Voices

I reckon that voice is the most intimate and natural thus most significant instrument there is, so it's no surprise that I love a choir.  But this concert was beyond the pale.  I was stunned, touched, by Oriana Chorale singing with the Phoenix Collective (string quartet) and pianist Jem Harding under Dan Walker.  Maybe partly because it was intimate in a smallish space, us being in the effective front row at the Larry Sitsky Room, or because of the programming which was diverse and interesting but also consistsent,, from Depeche Mode and Sigur Ros to Elgar and Rach and trad, or because of the number of performers, somewhere around 45.   Not just because the singing was exemplary as was the accompaniment.  This was also the second performance of the night, and I always love a repeat performance.  They sit so much better.  I find it hard to identify a fave piece.  The pop songs by Depeche Mode and Sigur Ros were all suitable for this format and interestingly complex pop tunes with a touch of minimalist electronica interpreted by strings and piano.  A pair of pieces by Ola Gjiela, Dark/Luminous night of the soul, were gloriously hopeful.  Ella Macens Look up: The sky is glowing was long and satisfying and as all the rest deserved hearing the lyrics (which I didn't manage) and Rachmaninov Hail Gladdening Light from Vespers was classic glorious religious music.  Phoenix did a string quartet Scandi-folk number called Waltz after Lasse in Lyby and perhaps the most complex, most intense of all was Lux Aeterna from Nimrod Variations by Elgar as an unaccompanied vocal piece, presumably with multi parts beyond SATB.  This seemed the hardest of the night and the most uncomfy for Oriana.  So what.  I blissed out on the parts, the soaring sopranos and the clear harmonies in Elgar and throughout the night and the intimate accompaniment that came with little preparation as Oriana had only sung with the Phoenix that morning, but that's the way with such professionalism.  It just works like that and it did work a treat.  Beyond a treat, it worked an emotional tsunami.   One to treasure in memory.

Oriana Chorale performed under Dan Walker (director) with Phoenix Collective (string quartet) and Jem Harding (piano) in the Larry Sitsky Room at ANUSOM.  The Phoenix Collective comprise Dan Russell (violin 1), Pip Thompson (violin 2), Ella Brinch (viola) and Andrew Wilson (cello).

The priest and the others

Twice delayed by Covid but finally it arrived.  This was Phoenix Collective as a trio: Dan on violin with the local pairing of Clara on cello and James on harpsichord.  Dan noted they were local baroque exponents (from Limestone, CBE and more) and they were a nice fit for a program of baroque favourites.  It was a change from the normal quartet given Covid.  And what a satisfying program it was!  It was entitled The priest, the intellect, the eccentric and the pirate.  The main composers were four (Vivaldi, Bach, Biber, Pandolfi) with interesting introductions from Dan.  Corelli appeared at the end, probably as an encore (although a generous one with 22 variations on La follia).  Not sure where he fit in those personifications.  Very good playing, too, although there were some issues with balance.  Dan is a pleasantly flashy and entertaining and inventive player and the Corelli and Biber showed this off wonderfully.  Clara was certain and reliable and very present but introspective and the music didn't always demand so much of her, lots of long notes, but a few lines in Bach blew me out, so quick and sharp.  Sadly, maybe from my location or acoustics or just the instrument itself, I didn't catch most of James, except a generous solo passage in the Bach which was lovely.  So the mix was sadly problematic but a great collection of tunes and some capable playing.  I'm charmed nonetheless.

Dan Russell (violin) led the alt. Phoenix Collective, this time with guest Canberra musicians, Clara Teniswood (cello) and James Porteous (harpsichord).

Music for the people

Music for the people was the theme of the concert but I'm not sure I felt quite so secure leading up to it.  Not for the Vivaldi Autumn, which is obvious and pretty and well known, even if it is demanding in its own way.  Not for the few Scandinavian folk tunes that our leader for the event, Dan Russell of the Phoenix Collective, had discovered in recordings of the Danish String Quartet.  They were pretty and challenging in their own ways.  Initially it was for the Shostakovich.  Mention his name and it brings instant respect from fellow players ("You're playing Shosta?").  It was his Chamber Symphony and it was deliriously quick in the second movement and everyone was wary of that.  We didn't play it at full speed, but in the end we got away with it.  Fear is a great motivator for practice!  But strangely the Saint-Saens Introduction and Rondo Capriccioso was a sleeper challenge.  It looked simple enough but the bending of time was a big issue and we ended up with Gill conducting.  That helped.  Even so, I still misplaced the final note, but hopefully it was missed.  Maybe not: Dan had good ears.  He was an impressive player, too: nimble, playful, quick and nicely emotive in note formation.  But in the end, it worked.  This group is a capable one, and as Graham McDonald said in his concert review in City News, we are " “amateur” as someone who pursues an activity for pleasure ... while non-professional, produc[-ing] entirely credible performances of interesting music".  Wow, that's one to be proud of.  Thanks to Dan and a great pleasure to be blooded by Shosta.

Musica da Camera performed Vivaldi, Scandinavian folk, Shostakovich and Saint-Saens under musical director and soloist Dan Russell (violin) at Cook.

Varieties of collectivities

The Phoenix Collective appears in different incarnations and this was just a duo: violin and piano; Dan Russell and Edward Neeman. Thus a collective rather than a string quartet, which seems to be a more common incarnation. Regardless, this was a wonderful concert with excellent performances for a large audience for a High Court lunchtime concert. They were playing English under the concert title "Ye Olde English". It wasn't so old, really. The opening number was by Delius, commenced in 1905 and completed after WW1. That was my favourite. The Lark ascending, Vaughan Williams' mega-hit, and an Elgar sonata followed. They squeezed in a short Elgar for an encore, too, Chanson de matin, although they were over time. Generous. But these are great local musicians, both well blooded overseas but now settled back here. It showed. Dan is the epitome of the involved violinist, moving freely and sensitively with the melody. Edward sits more steadily, but is similarly deeply involved. This is emotive music but with a strong-upper-lipped intelligence and melodies that speak of rolling hills and countryside. Really quite beautiful and deliciously played. BTW, the program was Delius Sonata for violin and piano no.1, Vaughan Williams Lark ascending, Elgar Sonata for violin and piano Emin Op.83 and Elgar Chanson de matin as encore. Another excellent gig for the High Court.

Phoenix Collective performed an English program in the High Court foyer. On the day they were a duo comprising Dan Russell(violin) and Edward Neeman (piano).