Thereabouts

I do love the baroque and thereabouts and I love seeing commonalities with jazz improv and classical composition, diminished and cycles and the like.  It just goes to show the relationships of history and modernity, at least here in a European context.  CIMF was mostly more modern, especially MOSSO, so The Southern Concert was a pleasant and diverse interlude.  Lots of singing from Greta Claringbould with her lovely soprano voice accompanied several names I know but some I didn't.  Stephen Freeman and Lauren Davis and Clara Teniswood but theorbo (and guitar) from Shaun Ng and harpsichordist, Rosalind Halton, and Odette Bruinzeel, viola.  Newer names for me, I think some or all from out of town.  They played a quartet from Evaristo Dall-Abaco, a solo toccata from Alessandro Piccinini and two major vocal works, cantatas da camera, Giovanni Bononcini Ecco, Dorinda, il giorno and Scarlatti Olimpia.  Quite a quiet interlude in St Paul's, ignoring the traffic and the incipient sunlight, of course.  

The Southern Concert performed at St Paul's, Manuka.  SC comprised Greta Claringbould (soprano), Stephen Freeman and Lauren Davis (violins), Odette Bruinzeel (viola), Clara Teniswood (cello), Shaun Ng (theorbo, guitar) and Rosalind Halton (harpsichord).

Stabat Mater

To finish off this Easter season, at least the music side, it was Stabat Mater by Greta Claringbould and Toby Cole at Smiths, upstairs at McGregor Hall, with accompaniment by Linus Lee and Zachary Connor, piano and cello.  This was a revisit to last years vigil, then with just Linus on piano.  The addition of a cello spelt out the accompanying melody line with vocal-adjacent tone and demanded from the piano a less expansive role and more defined role.  Nice.  Great high vocals are expected from and delivered by this pair and the melodies and harmonies in the work are gloriously beautiful.  I chatted with some audience and this was their return too: such is this work and these performers.  Others have done this work, but probably the Pergolesi here is the most renowned and loved.  Taken with candles and centred spot in a close setting and this is an experience of inestimable beauty and touching intimacy.  How could it be otherwise with such a topic: a mother standing below her son on a cross.

Greta Claringbould (soprano) and Toby Cole (counter tenor) performed Pergolesi Stabat Mater at Smiths, McGregor Hall, with accompaniment by Linus Lee (piano) and Zachary Connor (cello).

Good Friday

It's Good Friday and thanks to a request from the venue, there is no applause after these Holy Week concerts.  Absolutely apt, although the music was delicious.  This was a larger order than the Lamentations: SATB vocals with 6 instruments, although we only heard 5 given absence due to sickness.  The composer was Christoph Graupner, prolific and a contemporary of JS Bach.  Apparently, his cantatas (1,400+) are well preserved and his reputation has grown through recent decades.  We heard "Where is Jesus going?" (GWV1119/39) on Christ's departure and faith and trust in divine guidance, and "We know that tribulation brings patience" (GWV1121/44) on suffering as a pathway to spiritual endurance, character and hope.  I quote from the program, of course, given the German was not obvious to my ears.  But lovely four part singing, occasional solos from all parts, enticing counterpoint and harmony and effective interplay of vocals and instrumental parts.  The instruments were two violins, viola, bass and harpsichord.  The missing instrument was cello, which certainly would have added  considerable embellishments in the mid-range, but the solo bass took on a clear, effective presence which also responded with and to vocals.  Fascinating to the ears of this bassist.  Then the quiet and pleasure after the two cantatas and perhaps some dissonance with the Easter story.  Thus is history and modernity.

Singers Greta Claringbould (soprano), Maartje Sevenster (alto), Will Millard (tenor) and Andrew Fysh (bass) performed two Graupner cantatas at Wesley with accompaniment from John Ma and Lauren Davis (violins), Brad Tham (viola), Isabella Brown (bass) and Marie Searles (harpsichord).

