Life and death and entropy

Don't read too much into the title.  I'm reading a book (Hovering / Rhett Davis) and this phrase appeared (p.218) and it seemed to fit CSO's Mozart Requiem concert pretty well.  They played 3 pieces.  First was Mozart Divertimento Dmaj, written at age 16 and thus the life to contrast with the final piece, Mozart Requiem, as the death.  In fact, he famously only wrote part of the work and left sketches for more and nothing for some movements.  Entropy somewhat fits with the middle piece, Australian Corrina Bonshek Dreams of the Earth I for string orchestra, all sounds of the bush and cicadas and if structured, not too obviously, although I did note repeating bass passages.  This was sounds of nature and quite authentic in its impression, concerned with nature as the impressionists were, but quite accurate unlike their take on colour and movement.  The Divertimento was a lively and relatively light piece and nicely done, although I did feel some it a bit untogether, perhaps in diverse lines in the composition, but nothing at all of the sort for the Requiem.  To my ears and closed eyes that was a stunning, hugely dynamic with the quieteest passages looming then exploding, solo voices clear and choral passages massive and touching.  The movements are from the Catholic mass.  CSO played with a choir of ~50 and 4 vocal soloists and the orchestra as scored, 2 basset horns, 2 bassoons, three trombones, timpani, violins and violas and continuo comprising cellos, basses (3) and organ.  So not huge in volume but apt.  I sat eyes closed for most of the work, stunned by the effectiveness and power and the capable performance, indulging in the immnse beauty of it all, lusting over the fugues.  How I love fugues.  CSO did themselves proud.

Canberra Symphony Orchestra performed Mozart Divertimento and Requiem and Corrina Bonshek at Llewellyn Hall. Erin Helyard (conductor) led soloist singers Sara Macliver (soprano), Ashlyn Tymms (mezzo-soprano), Louis Hurley (tenor) and Christopher Richardson (bass-baritone), Kristen Williams (violin, concertmaster) and the CSO chorus prepared by Tobias Cole (chorus master).

B2&M

Even in the massive space of Llewellyn Hall, I was surprised by how satisfying was the volume of a classical trio, even with that diminutive instrument, the fortepiano, at its heart.  This was Musica Viva and it's not a common visit but I enjoyed this immensely, even if not particularly critically.  I mostly just took it in as the pleasure it can so easily satisfy.  This was Beethoven and Mozart, mostly Beethoven (4 vs 2) although the concert was entitled Mozart's clarinet.  Perhaps because the concert was set when the clarinet was new and Mozart and then young Beethoven wrote for it.  It started with a basset horn which is a precursor to the clarinet that we know but looks nothing like it, at least in this incarnation, bent and with an odd box before the horn.  Then Beethoven variations, Mozart Kegelstatt trio, interval, Beethoven aria and more variations, Mozart piano sonata K.545 and a Beethoven piano trio. Megan recalled the K.545 as something every pianist learns and it was very recognisable even to me.  I mostly just sat and enjoyed the capable playing and easy composition, but took note of Beethoven's interplay of parts and just the beauty of the solo, quiet fortepiano and the lines moving between cello and clarinet and the fingering on the cello.  That's something I could understand.  Nicola Boud mostly played a "historical clarinet" to Erin Helyard's (historical) fortepiano but Simon Cobcroft's cello seemed modern enough.  Whatever, this was inviting music played with class and perfectly adequate for the large Llewellyn space when you adjusted to it.  Lovely.

Nicola Boud (clarinet, basset horn), Erin Helyard (fortepiano) and Simon Cobcroft (cello) performed Mozart and Beethoven for Musica Viva at Llewellyn Hall.

