Complete with gargoyles

This was a lovely little concert. The location is special and old for Canberra: not exactly Notre Dame but it does have gargoyles. It was All Saints in Ainslie, the Sydney sandstone, gothic-styled Anglican church built in 1868 at Sydney's Rookwood Cemetery as one end of a mortuary steam train track, used until 1939, dismantled in 1958 and reconstructed in Canberra. The event was part of the Heritage Festival given its history. The group was called the Rookwood Ensemble playing chamber music, this day mostly of Vivaldi, in the organ loft with the mechanical pipe organ. The organ is itself historic: built in 1857 for a Baptist church in Harrow, UK, and transported to Canberra for dedication in 1990. I just played two pieces and there were another two trios for oboe, violin and organ. Caroline, Heng and Terry were the key performers on the day and well deserve praise for some wonderful solo features. It's odd playing in an organ loft with half your audience sitting with their backs to you, looking to the altar. Even for those with seats turned to the back, there was little too see, with musicians viewed from below and largely hidden by railings. But the music was lovely and the group was capable and the acoustics are satisfying. I was particularly taken by Vivaldi's variations on La Follia. Amongst other works, we played a chamber arrangement by Terry, our organist, of an organ concerto by Bach, arranged from a work by Vivaldi, his violin concerto Grosso mogul. This had possibly the longest count I've encountered (strings don't count like brass): 103 bars of solo organ. Then a finish and an afternoon tea, as is the way with such events, and much good cheer by the performers and others.

Rookwood Ensemble performed Vivaldi and related at All Saints Ainslie. RE were Caroline Fargher (oboe), Terry Norman (organ), Heng Lin Yeap, Heather Shelley and John Dobson (violins), Thayer Parker (viola), Teresa Neeman (cello) and Eric Pozza (bass).

Saints all

I find it hard to say no, so I said yes to the Rookwood Ensemble playing Bach and Vivaldi. Not least because the Bach was JS's Oboe and Violin concerto which I know well from LNL and otherwise. In the end, being bass, I played a limited role, dropping out for the soft segments and hammering in for the mfs, fs, ffs and the like. But what a piece. The counterpoint and melodies and that restrained pizz second movement were a blast. The Vivaldi was his Concerto in D for violin organ and strings: not bad itself. Otherwise, we had several pieces without the string accompaniment, from Quantz, Handel and Scarlatti, played by continuo, recorder, violin, oboe or the relevant mix. We were playing with the mechanical pipe organ at All Saints so we were in the Loft and the pitch rose and fell with the state of the organ on the day (presumably due to humidity and temperature). We got various favourable comments, even from audience who had attended the CIMF Bach at the Fitters' by Bach Akademie Australia. Cool. And we enjoyed it and we raised a few dollars for the All Saints music fund. It's a grand old church for Canberra (built Sydney 1868 for Rookwood Cemetery and transported to Canberra 1958, if I read the plaques correctly). What a pleasure. Thanks to my fellow performers on the day.

The Rookwood Ensemble comprised Heng Lin Yeap (violin), Caroline Fargher (oboe), Ann Neville (recorder) and Terry Norman (organ) with string section John Dobson and Heather Shelley (violins), Paul Whitbread (viola), Teresa Neeman (cello) and Eric Pozza (bass).

This one's for the piano

All Saints has a newish grand piano and this was a fundraiser by the singers and musicians of the church choir. They must be an impressive choir for they did decent work as soloists, but on instruments and on voice. This was a diverse outing; about 50-50 instrumental and vocal. Vivaldi, Franck, Haydn, Telemann, Mozart, Brahms. These were not unexpected, but perhaps the Ernesto de Curtis was. He wrote Torna a Sorrento, the magical and popular Neapolitan song. Gerard sang that with Kimberley accompanying, and I loved it, but then I can't help but love Neapolitan song. The two traditional songs by solo Alex were unexpected, too, as much folk as classical repertoire, and performed up close and personal. Alex told us one moved from folk to classical repertoire and the other vice versa. They were She moved through the fair and The three ravens, both Traditional. Then some instrumentals. Clara on cello accompanied by Kimberley on a Haydn's Piatigorsky Divertimento. This was perhaps my favourite. Light and entertaining but with considerable skills required. Cello is a wonderfully earthy instrument and Clara did it justice. Kimberley, too, on piano, was outstanding throughout. She's awarded as an accompanist and this was clear this day. Well listened and sweetly played with real character. The Telemann was performed by oboe and recorder with piano accompaniment. Typically early music suggesting dances in mediaeval stone halls: a lovely and dignified variation. I haven't mentioned vocal numbers and this is the choir. Perhaps outstanding for me was Pergolesi's Stabat Mater, but it's a favourite in our house. Rachel displayed a powerful lyric soprano voice on Handel's Piangeró la sorte mia, Julio Cesare. Nice to hear some English lyrics in Mendelssohn-Bartholdy Oh rest in the Lord. The Brahms was voice with viola and piano for a more orchestral and modern conception. Frank's Panic angelicus. La Gallienne's Farewell thou art too dear for my possessing featured Gerard, a male voice, and Tristan also harmonised with Lou on Franck's Panis Angelicus. And the lengthier Mozart's Exultate, Jubilate ended with Gemma's soprano in Latin. Alleluia. This was a varied program. Joyful, informative with introductions and rich in styles and varied tonalities. Thanks and congrats to what must be a very satisfying choral gathering.

The varied program was performed at All Saints Anglican Church, Ainslie, by Kimberley Steel (piano), Gemma Dashwood (soprano, piano), Lauren Davis (viola), Clara Teniswood (cello), Caroline Fargher (oboe), Ann Neville (recorder), Alex Maroya (baritone), Gerard Clifton (baritone), Louise Merrington (mezzo-soprano), Tristan Foon (baritone), Rachel McGrath-Kerr (soprano) and Catriona Bryce (contralto).