From Forrest to the nation

This was perhaps my favourite concert by FNCO, the federally named Forrest National Chamber Orchestra. They played so well and the music was so lovely. First up, Corelli Concerto grosso op.6 no.4. It's well known and a great pleasure and was nicely done. Then Nimrod from Enigma. I remember playing it within the whole Variations and its presence stood out on arrival with its glorious gentility. Then a few Piazzolla tunes, Oblivion and a tango. For me, the Ortona Porteno tango had more complexity and thus more satifying, but both were inviting and latin rhythmic. Then Fantasia on a theme by Thomas Tallis which seemed very complex and subtle and difficult to pull off, but I thought they did a great job. And to end, Metallica (!?) as interpreted by Apocolyptica (a cello quartet) and arranged by FCNO member, Duncan McIntyre, for this format. The amplification didn't quite do it justice, but the effect was intriguing and the whole was surprisingly melodious. An unexpected end to a very satisfying concert by our locals in Forrest.

Forrest National Chamber Orchestra (FNCO) variously were directed by Gillian Bailey-Graham and Shilong Ye (conductors) with soloists Rebecca Lovett, John Dobson and Shilong Ye (violins), Elisha Adams (viola), Nicky Philipse, Frances Stevens and Duncan McIntyre (cellos).

A muso's dilemma

It's an old story and common. Is this music getting harder or am I just not practising enough? It was harder and we can always practice more but this was a doozy. Maruki truly takes on the big repertoire programs. I like it for that but it is a challenge. This day it was Wagner, Mozart and Rachmaninoff. The Wagner was his Rienzi overture, the overture that launched 1,000 proms: it was the first work played in the first London Prom concert in Queen's Hall, London, 1895. Not lightweight. The Mozart was more relaxing as this delightful classical music is. Mozart just has it. John Gould played the solo. He may not still be with the London Symphony or the Carl Pini Quartet, but there's a history that you can believe in his playing. It's a pleasure to play with such a master and the Mozart just rings so sweetly and so true. Then the real challenge to finish off. Rachmaninoff Symphony no.2, all triplet and 2 feels, variously switching, and that renowned pop melody, Never gonna fall in love again, that appears in the first notes of the third movement. That's the relaxed movement. Otherwise, there's tricks a'plenty here. Fabulous and virtuoisic and great fun with occasional great fear. Maruki always does its best in concert - I guess all orchestras do. No claim to prof status here. This was tricky and demanding. There were some surprisingly successful passages, often amongst the most difficult so most practised music, but also some perhaps less readied. Whatever it's great to take this music on and this was a program to savour. A doozy.

Maruki Orchestra played Wagner, Mozart and Rachmaninoff at Albert Hall. John Gould (violin) soloed on the Mozart concerto as Elisha Adams (conductor) directed. Otherwise, John Gould (conductor) directed.

Weekend 2

One big weekend. It continued on Sunday with setup in Albert Hall at noon, warmup at 1pm and concert at 3pm. This is Maruki Community Orchestra, a keen mob of ~50 players who take on the serious repertoire that musical director, John Gould, likes. This is mainly classical to romantic, but some baroque sneaks in occasionally. This concert was a big presentation. Mendelssohn Midsummer night's dream overture, Quantz Flute concerto Gmaj, Ravel Bolero and Brahms Symph no.4. Big. The Mendelssohn was lively and theatrical. Everyone loves Bolero except the performers, as John joked, but it's something to have performed: for the basses, it's 2 notes to have performed very many times. The Quantz was the surprise, relatively unknown, hit. It's a lovely baroque piece written by a prolific composer of works for flute and played by with real and infectious musicianship by Rebecca Carpenter. Then after interval, the major work, Brahms Symph no.4. It was a revelation to me, a piece of ever-changing beauty and movement, soft but mobile, infectious in its upending times and beautiful, unforced melodies. And that assertive third movement. I loved this piece to death, even if it deserved more justice. But this is an orchestra that takes on the full deal, not just a movement or so, but the full work, the challenge, and I like it for that. A big program to take on and a solid response by a community orchestra.

Maruki Community Orchestra was led by John Gould (conductor) with Elisha Adams (concertmaster) playing Mendelssohn, Quantz, Ravel and Brahms. Rebecca Carpenter (flute) soloed in the Quantz. The bass section comprised Jennifer Groom and Eric Pozza.

Hard one

Maybe I say this after every concert. This Maruki concert was as hard as anything I've played. It's also the best we've played the pieces (my perennial "she'll be right on the night" optimism). This Maruki concert was the best we've played these pieces. And the pieces were tricky. Saint-Saens Havanaise is a pretty easy read despite frequent changes of time signature and a tricky passage of thirds on the basses. That went nicely with the very capable Georgina Tran playing the violin solo out front. So young, so capable. Then Rossini William Tell overture. Everyone knows this one, especially the stormy, fast, tricky bit, but the work is four parts run in together with several tricky lines (not least chromatic runs at brisk speed and some latin dotted-crochet arpeggio-like phrases that jump into the thumb positions) but to sit on that idyllic pastoral melody or to bounce the two bass parts against each other (one playing on 1,2,3; the other playing an octave up on 1+,2+,3+) was a pleasure. When I got time, I noticed some impressively neat, fast, nicely intoned high strings which were a pleasure. Then John Gould, our leader, taking the solo violin role in Bruch violin concerto no.1. It's always a huge pleasure to play with a true professional (LSO principal viola, retired) and to hear his playing, so well phrased, incisive, intoned. (Mostly we hear his humourous tales of conductors and orchestras at rehearsal instead). Maruki member and ANUSOM graduate Elisha Adams took the baton to lead Bruch (her major was violin performance but she's found a recent interest in conducting). She did nicely with clear leads and I liked when the basses got a big smile for coming in on time after a particularly long count (I guess she was relieved). Then afternoon tea and the big work of the day: Dvorak symphony no.7 D minor. This may be the most difficult work I've played - symphonic in scope, complex with interleaved themes and phrasings, neat but also unpredicted. It's a work you need to know well or read very carefully, and we did it some community orchestra justice. So, another successful and challenging outing for Maruki.

Maruki Community Orchestra performed Saint-Saens, Bruch, Rossini and Dvorak at Albert Hall under John Gould and Elisha Adams (conductors) with soloists Georgina Chan and John Gould (violin).

Songs sung

Louise Keast got together a few friends for this Wednesday lunchtime gig at Wesley. I know Louise as a capable cellist in Maruki. I hadn't heard her as a singer. She started the gig singing a duet with fellow (but quite differently-sounding) soprano Karyn Tisdell with piano accompaniment by Emily Leong. This was a dream. The piece was Delibes Sous le dome epais (Flower duet) from Lakme. Everyone knows this and it's a gloriously beautiful melody. I could only melt, from the song itself and the singing, especially when paired. Fabulous. Then tenor Lachlan McIntyre supported by a string quartet singing Vaughan Williams Silent noon and baritone Jared Lopez with piano and string quartet singing the longest work of the day, Faure La bonne chanson, with many parts and lasting perhaps 25 minutes. The final one was obviously the major work and, I understand, arranged by Jared. The Faure was long and complex and impressive and the VW was a stately period piece, but I must say the beauty of the Delibes was the winner for me. But nice work all around.

Louise Keast (soprano, cello) collected singers and instrumentalists for a performance at Wesley: Karyn Tisdell (soprano), Lachlan McIntyre (tenor), Jared Lopez (baritone), Emily Leong (piano), Clara Barrs and Elisha Adams (violins) and Anne Bicknell (viola).