Young and younger

My God, they are getting younger! We went to the Canberra Youth Orchestra last night and the soloist was a 12 year old who made the rest of the orchestra look like mid-lifers. Christian Li was little, young, wildly capable, a winner of international awards, now studying at ANAM. He played the Bruch violin concerto with confidence and clear virtuosity and an understanding which far passed his years. That was the final piece for the night. Before that, the orchestra itself had performed in full form, a decent size, and we were hugely pleased. Intonation was nice; dynamics impressive (something to learn there!); interpretation apt. Perhaps later, after interval, after we moved and could hear the full ensemble more clearly, I caught some slips or mis-pitches, but minor. The first half was under Max McBride. Then Max retired to the bass section and Rowan Harvey-Martin took the baton. First half was Enescu Romanian rhapsody no.2 and Holst Perfect fool, both little known at least to us. The Holst was quite a strange piece but entertaining in its oddities, fitting the title. The second half was Delius Walk to the Paradise Garden and Bruch Violin concerto no.1 Gmin. Most impressive all round and the group grows younger and younger. But another positive, the numbers: are they growing? It was mentioned by the hosts and I didn't hear a call for violas and basses before this concert. All round, a great listen and a positive local outlook. We hope, as the arts shrinks in governmental thoughts. Carbon prevails, I guess. Proof: the night ended with an announcement to not fret: the hall was not on fire. Just that the smoke from bushfires outside Braidwood had entered the aircon. Outside, it was smokey and ANU alarms were in whooping. Our brave new world.

The Canberra Youth Orchestra performed at Llewellyn Hall under Max McBride and Rowan Harvey-Martin (conductors) with soloist Christian Li (violin).

Revisiting youth

I've enjoyed my last few years playing in orchestras but I really thought I'd left my run for the Canberra Youth Orchestra a little late. But no! Last night I played with CYO in Carmina Burana! I joked about that with someone and they commented on the interchangeability of orchestras in Canberra. Perhaps because we are a smallish community where people have common connections and are physically mobile and flexible. Also that we are pretty well endowed with classical opportunities. I hope this lasts. At least last night, the complete viola and bass sections were friends or alumni. And they often just drop in at the last minute. I only sat in Friday night and Saturday morning before the performance on Saturday night. But it's quite readable for bass and I'd played it before. Not sure the singing was so easy. Canberra Choral Society provided most of that and they performed a treat. There were less frequent kids voices from the Canberra Children's Choir and some accompanying aged voices from Seasoned Voices. That was fascinating: the two ends of a singer's life represented in these mediaeval words put, fairly recently, to music (Carl Orff wrote Carmina Burana in the 1930s using mediaeval texts). Plus there were solo singers, soprano Rachael Duncan, tenor Tobias Cole and baritone Andrew O'Connor. They impressed massively, not least Rachael's glorious and touching resolution with the endless (8 bar+) sustained high note and Tobias' black boa and matching theatricality. The choir had been prepared by Dan Walker and he sang amongst the tenors. Otherwise, there was the CYO itself with its friends and alumni. Great job by them and all. I sat by the percussion and they were wondrously varied and sharp. The winds did a great job with their features. The basses done good, too. I'm pleased to notice my own improvement over recent years. I played CB with NCO in July 2016 but I felt far more in command this time. That's a personal satisfaction. And again Lenny is passing a baton: this was his last concert with CYO before going off to study in Baltimore. And perhaps just one oddity to mention: a classical concert with no interval, just the uninterrupted Carmina. This was a great pleasure and a wonderfully evocative and successful rendition of this popular classic.

Carmina Burana was presented by Canberra Youth Orchestra, Canberra Choral Society, Canberra Children's Choir and Seasoned Voices with soloists Rachael Duncan (soprano), Tobias Cole (tenor) and Andrew O'Connor (baritone) under Leonard Weiss (conductor) and Dan Walker (chorus master). The bass section was Hayley Manning (principal), Kyle Daniel, Chelsea Kennett and Eric Pozza.