Sweating the detail

I met up with a fellow player from the NCO at the end-of-year gig of the Australian Haydn Ensemble at Albert Hall. It was his first AHE concert and he struck the big format, full string orchestra, sometimes appended with wind instruments (AHE often play in smaller formats, quintets or thereabouts). He was ecstatic, asking how they get to such detail, control, unanimity. I'd noticed just the same thing and it's just enhanced in this larger format. My experience with a very similar format, Musica da Camera, raises my awareness of the details, the informed and share understandings. I'd noticed one melodic snippet that had been strong then weak, played fp or perhaps sfz>. It was repeated neatly for one passage, then played without dynamics for another. It's just detail, but it's this detail played through a group that makes for the lush convergence of it all. This understanding is usually shared in rehearsal, when a leader details how to play whatever passage, the band busily annotating and coming to a common understanding. Of course you need the chops and communication and the rest on stage, too. AHE does it was panache, smiles passed around amidst the serious music making. I'd commented on the smiles but also the overt face of one player and AHE stalwart Simone agreed and commented that you have to get on well and AHE does. It's obvious. Skye led the strings, but mostly Erin conducted from the harpsichord, standing for the symphonic works but seated for the keyboard concerto. They played Mozart (symphony no.29 Amaj), two CPE Bach (Keyboard concerto Cmaj and Sinfonia Ebmaj) and Haydn (Symphony no.52 Cmin). All were lovely, but I took a particular pleasure in the two CPE Bachs, being courtly but lively and inventive. The Haydn was an early Sturm und Drang work so an attempt to perceive human experience in its variety, or rather its impassioned agitation. It's virtuosic and pre-romantic but seems untimely to my contemporary ears. The Mozart was just plain sweet all round. Just another highly capable and investigative concert from AHE, this time in bigger orchestral format in Albert Hall, rectangular, timbered and high ceilinged, a space that authentically matches the style. Loved it.

Australian Haydn Ensemble performed Mozart, CPE Bach and Haydn at Albert Hall. AHE featured Skye McIntosh (violin, artistic director) and Erin Helyard (guest director, harpsichord).

Answers to different questions

There are answers here, but to totally different questions. We went to hear the latest concert of our mates, the Australian Haydn Ensemble, and it was fabulous. This was a larger ensemble for the night - they do a bigger ensemble every now and then. We've followed AHE since early days and they are seriously getting in their stride now, having released their wonderful first album on ABC records, and with a following and a history, they are developing a sense of presence and real purpose and, from the frequent open smiles, a great pleasure in the whole outing. AHE brings players from around Australia, but also from OS, not least some expat Aussies from London. This program featured a lineup of 21 in various combinations, guest directed by Eric Helyard with leader Skye McIntosh and solo flautist Melissa Farrow. The music was three of CPE Bach - Sinfonia E min Wq.178, Flute concerto D minor Wq.22 and Harpsichord concerto F minor Wq.43/1 - and one of namesake Haydn - Symphony no.49 F minor "La Passione". The whole was played with great dynamics and a fabulous sense to time and togetherness - I was in awe. We were lucky to be up front. Melissa's flute was clearly articulated and massively quick. I was stunned by the fast scalar lines with tack sharp tonguing. Fabulous. Then Erin with his harpsichord concerto part, again fast as, sweeping through phrasings that spelt harmonies that moved at will. Fabulous in playing and in the intellectual feat of the composition. Then Haydn. I'd played this (NCO 20 Aug 2016) so knew it intimately and that's both exciting and engrossing. The score doesn't look too scary, but this baroque era is unrelenting with occasional tripwire rhythms and sudden double-time phrases, so it can be tricky. And what pleasure to hear such experts laying into a tune you know: the easy bowing, nimble fingerings, comfortable reading, all on gut with baroque bows. And of course, the horns and bassoons and flutes and the rest, appearing inexorably but subtly amongst the strings, of the passages passed to seconds or violas, or Skye's lovely, purposeful solo-as-leader melodies. Suffice to say I enjoyed this immensely and it had us driving home, thinking of London, where so many concerts must be like this. A huge pleasure.

Australian Haydn Ensemble performed CPE Bach and Haydn at the Great Hall at ANU University House under Erin Helyard (conductor, harpsichord soloist) and Skye McIntosh (violin, leader, musical director) with Melissa Farrow (flute soloist) and 18 others.