Lamentations 2

We are deep into the Holy Week music program at Wesley.  I've missed several concerts with conflicts and the Porpora Lamentations cover two sessions, Wed and Thurs, and I can only get to Thursday.  Alan covers the recording activity for me with my gear and I process the two sessions in one.  Its an exciting outing given this performance of Lamentations by Nicola Porpora (1988-1768) is thought to be the Australian Premiere.  Wed is sung by Greta Claringbould and Thurs by Maartje Sevenster, a powerful pair of local singers, soprano and alto.  Accompaniment is Ariana Odermatt on virginal and Rachel Walker on viola da gamba.  Wesley stalwarts and strong players all.  Holy Wednesday's lament is 1:10-14 The enemy laid hands on all her treasures followed by a short viola da gamba instrumental Recercada ottava sobre tenores Italianos by Diego Ortiz.  Maundy Thursday's lament is 2:12-15  They said to their mothers, "Where is bread and wine" followed by The Carman's whistle by William Byrd performed on virginal.   The Wednesday session "depicts the deep humiliation and physical suffering of Jerusalem following its destruction by the Babylonians in the summer of 586BC[E]".  The Thursday lamentation describes "describes the city as a 'scorn and a hissing' to the nations.  Jesus is famously 'the man of sorrows' who wept over Jerusalem."  The themes may be distant as I try to recall details of Holy Week from school days, but the music is delicate and full of dread and disappointment.  And maybe an Australian first.

Greta Claringbould (soprano), Maartje Sevenster (alto), Ariana Odermatt (virginal) and Rachel Walker (viola da gamba) performed Porpora lamentations at Wesley on Holy Wednesday and Maundy Thursday.  The pic is from Maundy Thursday with Maartje Sevenster singing.  And thanks to Alan Hinde for tracking the Wednesday performance.  

Time travels

I do wonder how many towns the size of Canberra are supplied with musicians like this town.  Concerts just seem to roll in, frequently, during the week or conflict over the weekend.  And so I managed to fit a Canberra Bach Ensemble sets of four oratorios into the Saturday evening between a final rehearsal and a Maruki concert.  More on that next.  But it's busy.  And CBE concerts are not lightweight.  Four cantatas featuring ~50 performers comprising choir and soloists and period instrumentalists, some visiting from Melbourne or Sydney for the event, but mostly local.  That's 2 hours of performance with an interval in the middle.  Not shirking.  And each cantata preceded by a presumably related motet by another composer, all cantatas for the Jubilate Sunday, once the Third Sunday after Easter.  True to form, the baroque instruments were wooden and detuned and of considerable interest and some rarity or at least uncommonness.  We got a long necked Theorbo from violinist Shaun Ng, a sixth flute (essentially a descant recorder in D) that had been borrowed by Robyn Mellor from Melbourne, oboes d'amore and baroque bassoons and the like.  And plenty of gut for the tone.  The choir sounded glorious, the vocal soloists informed and clear, the whole a glorious and generous indulgence in the period and quite a learning proposition.  Thanks once again to Andrew and CBE.

Canberra Bach Ensemble performed under Andrew Koll (director) with Stephen Freeman (concertmaster), Greta Claringbould (soprano), Maartje Sevenster (alto), Timothy Reynolds (tenor) and Andrew Fysh (bass).

The mother's voice

The story of Easter is the crucifixion and it was set so beautifully by Pergolesi Stabat Mater and performed in small format by Greta Claringbould, Tobias Cole and Linus Lee, upstairs at Smiths.  It's the story of Mary at the Cross as her son dies.  This setting was a smallish room, bedecked for the occasion with candles and lit with a cone of light against on a red background.  Just perfect except for a lighting malfunction of auto strobe strobe lighting.  But these are professionals and the music still spoke for itself and we could all laugh about it after, perhaps in relief at the music of intense tragedy and deep faith that Pergolesi presents.  Certainly, the death was obvious as the music temporarily collapsed into emptiness.  Then recovered with reference to the devotees.  Toby and Greta matched voices at time, these are high voices, harmonised with intense beauty at others, singing over the essential presence of the Linus' piano with introductions that are so well recognised.  This was a work of great beauty done by wonderfully capable and responsive local performers.  Another  immensely touching memory for this Easter.

Pergolesi Stabat Mater was presented as Vigil at McGregor Hall at Smiths Alternative by Greta Claringbould (soprano), Tobias Cole (countertenor) and Linus Lee (piano).

Contemplating the body

These days of modernity and medicines we protected from so much, but Easter remains a brutal story from ancient/mediaeval history.  I felt this with a jazz gig on Good Friday evening but primarily with a concert for Holy Week at Wesley in the afternoon.  The music was Buxtehude Membra Jesu Nostri, a great powerful work of early baroque (I guess) with five voices and accompaniment with a theme of Christ on the Cross expressed in 7 short movements totalling ~60 minutes: ad pedes; ad manus; ad genua; ad latus; ad pectus; ad cor; ad faciem.  That is, an immersion in the horrors of crucifixion, specifically this one: contemplations on the feet, knees, hands, sides, breast, heart and face.  Not at all modern, but powerful, not least in Latin.  Each movement started and ended with a SSATB "concerto" then arias by various individual voices or parts.  Accompaniment was mainly violin, viola, cello, harpsichord, but for some time, adding organ and viola da gamba 1,2.  All period instruments.  And this was a stunning experience, so well sung by several of our local luminaries, and similarly accompanied.  Just a work of power and beauty seldom experienced.  Stunning.