Before Llewellyn 1

This was the day of another Llewellyn concert with NCO but a strange one. It was more than just making sandwiches for the after-party. That's common for these non-professional orchestras. As usual, the day started with a warmup on stage at Llewellyn. The CYO (Canberra Youth Orchestra) was there before us, practising an orchestral take on David Bowie Space oddity. I was surprised to see the full bass lines charted out for Hayley, very busy with semiquavers. It's odd that a line that would have been improvised on a chord chart becomes dots for an orchestral player but congrats to Hayley for taking on such a demanding thing. I noticed a score for a Star Wars suite by Lenny's music stand, so this looks like a very approachable and popular concert coming up. Then our practice. Mainly a warmup for the first half. Smetana Moldau and Christopher Gordon Ceremonial Games. Christopher, the composer, was there for the rehearsal and gave some input. This work had only been heard at the opening of the Melbourne Commonwealth Games. The suite that we played was a selection of 3 from the original of 13 movements and we were to play the world concert premiere. A premiere always adds a little excitement to a concert. Then off home to make those sandwiches.

Canberra Youth Orchestra and National Capital Orchestra rehearsed on the stage at Llewellyn Hall.

Afternoon at TheL

For this purpose, TheL is Llewellyn Hall (as TheQ is QPAC). Saturday was to be a concert at night and prep during the day but this day was more. I arrived to hear Canberra Youth Orchestra on stage rehearsing the Peer Gynt Suite. Just 20mins or so but always informative. Lenny conducting. He's a busy one and he's going places. Then a run through for the evening's NCO performance of a string of Spanish music and one world premiere. The composer of the premiere, Jessica Wells, was there to listen and advise. Then the guitar pieces with Matt Withers and Callum Henshaw. That finished a little after 2pm so next door to Wig & Pen where John Mackey and Leisa Keen were running a jam session. There were several brass and sax players sitting in: new names I hadn't met. Leisa provided concert and Bb charts in her singing keys. Mostly renowned standards: Lullaby of Birdland, Blue bossa, Fly me to the Moon, Tenor madness and the like. For one ballad, Leisa asked if I had a bow and my classical offsider, Geoff Prime, was there with his so I could oblige. That was a change and louder than pizz so easier work. I had a bass and no amp, so jazz pizz was a workout. I retired after two sets to prepare for the evening. Great to play with John and Leisa and the others. Leisa is nicely professional, with a great take on voice and piano, not least for her convincing LH bass while singing and chording. Impressive and engaging. John, of course, just blew the house down whenever he started playing. Miro arrived as I was leaving so I missed that set. Too bad. Then home to prepare, get into stage black for the evening, to be in for the pre-concert talk at 6.30.

Jazzy youf

Jazz meets classics. It's not the first time this year for the Canberra Youth Orchestra. There's much to say about this outing. It's the last concert of their 50th year season and the orchestra was big, partly from ~20 CYO alumni who were sitting in. So the bass section was 6 not 5 and the orchestra was seriously big. The audience was also generous: Llewellyn Hall was virtually full. And the featured guests, James Morrison and his quartet, were a blast. So what to make of all this? The orchestra introduced each set with a piece. First set, this was Gershwin American in Paris; second set was Copland Appalachian Spring concert suite. All well performed but I had a clear preference. The Gershwin was a busy, street-wise piece, challenging and alive; the Copland is well-recognised and features some recognisable themes, but seemed relatively tame. Obviously, I preferred the Gershwin. Then, Morrison came on for a few tunes each set. James Morrison is a superb instrumentalist, fabulously adept at multiple instruments, clearly world-class in his field. And he's an entertainer, jokey and personable, as you need to be to make a living in this business. And he has a great little band with him: two sons, on guitar and bass, and a drummer. I'd seen most of the band (without papa) at Smiths and been mightily impressed by their dynamics, their cleverness and chops, their melodicism and the rest. They are seriously good players and papa is world-class. No doubt. And he's an entertainer, so those non-jazzy types were putty in his hands. We got a powerful blast of post-swing jazz and we knew it was good. JM does it throughout the world; that mix of hot jazz and luscious orchestration. He did it for us here, too, and I loved it. It sells, it's popular, it's supremely capable and very inviting entertainment. Local Zach Raffan came on too, to jam with the master. He did well, although James was obviously being gentle. JM is seriously a master of very many instruments. His ease of melodicism, his embellishments, his beauteous tone, especially on the various brass instruments, trumpet, flugelhorn, trombone, were a thing to admire. His flugelhorn was the strangest look, vertical with rotary valves, but had the sweetest tone I've heard. His trombone came with polyphonics (perhaps courtesy of his chops??). His piano was impressive. His chatter was polished. They played All blues, Enchanted (an original by JM), Round midnight, Caravan, Mood indigo, Love is a many splendoured thing, My funny valentine, El gato (Ellington) and a blues encore. All hot as or emotional as. I could only dream of playing like this. Dynamics, melodies, ease. Not too much challenge but always right and richly inventive within its world. Not the current state of the art, but hugely capable and I loved it. And the added orchestral richness was a huge pleasure.