Liking it big

This was another stellar outing for the Australian Haydn Ensemble, this time in a bigger format. They are releasing their first album (with ABC records) as I write this. We'd seen that program on tour in preparation for recording back in December or so. I have yet to hear it, but this was similarly generous in performers and a lovely, early classical style. As they play. Skye led the first violins; Eric Helyard directed and featured on a period fortepiano for a Mozart concerto; Daniel Yeadon performed a Haydn cello concerto. I remain in awe of Jacqueline's bass playing, so fast and neat and crisp, but I can also enjoy others, and I particularly enjoyed watching a few violins in easy visual access (the sound in the Great Hall at ANU University House is satisfying, but the stage is low and the seats are many, so sight lines are not good), Simone and Anna, both regulars and at least Anna is a local product. I was enamoured by the large ensemble from the very start, their accurate intonations and firm statements and period tones but especially the superbly interactive phrasing. Getting the notes is one thing, but getting the internal movements, the flows and peaks and stops and pauses, all together and believable, takes skills at this level, and it was lovely to hear. The music was Michael Haydn Symphony no.25 Gmajor (with an intro by Mozart and sometimes allotted to him), Mozart Keyboard concerto no.14 Ebmajor, and two from Joseph Haydn, Cello concerto Cmajor and Symphony no.83 "La Poule" (the chook). All delightful in the neat and ordered classical way with some devilish lines occasionally appearing. They pulled it all off with aplomb. My modern ear, trained with Steinways and modern orchestral strings, found the solo instruments a bit overwhelmed by the orchestra at times, but I guess that's part of the experience of music of this time. Their instruments were like this. But what a great pleasure and even a triumph.

Australian Haydn Ensemble played a program of Michael and Joseph Haydn and Mozart on period instruments at the Great Hall at ANU University House. Soloists were Erin Helyard (guest director, fortepiano), Daniel Yeadon (solo cello), Skye McIntosh (artistic director and leader) with Skye McIntosh, Matthew Greco, Stephen Freeman, Anna McMichael, Simone Slattery, Cath Shugg and Rafael Font (violins), Gabrielle Kancachian, James Eccles and Marianne Yeomans (violas), Daniel Yeadon, Anthea Cottee and Anthony Albrecht (cellos), Melissa Farrow (flute), Jacqueline Dossor (bass), Emma Black and Ingo Muller (oboes), Simon Rickard and Jackie Newcomb (bassoons), Darryl Poulsen and Doree Dixon (horns).

Esterhazy at Albert

It was the dynamics that most impressed me about Australian Haydn Ensemble this time. I've seen them as a smaller group, perhaps 6 players, and once or twice in a larger format. This was probably the largest I've seen: 22 players. But I know how difficult it is to concentrate on dynamics when you are struggling to catch the notes but it's essential and it worked gloriously here. Detailed, gentility, gentleness, the quietest of passages, the frequent glances that make all this happen. I could see this, up close. There's no conductor, of course, so those glances go to the concertmaster, in this case Canadian Marc Destrubé, or to the co-director, Eric Helyard on harpsichord for the night. The other thing I melted over was Jacqueline's bass lines, rapid and clear as they were demanded, disturbingly easily played. But I'll give you that that's a concern of a fellow bassist. Perhaps not just me. Bass is a strangely popular instrument and I noticed several people eyeing off Jacqueline's aged bass in the breaks. But the fast lines in the final presto movement of Haydn's Le soir, Symphony no.9, were stunners and she played them out with aplomb. It wasn't just bass, of course. Bassoon was wonderfully expressive at times, even once in a duo with bass; the baroque horns were mightily satisfying, so much more than modern brass, if only for this outing. Marc Destrubé's subtle and delicate phrasing was a telling lead. And the flute of Melissa Farrow for her parts. All delicate, detailed, precise, understanding, dynamic. I loved this concert: one of the best of the AHE. The period tones right for this music; the place right, being Albert Hall, our oddly monarchical place that hosts carpet sales and mineral displays and any fine music that warms to the rich reverb. So, what did they play? A string of pieces from the orchestra of the Esterhazy Palace. I'm told they were originally played with a smaller ensemble but expanded here. All Haydn: Symphonies 6,7,8 (Le Matin, Le Midi, Le Soir) and the Harpsichord concerto in D major featuring Erin Helyard. The harpsichord was a somewhat lost in this space, despite Erin's always vibrant and immediate performance (at least from where I was sitting, although not in the recording I made form a more central location). All on period instruments, of course: gut and valve-free horns and different bows, all soft and tender in tone. This outfit will be recording soon, I think for ABC. Expect a well developed and nicely understood performance. These are mates of mine but also greatly admired.