Buxtehude Membra Jesu nostri was performed at Wesley Church on Good Friday.  Performers were Greta Claringbould and Jade McFaul (sopranos), Maartje Sevenster (alto), Dan Walker (tenor), Andrew Fysh (bass), John Ma (violin), Lauren Davis (viola), Clara Teniswood (cello), Rachel Walker and Caroline Downer (violas da gamba), Marie Searles (harpsichord) and Ariana Odermatt (organ).

A matter of will

I hadn't realised the extent of Andrew Koll's programming until after this latest Canberra Bach Ensemble concert at St Christopher's.  We chatted after and he told us of the theme, the will of God.  I had been amused by a translated line, Lord, as you will! (Herr, wie du willt!, apparently by extension, the Mind of God) but it's a clear statement of religious trust and faith especially of the time and place.  These cantatas covered this issue, mostly be being written for the same weekend of the religious year (third Sunday after Epiphany on consecutive years 1724,1725,1726), other than one written a week later (Septuagesima 1725).  I guess I could have read the program.  But from the start, I just closed my eyes to experience the rolling harmonies in repeated lyrical lines, through the various voices, all clear and precise and deeply beautiful.  The start was a quote from St John Passion on the same topic, God's will, presented as choir without backing, leading into BWV 111, then BWV 92, then an interval and BWV 73 and BWV 72.  Throughout this was openings and closings of choruses with arias and recitatives within variously from soprano, alto, tenor and bass.  It's a formula that's repeated in this these cantatas, once written each week for Leipzig churches.  To conceive of the intensity of this work, a cantata a week, is overwhelming but Bach did it and we have the pleasure of it.  The choir was 36 through SATB and the accompaniment was 16 between strings, winds and continuo.  There was a segment with two solo violins and Andrew highlighted that it was similar to Bach's double violin concerto and that's just indicative of his sharing themes in the whirlwinds of producing all this music.  And there were segments of quick, non-stop cello from Clara and delightfully precisely articulated and fast contrabass (not really a violone) that floored me.  I had my eyes closed for the baroque horn but heard baroque oboe and bassoons often enough.  But these are just things noticed amongst a night of glorious Bach religious cantatas played and sung with real love and considerable understanding.  A great, great pleasure.

Andrew Koll (musical director, conductor) led the Canberra Bach Ensemble at St Christopher's Cathedral in a choral excerpt from St John Passion and BWVs 111,92,73,72 on the Will of God.  Key performers were Stephen Freeman (Orchestra Leader), Greta Claringbould (soprano), Maartje Sevenster (alto), Timothy Reynolds (tenor) and Andrew Fysh (bass) and some favourite bottom-enders of mine, Clara Teniswood (cello) and  Kyle Ramsay0Daniel (bass).

Ridiculous, sublime, whatever

So, my second musical outing after Japan and following SoundOut was Canberra Bach Ensemble.  How can you not love Bach?  He's so much a great love of our era and his cantatas are big choral works which inevitably thrill and his counterpoint is sublime.  This was CBE's triumphant return concert after performing in Leipzig, Bach's most famous home, for this year's Leipzig Bach Festival.  It must have been thrilling for those who attended.  I know they picked up bass and keys there and maybe others.  These are not instruments to easily travel with.  But then this is the home of Bach and also apparently the oldest orchestra, from the Gewandhaus, and plenty of players who play Bach cantatas regularly, so no particular problem.  This concert was back to Canberra brick rather than German stone but the thrill was still there.  Four cantatas over two hours of performance.  I can enjoy the interludes, the recitatives and arias, the singers with solo or small accompaniments, but nothing does it for me like the choruses, with blaring period trumpets and blurting oboes da caccia and driving gut bass playing with oddly grouped lines that double up unexpectedly and carry on releantlessly.  Thrilling and exultant.  Loved this one as all!

Canberra Bach Ensemble performed BWV119,148,192,137 and an encore of a wedding cantata BWV195 at St Christopher's, Manuka, under Andrew Koll (director).  Singers were Greta Claringbould (soprano), Maartje Sevenster (alto), Timothy Reynolds (tenor) and Andrew Fysh (bass).  Stephen Freeman (violin) led the orchestra and Kyle Ramsey-Daniel (bass) performed on Dave's gut 5-stringer.