The Canberra Youth Orchestra performed at Llewellyn Hall with the James Morrison Quartet comprising James Morrison (trumpet, flugelhorn, soprano sax, trombone, piano), William Morrison (guitar), Harry Morrison (bass) and Patrick Danao (drums).

Dealing with complexities

The CYO were out again in force and they were a feat of goodies. They were certainly out in force: there were about 70 of them, with 6 basses - in these straitened times, probably the biggest orchestra I hear. It fitted the repertoire which included a feast of brass- and percussion-heavy tunes, fanfares and the like. Certainly Stravinsky Firebird suite and Shostakovich Festive overture but also Hindemith Symphonic metamorphosis of themes by Carl Maria von Weber. It was a big program, but otherwise the works were more restrained. This 50th anniversary series features guests. The guests tonight were from the orchestra, the winner and runner-up from the CYO concerto competition, Shirahni Mudaliar playing Mozart the first movement of his violin concerto no.3 (not at all brassy or raucous) and winner Chayla Ueckert-Smith playing Vaughan Williams concerto for oboe and strings (more rural and again not rowdy). Both played well. I found it quite an ear-opener to hear such an expanse of oboe, which otherwise bobs up amongst strings or up front to tune. You can't help but be taken in by the fanfares and thus the Firebird, but I liked the Hindemith for its more modern take on traditions. Interesting. In the presence of the ACT minister, I was mulling over the value of all the CYO and all these traditions. There are people who call the classics (or jazz, for that matter, or most high arts) something of the past, out of time, irrelevant, but then I think of the effort, the commitment, the complexity and demands. Kids who take on such complexities don't have to end up in music, but their training is of a level above then four chord simplicities of commercial, more popular but superficial forms, and it's those thus trained who will provide the informed citizens, the capable specialists and scientists that society needs and benefits from. In fact, from here comes our wealth. I've been bemused by the number of PhDs, doctors and the like that I've encountered in the community classical scene. The CYO is one starter for a rich, intelligent, informed life.

The Canberra Youth Orchestra under Leonard Weiss performed Stravinsky, Shostakovich, Hindemith, Mozart and Vaughan Williams at Llewellyn Hall. Soloists were Chayla Ueckert-Smith (oboe) and Shirahni Mudaliar (violin).