Australian Haydn Ensemble performed Haydn at the Albert Hall. Performers were Erin Helyard (harpsichord, co-director), Marc Destrubé (violin, co-director), Skye Mcintosh (artistic director, violin), Matthew Greco, Simone Slattery, Anne McMichael, Catherine Shugg, Raphael Font (violins), Shelley Sorenson, John Ma, James Eccles (violas), Daniel Yeadon, Anton Baba, Anthony Albrecht (cellos), Jacqueline Dossor (bass), Melissa Farrow, Mikaela Oberg (flutes), Amy Power, Julia Bauer (oboes), Simon Rickard (bassoon), Darryl Poulson, Doree Dixon (horns).

Opera meets gut

It's always such a joy to catch Australian Haydn Ensemble. Admittedly they are friends and almost like family, but also because their music is intimate and dignified, light and joyous, and played with great ease and refinement. I follow Jacqueline, of course, bassist, quick and bouncy when required (which is often enough with music of this era) or easy and rich. She was paired this day with cellist Anton and the pairing worked a treat. Then our local import, Erin, conducting from the harpsichord chair, and leader Skye and second violin Matthew and viola James. And that period flute tone from Melissa. The whole works as a lovely team but the programs are also something to note. Each performance has a theme, often featuring obscure names, other times inviting guests. This time it was a fully Haydn program, with a Michael Haydn string quartet to start, then a symphony and two arias from Joseph.. Visiting soprano Celeste Lazarenko sat in for the arias and a surprise Mozart song as encore. Celeste replaced Taryn Fiebig and the Haydn/Hasse program at the last minute when Taryn came down sick. Some practices - and presumably some trepidation - later, and the performance was sweet and neat. Celeste's soprano is firm and strong (she's a principal of Opera Australia so sings in big company) and a challenge for the sweet period tones of gut, but it worked a treat. I loved her voice, loved the carefully responding musicians, Erin's casual guidance, the bouncing bows and the just-present plucks of harpsichord and diverse tones of melody from violin and flute. AHE are always a great pleasure and this was there with the best.

Australian Haydn Ensemble played at Wesley Church. AHE comprised Erin Helyard (guest director, harpsichord), Celeste Lazarenko (guest soprano), Skye McIntosh (artistic director, violin), Melissa Farrow (flute), Matthew Greco (violin), James Eccles (viola), Anton Baba (cello), Jacqueline Dossor (bass) Australian Haydn Ens, Erin Helyard, Celeste Lazarenko, Skye McIntosh, Melissa Farrow, Matthew Greco, James Eccles, Anton Baba, Jacqueline Dossor

Mozart in Mannheim

Well, not just Mannheim; Paris too. This is the second of a trio of concerts featuring Erin Helyard and Skye McIntosh playing music of Mozart at ANU University House, in the Great Hall, under the Leonard French's massive and roughly colourful mural, Regeneration. Erin was playing a regenerated replica of a piano, or hammered keyboard, of the period, Joseph Stein. Mozart himself had written to his father about a piano by this maker, apparently excited like someone lusting for the latest iPhone. At least the movies make out Mozart to be like that. I've read since that Stein would leave out his pianos in all weather to crack so he could repair them as more durable. Amusing. Erin spoke of how he found the period instruments fitted well together for these duets. Skye was also playing a 250yo period instrument (Joseph Panormo? ) with gut strings and baroque bow and period bridge. They played two Mozart Sonatas for keyboard and violin (G major K301 and A major K305) sandwiching a work of Mozart's from Paris, 12 variations on "Ah vous dirai-je, Maman", or, better known to us, Twinkle twinkle little star (K265). The keyboard was earthy (described by Erin as woodwind-like, bassoon in bass and flute in treble). The whole is softer than a modern pairing, more coarse but also more natural, less perfect and precise. Skye could dig into the gut strings and Erin could approach the limit of the hammered strings. I noticed the tuning going off with his attacks, but these instruments are less stable. That's the art in this game. I'll miss the third of this series, Mozart in Vienna, but it's been a pleasure. Free is nice, but mostly I'll miss it for the committed and nicely connected performances. Great stuff.

Erin Helyard (fortepiano) and Skye McIntosh (violin) performed middle Mozart in the Great Hall of University House.