Calm and storm

It's coming close to Canberra Bach Ensemble attending the Leipzig Bach Festival mid-year.  But this is Easter so a Bach passion was in store, this time St John.  But the program referenced Leipzig and advised that the CBE program will be three cantatas, BWV 9,107, 178 and interestingly that they were assigned.  I checked with Andrew afterwards and, yes, they are assigned, partly for some consistency in performances at any one festival.  I also asked who was going.  About 50-75% of the group will be attending and the others will be replaced by local players.  Given the Gevanthaus and students, that should be easy enough.  So again St John Passion, again the glorious big choral sounds and the pensive recitatives and the varied solo voices and the period instrumentation.  Also again the infectious opening that keeps reappearing thoughout.  Dave was on bass and playing beautifully on a 5-string gut strung instrument.  I noted the twisty lines and odd intervals and unexpected harmonies and sometimes followed the bass line on IMSLP and I think I found the opening theme recurring through all manner of rhythms and accompaniments, not just in the obvious recurrences in obvious form.  If I am right, it just extremely extends my understanding of Bach and his brilliance, to pass through these quite unexpected harmonic movements and to hide them throughout in all manner of forms.  Am I right?  Dunno yet but I am intrigued.  As for voices, I must highlight the Evangelist, Richard Butler, who had the most wonderfully expressed, wide ranging voice for some complex lines.  Just a stunner.  And maybe mention the lute which I don't remember hearing in Bach before but here it was (literally) central.  But again this was a huge and successful endeavour by a large group of capable musicians and singers.  And very sensible of them to stage a long interval just when Canberra's recovered Skyfire to  light the local sky and add to the noise of Canberra Ave just outside St Christopher's.

The Canberra Bach Ensemble presented Bach St John Passion BWV245 at St Christopher's Manuka.  Key performers were Andrew Koll (MD, conductor), Bianca Porcheddu (concertmaster), Richard Butler (Evangelist), Sitiveni Talei (Jesus), Grata Claringbould (soprano), Maartje Sevenster (alto), Christopher Warren (tenor) and Andrew Fysh (bass).  David Flynn (bass) held up the bottom end.

Back to Bach

My little wedding gig meant I was late for Canberra Bach Ensemble with their latest string of Advent cantatas.  It's obviously a nostalgic return for me to the cantatas at home in Leipzig and this group will be playing at next year's BachFest so it's virtually the same thing.  I just caught the second half and some lovely song, notably several appearances from a visiting Sydney tenor Thomas Hallworth and a duet from Greta and Maartje and some bass recitative from Andrew as well as a few features from Bianca and friends in the instrumental  section and a feature on the curved oboe da caccia.  And always Dave's very unrelenting bass part played on a gut 5-string with baroque bow.  Also noteworthy and parallelling the common role of organ in Leipzig was the final, thundering organ piece to finish the show, played by James Porteous on an instrument sequestered in the adjacent chapel.  I was not the only one looking for the source of that sometimes big sound.  Organ had a prominent role in the cantata services that I saw in Leipzig so it fitted wonderfully.  I was taken, too, but the voluminous strength of the SATB chorales when they took flight.   Loud and boisterous and not at all delicate, even if perfectly correctly performed.   This felt to me like the visiting Australian cousins with their outspoken ways, and it worked a powerful treat.  So I caught some, not all, and enjoyed it and look forward to our Canberra presence next year in Bach's town.

Canberra Bach Ensemble performed advent cantatas (BWV61,62,36,1) at St Christopher's Cathedral in Manuka.  CBE was directed by Andrew Koll (conductor) with Bianca Porcheddu (violin) as concert master and solo singers Greta Claringbould (soprano), Maartje Sevenster (alto), Thomas Hallworth (tenor) and Andrew Fysh (bass).

Limestone transforming

I'd been asked to record an expanded Limestone Consort playing Vivaldi Nisi Dominus and more at St Paul's, Manuka.  Always happy to do it if I can and this was an opportunity for my multitrack option which is better but more tension-inducing and time-consuming.  So be it.  Limestone can vary quite radically these days for their concerts.  This one had harpsichord and organ from Ariana, baroque flute and viola d'amore from Jennifer and John and three female voices from Maartje, Veronica and Greta, so a fascinating and very period outing.  It started mild and it was never going to be loud in such a space.  John's viola d'amore is quiet (and demanding to tune!) and the organ and harpsichord are none too loud.  The female voices, though, were strong as were the other strings, so it was very much a matter of balance on the day.  Christoph Graupner (new to me, too) Concerto for flute and viola d'amore was very restrained despite a few vivace movements.  Then two Vivaldi songs with Maartje and Giovanni Battista Vitali Ciaccona op.7 (no, not that ciaconne and not that Vitali: Tomaso Antonio was GB's eldest son).  And then the main work of the day: Vivaldi Nisi Dominus.  Again, not the only one, apparently.  This demanded all performers, although in varied combinations.  Three singers at start and end, with solos and a duet totalling 8 movements.  Religious again, obviously but with an inviting lilting, four-feel top and bottom and three beautiful voices in such lovely harmony: Maartje as alto; Greta as soprano; Veronica as mezzo-soprano.  It was a tight and close harmony at a lovely female pitch and so very beautiful!  So this was not such a long concert and not such a loud or intrusive one, but it had some things of great baroque beauty and a huge please to hear again in my recordings.