Big and bigger

I find it intriguing that, as I play more, I hear more. In this case, it's classical, orchestral music and what I hear is the details, the difficulties of a piece, the approaches and capabilities of the players. It's to be expected. The pieces I have played are even more understood, so more clearly observed. Last night was the CYO, the Canberra Youth Orchestra, in two formations. Firstly, as a string orchestra playing Philip Glass with Gabi Sultana. Secondly, as a symphony orchestra in large array playing Mahler symphony no.1. I don't know either piece in particular, but I'm mightily impressed by the commitment. These are both major works. PG's Tirol concerto is a later work displaying his regularity, twists and turns, minimalism in common parlance, but I thought with more investigation and variation, and although it displayed some trade mark rhythmic patterns and harmonies, there seemed also to be dissonant harmonies and different approaches to rhythm that I wouldn't so obviously have picked. So this was interesting. I was surprised when it all started with Gabi Sultana playing a solo piano introduction; I enjoyed the PG regularity and fluctuations and mutations; I savoured the bass ostinatos in the last movement. Nicely played by the orchestra with considerable affinity and counting. I wondered if it could have used more dynamics, but maybe that's PG again. And I was surprised by the warm reception of this PG piece: minimalism is not always so warmly welcomed, so this also was instructive. But I shouldn't have worried about dynamics. The next piece was Mahler and it was big and long and softly varied and playful with fanfares and popular song and the CYO's dynamics were great: well interpreted, unforgiving, apt. This is 55 minutes in four movements. It twists and plays and insinuates its melodies, starting with the slightest of sustained sounds with various injected features from muted brass or horn (lots of) or other, but welling, and by the end of the first movement, blaring, and leaving me wondering just how we'd gotten there. Then a louder scherzo and into a delicate waltz. Again, how did that happen? Then a solo muted bass playing Frere Jacques (thanks Hayley) that moves through the orchestra with various other folk melodies and a outspoken final movement. Hayley's notes talk of a return to D major marking a heroic victory. It was certainly a heroic and successful outing by the CYO. Easy and intense dynamics, capable ensemble playing, decent intonation and impressive technique, a very able take on a very substantial work. Lots of horns (8?), lots of brass, lots of players: it's certainly a massed work. I read 72 names in the program and assume all played for this piece. I note a few (more mature) CYO alumni were invited back to expand the masses, I guess to make up the extra forces needed for a Mahler. So, a massively successful concert that will presumably form an indelible memory for these players. Congratulations to Lennie and his arrayed mates.

Canberra Youth Orchestra performed Philip Glass Tirol concerto with Gabi Sultana (piano) and Mahler symphony no.1, called the "Titan" at Llewellyn Hall under Leonard Weiss (conductor).

PS. I missed mention of Gabi's encore rendition of George Crumb Cadencza Apocalittica (Tora! Tora! Tora! Makrokosmos II). My apoliges to Christian. This was a work of intense action. Christian tells me it recounts the Japanese raid on Pearl Harbour: high tinkering chords, then a heavy full handed dropping gliss over the full keyboard and rumbling low notes, then final slaps on lows strings under the lid. Then again, sometimes some chords. Repeated, finally played against a call of Tora! Tora! Tora! Japanese, intense, threatening, ultimately deadly and unyielding. Apocaliptic. Such a difference from the other two pieces, so heavy and modern and a strong and committed performance by Gabi. A stunning piece of program music, and like all such, made immensely more interesting by knowing the narrative.

It comes to us all

It was the start of the 50th anniversary season for the Canberra Youth Orchestra and it was jazz. Well, jazz as crossed over via film and classics but close enough. The guests were The Idea of North, once formed in this very institution, now a seriously capable vocal quartet. They were backed by the orchestra for most songs, but did one or some parts alone. I liked them best then, when I could really luxuriate in the fabulously precise and complex harmonies. That's the great pleasure of a vocal group and it can be lost to some degree, from backing and from a necessary but intrusive PA. (I have learned that all PAs are intrusive to acoustic sounds; to my ears, only some mega-costly outdoor PAs have come very close to transparency. Not that I don't love PAs but that's another story). The orchestra was a pleasure even if it inevitably intruded on the sublimity of isolated vocals. They played with care and interaction and a good sense of swing, often playing the role of a massive big band. For big they were: ~77 players. But best from the orchestra was their solo spots, two from Bernstein, his Overture to Candide, but more so, the tragic and dramatic mix that is his Symphonic dances from West Side Story. WSS is a personal lifetime highlight, the film, the tragic and touching music, the fabulous dance, the mirroring of the Romeo & Juliet story, the politically-relevant themes. The symphonic work plays with this, calling up stories and images from the film (and presumably the original Broadway show), the rumbles, the loves, the losses. Tragic and touching, sentimental but real. I love it dearly and I loved to hear it live and they did it with gusto and a slightly rough edge at times. CYO came more to date with the Suite from How to train you dragon, but it's too late a film for my experience. Otherwise, the songs were standards, again some of my favourites: Secret love, Smile. A final Mas que nada, a '60s latin hit. A take on It don't mean a thing that was arranged by Naomi Crellin and conductor Leonard Weiss. Interesting and effective. Also a lovely take on Send in the clowns. But entertainment was never far from the surface; these are professional singers and they have to make a buck. So one song featured beatboxing vocal drumming from bass Andrew Piper. Another was a funny song mixing and contrasting F with F#. Not an easy mix, especially one line midway that wasn't just the tonics. And a encore on Isn't she lovely that had the audience and orchestra split into four parts singing harmony. The pitch suited me so I enjoyed that. And perhaps the quirkiest of all, the orchestra playing a Bach fugue, only to be stopped by IoN for them to play it on kazoos. I guess kazoo playing relies on vocals so it worked harmonically, if not so much tonally. So, lots of classy entertainment and a poignant and stirring piece of Bernstein. Nice.