First up, Salzburg

This is Mozart in three cities but I hadn't realised it was 3 concerts for 3 cities. For the first concert, Erin Helyard and Skye McIntosh were playing Salzburg. Its early in Mozart's career and the first sonata, for Keyboard and violin Eb major was clearly early The later ones were much more sturdy, adventurous, comfortable with composition and instrumentation. But they were all evident and hugely attractive. Mozart is like that, after all. And the pairing of Erin and Skye was similarly comfortable. They'd studied together at the Sydney Con, sometime, and played together in Pinchgut Opera and otherwise. Erin was playing a modern replica of a traditional fortepiano. Julie and I chatted of the different tones of these period instruments, not so forceful or loud, a softer bass and ringing trebles. And the violin that's gentler, less firm and forceful. But that's just period instruments. Erin's playing was confident, sure; Skye a little more reticent, and this fitted with what I felt was a lesser role. The violin spoke melodies but the busyness and audacity was in the accompaniment. Must be Mozart, I guess. They played 3 sonatas together (Eb, G, Bb) and Erin played one solo sonata (G) and a set of variations on Salieri. The tone was a nice fit for this lofty space with serried rows of listeners and a most unassertive stage. All lovely and informative and a first step in a performance history of Mozart's works for keyboard and violin. The next are Mannheim and Vienna, sometime in July and August. Looking forward to it. BTW, this all happens in the Great Hall at ANU University House with its massive Leonard Feather backdrop.

Erin Helyard (fortepiano) and Skye McIntosh (violin) performed early Mozart in the Great Hall of University House.

AHE swells

I'd seen the stage set up, but I was still surprised when the augmented Australian Haydn Ensemble entered from the rear of the Sitsky room. This was 21 musicians; far larger than I'd seen before from this group. They just kept coming. This was not the only surprise. The 2 keyboards, plucked and hammered, at centre and the version of Haydn that seemed not to have been recorded before. Then straight into that unrecorded work: the Vernier version of Haydn Symphony no.22 The Philosopher in Ebmajor, apparently rearranged in the vibrant Paris of the time, using flutes in place of cor anglais. My recording may be a world premiere; that's exciting. The rest of the program comprised 3 works by CPE Bach to end the AHE's celebration of his 300th anniversary year. Firstly, his Concerto for harpsichord and fortepiano, utilising the two keyboards again, also in Ebmajor. After the interval, two pieces without accidentals (near enough), his Sinfonia in C major and Cello concerto in A minor featuring cello soloist Daniel Yeadon. The AHE has established itself in remarkably short time: this is only its second year. Proof is their welcoming of significant names in period music and their role as ensemble in residence at ANU this year. As well as Erin Helyard conducting from the harpsichord, Daniel Yeadon and Neal Peres Da Costa on the fortepiano, this concert featured Catherine Mackintosh (of Orchestra of the Age of Enlightenment, Royal College of Music, and much more) as guest leader. Many AHE guests are new names to me, but the discoveries are a pleasure. This is all courtly, dignified music, although with its share of humour and pleasure and even profundity, although it's never too obviously displayed. THis was just a wildly successful performance. There were a few slips but all was welcomed with joy and verve and this is of so much more importance in my book. This is not at all staid. Erin was vibrant and mobile; Neal was all eyes, to Erin and Catherine and further; I think it was Simone who was buoyant with joy at the pleasure of it all; AHE stands, so there's constant movement. I noticed myself moving with this music: it's alive, vibrant, it invites movement so you squirm in your seat. The pleasure was evident as the musicians left and in their joy after. A wonderful, musically populated, enlivening concert.

The Australian Haydn Ensemble finished its year at ANU with a CPE Bach 300th anniversary concert in the Larry Sitsky room. Erin Helyard (director, harpsichord) led 21 musicians: Catherine Mackintosh, Matthew Greco, Stephen Freeman, Mayee Clohessy, Anna McMichael, Skye McIntosh, Simone Slattery, Raphael Font, Cath Shugg (violins), James Eccles, Heather Lloyd (violas), Daniel Yeadon, Anthea Cottee, Anthony Albrecht (cellos), Jacqueline Dossor (bass), Melissa Farrow, Mikaela Oberg (flutes), Darryl Poulsen, Doree Dixon (horns), Neal Peres Da Costa (fortepiano). Daniel Yeadon performed the cello solo; Catherine Mackintosh was quest leader.