Limestone Consort performed Vivaldi and others at St Paul's Manuka.  For this concert, LC comprised Jennifer Brian (flute), John Ma (viola d'amore, violin, viola), Lauren Davis and Michelle Higgs (violins), Clara Teniswood (cello) and Ariana Odermatt (harpsichord, organ) with singers Maartje Sevenster (alto), Veronica Thwaites-Brown (mezzo-soprano) and Greta Claringbould (soprano).

Early prep for Thomaskirche

I rushed off from one practice (Mendelssohn, Bruch, Tchaikovsky) to feed the dogs and then assist Tim to set up his recording of Canberra Bach Ensemble in St Christopher's.  It was quite a change of scene and musics.  CBE was playing three cantatas and a mass by Bach and a few smaller pieces by Schein and Schutz who had influenced JS.  So this was gut string intimacy and choral exuberance and vocal passion with early, even curved winds of all styles.  Something period and truly lovely.  I watched the various instruments and the frequent soloists and the milling of the choir entering and leaving for not too many choral movements.  The inherent sound of Bach was evident against Schein and Schutz, but they were worthy none-the-less and indicative of musics of the time, I guess.  There was not a lot of patter.  Andrew writes generous notes for his programs but remains fairly quiet on stage.  I particularly watched Dave on bass, as I am wont to do, and mostly it was easy reading other than a few quick and unrelenting and richly varied passages.  I could appreciate his concentration there.  So CBE is on track once again to visit Leipzig and its Bach Festival next June 2024.  Covid prevented the last expedition.  Let's hope they make it this time.  And good on them.  So wonderful to hear Bach with authenticity, and it can only grow in Bach's own venue, Thomaskirche.

Canberra Bach Ensemble performed at St Christopher's, Manuka.  Andrew Koll (musical director) led a choir of 25 and an orchestra of 18 with concertmaster Bianca Porcheddu (violin) and vocal soloists Greta Claringbould (soprano), Maartje Sevenster (alto), Richard Butler (tenor) and Andrew Fysh (bass).

Bach back

Great to see Bach back again.  Our local Canberra Bach Ensemble had a fairly short concert to reemerge after Covid and to start preparing for BachFest in Leipzig, now in 2024.  CBE is the first Australian group to be invited to BachFest.  We luxuriated in these great sounds, these fabulous baroque fugues and songs and instrumentals at that reduced pitch.  The orchestra was a bit smaller than previous outings, with 2 x violin, 2 x viola, 1 x cello, organ, 1 x flute and 2 x recorders although much was reduced to single seats and even just organ and cello for some pieces.  Bianca did a great job, but perhaps Clara was the defining instrument for the night, as the bass end (here cello) tends to be.  And she played for every piece, along with Anthony.  The choir could be blissful, especially in the Schutz with just organ and cello accompaniment, with the vocals were so, so clear and insistent.  The sopranos rang and soared and I was on the side of the stage with the tenors and basses and I heard them so clearly in their interplay.  The night started with a larger choral work with orchestral accompaniment, then through a series of arias variously for soprano, alto and/or bass, then a final three works by Bach antecedents, Heinrich Schutz and Andreas Hammerschmidt.  Then a drinks and nibbles in the local hall.  This was a fund-raiser and well attended and the musicians played for nix so not a full bore concert of cantatas.  Looking forward to the bigger outings in due course.  Bring it on!

Andrew Koll (conductor) directed the Canberra Bach Ensemble at St Christopher's in Manuka.  Instrumentalists were Bianca Porcheddu and Lauren Davis (violins), Lucy Carrigy-Ryan, John Ma and Elizabeth Chalker (violas), Clara Teniswood (cello), Anthony Smith (organ), Jennifer Bryan (flauto traverso), Robyn Mellor and Olivia Gossip (recorders).  Vocal soloists were Greta Claringbould (soprano), Maarte Seventer (alto) and Andrew Fysh (bass).  The choir was 24 (including Greta, Marrte and Andrew) comprising 6 for each SATB part.