The Idea of North and Canberra Youth Orchestra under Leonard Weiss (conductor) performed at LLewellyn Hall. Idea of North comprised Trish Delaney-Brown (soprano), Naomi Crellin (alto), Nick Begbie (tenor) and Andrew Piper (bass).

Almost the big one

This was the final concert for the 49th year of the Canberra Youth Orchestra. Next year is CYO's 50th anniversary. That makes 1967/68 its founding year, at the height of hippiedom, the Summer of Love, Sgt Pepper's, before the ecstasy of Woodstock and the descent of Altamont. Then disco. And in jazz, Miles' second great quintet and into his electric years, and the death of Coltrane. But the Western classical stream continued and continues. The CYO is a fine ensemble and the musicians excite beyond their almost-tender years. Last night's theme was Brahms, specifically his Symphony no.1 Cmin, as the main work, but accompanied by Chaminade for flute and orchestra with soloist Lily Bryant and Mendelssohn for violin with soloist Donica Tran and Sibelius Finlandia played by unaccompanied brass. The soloists were both hugely impressive and I guess we can expect even more over time. Finlandia is wonderfully evocative and a demanding play for brass alone, not least standing as they did (especially for the heavy metal tuba), but they did it well and it rings so nicely for brass. The Brahms was big, four movements, complex, sometimes innocent and delicate, other-times lyrical and mellifluous (I borrow some descriptions from the program), later bold and triumphant. Some eye-wateringly fast bass lines had me chuckling. Congrats to six bassists! This orchestra is a great training device but more than that, a huge pleasure to hear and follow. And a great buy to boot: get your generously cheap season tickets soon. 2017 features Idea of North, Claire Edwardes and Gabi Sultana, a concerto competition winner and James Morrison. Sounds like some jazz-age partying will seep into the CYO half-century celebrations.

Canberra Youth Orchestra played Chaminade, Sibelius, Mendelssohn and Brahms at Llewellyn Hall under Leonard Weiss (conductor) with soloists Lily Bryant (flute) and Donica Tran (violin).

Hella good

Hella good? Showing my age. No Doubt is earlier than these players, but that just adds to the pleasure of hearing such a nice orchestra of such a young age. This is the Canberra Youth Orchestra and I've raved about them here before. Their latest performance was a dedication to Sibelius with his Symphony no.2. I noticed a plethora of tempo indications in the program, then some blistering playing from basses and cellos, extended walking bass, a noble final movement that follows directly from a lively-sorrowful-lively third movement, generous brass parts. The first half was Dvorak Slavonic dances and the enduring earworm Borodin Polovtsian Dances (not least through its reuse as Stranger in paradise in Kismet and by Paul Whiteman, Massive Attack, PS2/3, Sochi Winter Olympics, bond and more) and one movement of Tchaikovsky Violin Concerto D major played by Helena Popovic, who otherwise sits in the Concertmaster's seat. It's a big program and their dedication and application shows in some very impressive and mature playing. Not least from conductor Leonard who is so busy around town and includes CYO in his stable. He's a pleasure and great force for enthusiasm in rehearsal and it showed here again with his easy chatter with the audience to introduce the 2017 program featuring a more jazzy approach, with James Morrison, Idea of North and Claire Edwardes as guests and the music of Gershwin and Bernstein amongst others. This is a great training orchestra and it performs at an impressive level. But then I'd expect nothing less from Canberra's young players and we consistently get it.

Canberra Youth Orchestra performed Sibelius, Dvorak, Tchaikovsky and Borodin at Llewellyn Hall. Leonard Weiss (conductor) directed and Helena Popovic (violin) performed solo.