anthony Smith (keys, organ) and the SCUNA orchestra with bass provided by Evelyn Andrew (cello).

Pre-visiting

This was Matt Withers and Callum Henshaw performing Rodrigo Concerto Madrigal at Wesley with Anthony Smith on piano. Matt joked that Anthony was their orchestra on the day then went on to invite the audience to hear this work in a few weeks with a full orchestra, in this case, the National Capital Orchestra in Llewellyn on 7 April. I'm in that, so this was a pre-visit/preview for me too. Not that we haven't played it through a few times and listened to other performances. But it's something special and a bit unusual to hear the concerto you are to play, performed in this format by the very people who will lead. It was an eye-opener. I was surprised by the extent of the work (12 movements over ~33mins), but not by its endlessly Spanish character and dancing rhythms and tangy guitar tones. Matt and Callum played well together, looking up for solo lines or ends and starts but otherwise intent of the complex, chordal charts that are guitar scores. Being a string player, I also enjoyed the quick lines of fretted notes high up the neck, especially when the two came together, in harmony or unison or jagged echoes. Guitar is plucked so sharp and so unlike other strings with their genial attacks and long sustains. This is all tack-sharp, cutting, alive and biting as we imagine the tap and snap of Flamenco and other Spanish styles. Looking forward to a night of this with Matt and Callum soon.

Matt Withers and Callum Henshaw (guitars) performed Rodrigo at Wesley with Anthony Smith (piano) accompanying.

PS. Wesley had baked a cake for Bach's 333rd birthday on 21 March 2018 (in preparation for a birthday organ concert that evening).

Vivacity

The concert was entitled Vivacious. It certainly must have been active for a day or two before as one performer was sick and the program and even the handout had to be redone. Katherine was introducing Faure Sicilienne saying she's expect to play it better than when she learn it as a kid. No doubt she did (her performance sounded nothing like the work of an early player) but I guess that meant it was a late insertion. None the less, they did great. The soloists were Fiona Dickson on flute and Katherine Wilkinson on cello, with Anthony Smith piano accompaniment. Katherine played Pergolesi, Faure and Beethoven sonata no.3 Amaj for cello and piano. Fiona played Debussy and Bartok. A varied program in time although with several songs of historical or geographical interest. Anthony is a master and always on form. Fiona and Katherine were each excellent in commitment, interpretation, dynamics. I think the Beethoven was my favourite, although the Debussy was airy and playful, even if some related to tombs or rattlesnake dancers. The invocation of Pan at the start must have carried over to the rest. It's a great pleasure to have Wesley and lunchtime concert like this on the doorstep and this was a notable example.

Fiona Dickson (flute), Katherine Wilkinson (cello) performed duets with Anthony Smith (piano) at Wesley Music Centre.

Esthe-tics

Sunday morning was an unusual outing, to the National Portrait Gallery to sit in on an open rehearsal of a Handel Oratorio. It was in the foyer, so very public, led by Tobias Cole with a few familiar faces amongst the 10-or-so singers. Anthony Smith played piano accompaniment (nothing unexpected there) and a choreographer sat next to Anthony, jotting on various papers, occasionally getting up to test some steps. I heard 90 minutes of voice rehearsals. There were to be a few minutes of choreography, but I couldn't stay. The music was divine, of course, and the singers well up to it. Interesting to see the approaches to learning the songs: sometimes just saying phrases to confirm rhythm; most times singing in harmony. These singers are capable, so single sections didn't often need to sing their parts alone, but it did happen. They had music, but they also had eyes for Tobias, the director, and he's active so a very strong guidance. I've had one choir session with him and I can confirm that: learning related skills; playing with dissonances; spelling out rhythms; singing interesting scales, was it diminisheds? This was luscious music with cascading lines of this period and grand, coronational melodies. Lovely, certainly worthy of attendance. This will be Tobias' third Handel oratorio in three years: a worthy pursuit. Looking forward to it in late-October at the Playhouse. And another open rehearsal sometime before then.

Tobias Cole (musical director) led an open rehearsal for Handel Esther in the National Portrait Gallery. Anthony Smith (piano) accompanied.

Mixed competitors

This was obviously a challenge for the five players who competed to be the concerto soloist for the Canberra Youth Orchestra for its concert in August. They each played the first movement of their chosen concerto. Anthony Smith accompanied on piano. And, interestingly, each played a different instrument. Not sure if they were more than five entrants, but there were five judged at this concert. The judges were amongst the senior performers in town: Leonard Weiss (not quite so senior), Tor Fromyhr, Paul McMahon and new ANUSOM director, Ken Lampl. They were all faces I recognised, being from the CYO, or perhaps NCO or other. The players were: Juniper Bedwell playing Weber Clarinet concerto no.1; Charlie Barnes playing Hummel Trumpet concerto; Hayley Manning playing Koussevitzky Double bass concerto; Shirahni Mudaliar playing Mozart Violin concerto no.3; Chayla Ueckert-Smith playing Vaughan Williams Concerto for oboe and strings. Chayla played from memory; Charlie mostly so. They were vastly different in tonality and technique and style. We listened, families recorded, we compared, for comparison this is. The judges considered but we are yet to hear their decision. A 2 week delay was mentioned. Ken Lampl finished with congratulations and a talk highlighting the value of the commitment required. We left wondering. Who will play in August? My guesses have been shown to err in the past, so no hints from me...

Juniper Bedwell (clarinet), Charlie Barnes (trumpet), Hayley Manning (double bass), Shirahni Mudaliar (violin) and Chayla Ueckert-Smith (oboe) competed in the CYO concerto competition at Wesley. The judges were Leonard Weiss, Tor Fromyhr, Paul McMahon and Ken Lampl. The accompanist was Anthony Smith (piano).