One good friday

It's Good Friday and I'm pretty free except to attend some music later in the day.  I turn on ABCRN and the morning program is for Easter, all contemporary Christianity and historical Jesus.  Then just one piece of music, and what a coincidence!  I recognised it as Antonio Lotti Crucifixus a 8.  Sung by The Choir of King's College Cambridge.  A coincidence because we had two singers from this choir staying with us one CIMF, but mainly because it's the tune I chose to end my latest album, The Pots sky vs weather.  My take is midi with a nice sampled choir and church organ with some cathedral reverb.  It was inherently satisfyingly beautiful so I left it without further complexities.  Of course, the real voices were better and featured words with meaning, and the arrangement was longer and slower, but nice to find the coincidence.  The music we were to hear in the afternoon was Scarlatti Stabat Mater dolorosa with an introduction of Nicola Porpora Rigate lacrimis.  Clara had asked it not be recorded, as it was not formally a concert but a religious event.  OK.  But another coincidence.  It was a rainy day, and coming up to the start at 3pm we heard thunder.  I checked the timing of Christ's death on the cross.  Apparently the synoptic gospels (Matthew, Luke, Mark) suggests crucifixion at 9am, darkness at noon and death at 3pm.  There's a conflict with John's gospel but I didn't follow it up too closely.*  I'm not superstitious or religious, so I can easily accept a coincidence as just that, but it was amusing, if this topic can be.  Then the music.  There was a cross out front on the altar with two candles, a request for silence, a female priest narrating (given my Catholic background, this remains notable), a string of musicians along the back wall of the altar.  Organ, cello, two vocals, two violins.  Interestingly, a full female retinue.  The Porpora was fairly short; the Scarlatti longish, ~50mins in 20 short movements, each with a three line theme introduced by the priest and sung by the singers.  I love this era, ordered and contrapuntal, even somewhat joyous, but I found the context quite strange.  Isn't this Good Friday, memorialising the crucifixion?  The words seemed oddly contrasting with the emotions of the music.  And as for picturing a distraught mother at the foot of a son dying in pain, it seemed fully implausible.  But then I am not of the era and don't have this worldview.  You could also consider it the opportunity for salivation so a thing of joy.  All difficult arguments, but the music was lovely. 

Scarlatti and Popora were performed at St Pauls Manuka on Good Friday by Greta Claringbould (soprano, canto), Maartje Sevenster (alto), Lauren David and Michelle Higgs (violins), Clara Teniswood (cello) and Ariana Odermatt (organ) with Rev. Sandie Kane (priest, narrator).

Compare takes on Antonio Lotti Crucifixus a 8 >
The Pots sky vs weather   /   Choir of Kings College  Cambridge

* What time was Jesus crucified?

Getting to normal?

It seems just a little normal to be seeing the second concert of a local ensemble since Covid-19.  This is Limestone Consort and they performed again at All Saints.  Last time was a little turnout next to St Christopher's in Manuka.  This time it was back to All Saints, our superb little church with carved angels and even gargoyles and with a more generous attendance.  All Saints is our touch of the mediaeval, literally here in Ainslie.  A local gem.  So is this group.  Lauren leads with some regular players, Clara, James, Michelle and Iska.  That forms the basis of Limestone, a gut-strung string quartet with harpsichord accompaniment.  Then adding Jennifer on baroque flute for a few tunes and Greta to sing another.  Limestone's music is baroque or early classical: Handel, Quantz, Telemann, Brescianello, Vivaldi, and this time two new names, at least to me, Fasch and Leonarda.  Interestingly, Leonarda was a Mother Superior, so a female composer in early times, apparently composing in her spare time.  The music was various sonfonias (sinfonie?), sonatas and a concerto.  Guest Jennifer's baroque flute was a delight on several pieces,  changing the tonality and effect and bouncing lines with Lauren's violin.  But perhaps the feature was the final piece, Vivaldi Nulla in mondo pax sincera, with Greta singing the soprano part.  She's such a lovely voice and this was such a fabulous piece, not least the elaborations on Alleluia at the end.  Greta carried it out with great effect, although talking after of being concerned she couldn't do a last minute warm-up.  Understandable given the virtuosity of the piece, but she's too hard on herself.  It was wonderful.  Such a lovely repertoire, a lovely, joyous, happy outfit and a second appearance for them in this haggard year.  In case it's not obvious, Limestone are a fave of mine.

Limestone Consort comprised Lauren Davis and Michelle Higgs (violins), Iska Sampson (viola), Clara Teniswood (cello), James Porteous (harpsichord) with Jennifer Brian (flute) and Greta Claringbould (soprano).  They performed at All Saints, Ainslie.

Elation

Elation is an apt response to a Bach cantata in full flight so no surprise that I felt it at St Christopher's with Andrew Koll's Canberra Bach Ensemble. Andrew's been running these performances for a few years, each time with a chamber orchestra (23) and a decent choir (32) and some solo singers (4). This time it was Bach Magnificat and Meine Seelerhebt den Herren and Tonet ihr Pauken, Erschallet Trompeten. I know at least some of the last as a favourite, Christmas Oratorio. Bach repurposed this one. The works start and end with, and perhaps feature in the middle, a choral work of volume and exultation. In between, the soloists sing of Mary or Maria or other as the theme states. There was one solo organ passage with hidden organist that had the performers looking at a loss, but otherwise, it's an impressive sight. 50+ performers playing works of elation and depth and busy, sequenced familiarity. Bach is familiar to the modern ear even if one work isn't. The instruments are all baroque (so bassist Dave was on a 5-string with gut and baroque bow) and they got workouts. I heard the busy-ness for Dave and frequently cellist Clara so was not surprised to see Dave's part, but it was forboding none-the-less. And endless stream of a moving pattern, crochet-2 quavers, over the page with Da Capo to mark an end of sorts. They did great jobs with considerable concentration. The whole group sounded great, if just a little washed out in the reverberant environment. The winds were from Australian Baroque Brass with their odd trumpets and troms; the choir was lovely, nicely strong with preponderant sopranos; the featured soloists take a great load and did it with panache and I remember a particularly fascinating piece for massed females, three in concurrent, contrapuntal song; the orchestra just sat and spelt out the support with ease and sometimes features, several times from Aaron on Oboe d'amore; the continuo was delightful from Ariana; the leadership was joyful from Bianca, although I don't remember any solos. Too bad. I'd like to have heard her featuring again. The group is booked for the Bach Festival in Leipzig in June next year, so it's not just me who recognises they are doing something right. Just lovely.

The Canberra Bach Ensemble performed at St Christopher's, Manuka. Andrew Koll (musical director, conductor) convenes the group. The Australian Baroque Brass under John Foster (trumpet) assisted. Vocal soloists were Greta Claringbould and Karen Dalzell (sopranos), Maartje Sevenster (alto), Richard Butler (tenor) and Andrew Fysh (bass). Bianca Porcheddu (violin) was concertmaster, Ariana Odermatt (continuo) accompanied, Aaron Reichelt (oboe d'amore) soloed and some mates, Clara Teniswood (cello) and Dave Flynn (bass) worked hard down the bottom end.

Our fave Beethoven

ABC ClassicFM has its annual Classic100 awards and this year it was for favourite composer and Beethoven won it. Probably you could have guessed the outcome, but Bach (no.2) and Mozart (no.3) were always runners, too. So it was opportune for the Llewellyn Choir to stage a Beethoven program. The main work was his Mass in C major; the others were Egmont overture and Choral fantasy. It was a great program and wonderfully performed. I hadn't heard the mass, but a mass is inevitably recognisable and thus familiar comprising the same run of titles, and, I guess, text. After all, the Catholic mass is a standardised and repetitive thing with a long history. The Egmont overture is well known but perhaps my least favourite on the night despite the effective performance. The Choral fantasy was new to me and a strange thing harking to the ninth symphony. It's solo piano for the first adagio movement, then into piano accompanied by orchestra and the choral section with two vocal soloists for the last few minutes. Odd and somewhat amusing but with some nice lines and several passages that clearly lead to the choral symphony. Renowned local piano accompanist Anthony Smith appeared as a piano soloist and did a great job. Four soloists appeared in the mass and their voices and interweaving harmonies were a great pleasure. I especially enjoyed Greta's soaring soprano and Paul's firm and strongly enunciated tenor. The Llewellyn Sinfonia was a nicely capable outfit and a great pleasure, obviously brought together for this program but featuring a string of CSO and such players. Nice to see the bass section of Max McBride and Dave Flynn. So, this was a great performance and a huge pleasure and, from the drinks and congratulations after, widely seen as a success. Wonderful and inspiring.

Llewellyn Choir and Sinfonia performed a Beethoven program including his Mass in C major in Llewellyn under Rowan Harvey-Martin (conductor) with soloists Anthony Smith (piano), Greta Claringbould (soprano), Jennifer Bennett (soprano), Ellen Malone (mezzo-soprano), Paul McMahon (tenor), Peter Ellis (tenor) and Christopher Richardson (bass). Lisa Stewart (violin) was concertmaster and Max McBride and David Flynn (basses) filled the bottom end.

A blessed Easter 2

This was other (extant) Bach Passion performed in Canberra. Igitur nos with St John Passion at the other Manuka venue, St Paul's. It was a more moderate affair but no less satisfying. Only one orchestra of 14 players (small so that one muso suggested only half an orchestra) with Evangelist and soloists and a smaller but still involving, powerful and skilled choir of 23 singers. This was shorter and more accessible than the St Matthew Passion. More accessible because it was more comprehensible, being in English. The version was the Bärenreiter Urtext in both German and English, but this was sung in the English and it made a huge difference. I followed the text (given in the program with just minimal changes from that sung), but mostly I could catch the words, at least from the solo Evangelist who told the story; some of the choral parts were not so immediately clear and often repeated lines rather than narrated. I caught a few details of the story that I'd missed, names like Caiaphas and Annas and Malchas and a hyssop branch and the like. I was thrilled by the chorus when it entered, all big and full and often contrapuntal, and awed by the Evangelist's job on the night. Evangelist Daniel MacMillan was trained at ANU but is living in WA at present; he was flown over for this performance. The complexity of his job had me wondering if his part was originally improvised. It certainly wouldn't be these days. We had prime seats and enjoyed watching the strings, just metres from us, not least Kyle, busy on bass, and Greta who both played viola and stood to sing occasional soprano parts. And the guidance of Matthew Stuckings who got all this together and conducted. It was standing room only for the performance, on an afternoon with setting sun raising temperatures in the church and a smaller experience than St Matthews but another hugely satisfying performance. Truly a blessed Easter.

Igitur nos performed JS Bach St John Passion on Good Friday at St Paul's Manuka. Matthew Stuckings (conductor) led Igitur nos chamber choir and orchestra with Daniel MacMillan (Evangelist), Greta Claringbould (soprano), Veronica Thwaites-Brown (mezzo-soprano), Charles Hudson (tenor), Colin Milner (baritone, Jesus).

A blessed Easter 1

This is a blessed Easter in Canberra: we can hear both Bach Passions. The first was a grand affair, St Matthew Passion at St Christopher's at Manuka with 31 musicians in two orchestras and ~140 singers from two choirs. The musicians were from Canberra Symphony Orchestra and the like with BJ Gilby and Pip Thompson as the two orchestra leaders. The choirs were Canberra Choral Society and Australis Voices (one of the Woden Valley Youth Choir family). The whole was conducted by Andrew Koll of local Canberra Bach Ensemble fame with solo vocalists Robert Macfarlane, Jeremy Tatchell, Greta Claringbould, Maartje Sevenster, Christopher Roach and Andrew Fysh and a series of choir members playing smaller parts (identified when in character with a coloured scarf). St Matthew's is big regardless, but this was unabridged, totalling 78 movements, variously chorales or recitative or aria, in two parts with an interval. 3.5 hours in the original German. There was a script and translation projected but it wasn't always easy to read. Impressive and demanding, even for audience. But the time went. I loved the returning choruses, the voices were sometimes startling, always reverent, relevant. The Evangelist holds it together by telling the story, but what a job. Robert McFarlane was hugely impressive in this role. It's a story we know well enough, although spread over 3 hours there were features and references that I didn't know so well, so educational too. Other than the basses on stools or Pip or Barbara who occasionally stood, or a peak at the solo Viola da gamba down the aisle, I could see little. But then I mostly watch the bassists anyway. They were Kyle Daniel and Isabella Brown, both of CSO. Mostly it was delicious Bach contrapuntal fare but just once I was aghast, well into the first part with reference to Hell. It was bass hell: a very long fretful passage of semiquavers. But they pulled it off. Otherwise, I noticed how cleverly Bach expressed the plot or theme of a chorus in his writing. Somewhere in the second part I realised how effective it was then I heard it ongoing. And that haunting chorus that recurs, sung by both choirs (is it Wir setzen uns mit Tranen nieder or part thereof?) that just has your skin squirming with its simple beauteous melody and deep intimacy. Just a stunner. A fabulously successful outing for this work of great genius. Congratulations to all. Now for Bach's other survived passion on Good Friday...

JS Bach St Matthew Passion was performed at St Christopher's Manuka Canberra Choral Society and Australis Voices, two orchestras led by Pip Thompson and BJ Gilby with solo voices Robert Macfarlane (Evangelist), Jeremy Tatchell (Jesus), Greta Claringbould (soprano), Maartje Sevenster (alto), Christopher Roach (tenor) and Andrew Fysh (bass) under Andrew Koll (conductor).