Just how good

Best composition?  I wondered about that but it's a stupid question, especially given my limited knowledge, but my favourite work?  I think so.  I've listed every classical piece I've performed in concert (now 506 with some repeats) and it includes Beethoven 3,4,5,6,7 and plenty more, but my faves are choral and this seems my most memorable of all.  Sitting through Brahms German Requiem by Igitur nos tends to confirm it.  Gloriously rich and attractive, emotionally dense, wonderfully informed bass lines, extensive chromatic and substituting lines, beautiful harmonies in voices to drool over, high sopranos, inventive harmonies and challenging fugues.  I closed my eyes and fell into this density, knowing it well after having played it myself.  I find when I've practised and performed a work, it stays with me, so I know upcoming phasings and predict every line.  Strange that practice, or perhaps performance, can be so permanent.  I can't play from memory but I can revisit and predict a listen.  Hayley did a great job on so many lines, slow or busy as they were.  Otherwise, just a small accompaniment of piano, single strings and woodwinds, 8 players in all in the arrangements, rather than a full orchestra.  And the choir and two soloists, bass and soprano.  Very nice soloists, but I preferred the massed parts, the power and precision and movements of lines in harmony.  My German was nil, so the words were of nothing, but still power remained and glorious, emotional music.  Brahms German Requiem: a work of beauty and huge emotional density.

Igitur Nos performed Brahms German Requiem at Wesley.  Matthew Stuckings (conductor) led a choir of 22 with two vocal soloists, Elsa Huber (soprano) and Colin Milner (baritone) and an octet comprising Rowan Harvey-Martin (violin), Elizabeth Chalker (viola), Alex Voorhoeve (cello), Hayley Manning (bass), Jodie Petrov (flute), Yu-Lan Chan (oboe), Lis Hoorweg (clarinet) and Emily Leong (piano).

Shadows

Tenebrae is Latin and translates to Shadows or Darkness in English.  Thus the theme continues in this Holy Week series at Wesley Church.  This concert was a revisit by Igitur Nos under DM Matthew Stuckings and presented a collection of works suitable for Lent, drawing on scripture, poetry and liturgical texts and inviting interest in matters including loss and grief, comfort and isolation, solidarity and renewal.  Thanks to Matthew (presumably) for these words.  In practice, the music was richly varied, a capella, SATB to 8 parts, with works by Gibbons, Byrd, Wood, Puseley, Greene, Tchaikovsky, Goreki, Poulenc, Bairstow and Harris.  The voices were pure and well controlled, interleaving with precision, highlighting variously soprano or tenor or whatever, sometimes fairly simple, othertimes busy and changing between multiple parts.  Again, I loved the soaring sopranos, but also male voices when they were prominent.  Igitur Nos is a wonderfully satisfying choir by one of our major local leaders.  Satisfying and sometimes thrilling.  And the Gibbons encore was a great choice, highlighting the best of the busy interplay, clear voices and voicings.

Igitur Nos were 27 SATB voices led by Matthew Stuckings (conductor, MD) with occasional accompaniment by aJmes Porteous (organ).  They performed at Wesley Church.

Weekend 2

Sunday was another 3pm mega event.  I was somewhat hassled, having a first go at multitracking recording.  I have most of the gear and the knowledge, but not sure of cables and stands and the like.  In the end, I managed most if not all that I'd like, but it was informative and satisfying.  Super embarrassingly, my phone went off in the performance.  I had "Do Not Disturb" on.  Note to all: check your Android Do Not Disturb settings (and I guess whatever in i-World).  I get few calls and I've never had a call interrupt a concert before, but this was a repeated call, and that was allowed as a default setting on my phone!!!  Suffice to say, not now.  And at the end, a Melbourne mate arrived, unexpected, at the concert, finding me.  Strange events.  But how was the concert?  Just wonderful.  I sat near the Evangelist (tenor) and he impressed.  So did Jesus (as he should)!  Hayley was on bass and did a wonderful job.  I enjoyed following the violins and always enjoy bassoon.  Why are they always so capable and clear toned in our bass range?  I followed the words (recitatives in English; chorals in German with translations).  The story touched me, taking me back to Catholic schooldays.  Not converted, but touched.  Wondering about why this tree or that event.  These stories are old and have resonances that our society isn't aware of these days.  Well, it is the Bible, after all with its long resonances for our/my Euro  culture.  And thinking of German Easter Sundays in Bach's days, presumably the congregation hearing St John's Passion part 1, then a sermon (we had coffee!), then part 2, then I guess a mass and the rest.  They were committed. And also thinking of several musos who had said they'd prefer St Matthew's Passion, given this was so powerful.  Well, it may be a bit better on records, but not much, and the presence and surroundings, even if just modern brick, seemed apt and  the music, both written and played, was fabulous.  How much did I enjoy this?  Enjoy may not be the word, but very much and deeply.  Many thanks to Igitur Nos and Matthew Stuckings and the crew he gathered for this performance.

Igitur Nos Chamber Choir performed under Matthew Stuckings (musical director).  Igitur Nos performed as a choir of ~20 with several soloists and a chamber orchestra of 14.  Soloists were Kent McIntosh (Evangelist, tenor), Sitiveni Talei (Jesus, baritone), Maartje Sevenster (contralto), Cassandra Hmble (soprano), Colin Miller (Pilate, baritone) and Great Claringbould (soprano).  Anthony Smith played continuo (keyboard ). Hayley Manning (bass) provided the bottom end.

In the mix

What a pleasure to be asked to record Igitur nos. I've recorded them many times in concert, of course, but this was in rehearsal, in the organ loft at St Paul's. I was there with them, veritably engulfed in the sounds so that individual parts, especially the higher voices, the tenors and sopranos, were clear and immediate, and with forceful pipe organ driving it all from just metres away. This is blissful when all is prepared and they are going for a decent take. There were some stops and starts, some practices of segments, but also some terrific takes on various religious musics: 2 psalms, Palestrina and 2 from Stanford. Mostly in English. They are to be recordings for demos. Such a pleasure to be amongst it all.

Igitur nos was led in rehearsal by Matthew Stuckings (conductor) in the organ loft of St Paul's Manuka.

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).

An Australian to the world

Canberra has shown me a very international Australia. I didn't have that feeling in Adelaide. It's derivative from the home of Federal government and associated institutions, the diplomatic core and the universities especially ANU, but also the people in our streets. I first noticed it with Frank Gambale, guitarist from the Pro Audio family who played around town in the '80s and has since recorded a string of albums with Chick Corea. And the daughter of a work colleague who was a famed model in Paris and NYC. So, it's no particular surprise that Igitur nos played the music of Penelope Thwaites, of Melbourne but with relatives here, one of whom led and sang at this concert: Veronica Thwaites-Brown. This is modern music but with firm historical awareness - I even heard some jazz harmonies - with themes of Shakespeare and psalms and a missa brevis and a wedding gloria. The performance was beautifully done. Sweet harmonies from a capable choir, clear singing from soprano, mezzo and two tenors, empathetic accompaniment from piano and organ and even drums, and one feature from a children's choir. There's concern for humanity here, chosen to fit events or to express the words of various writers including her late father Michael Thwaites, once of Canberra. It's interesting to compare Michael reading his poem (find it on SoundCloud with music played by Penelope) and Penelope's musical take on this and further, the local interpretation. I enjoyed this concert immensely, but also admired it, for its worthiness and seriousness and all round excellent musicianship, in composition and performance. I find announcements for Penelope's music being performed in London, but nice to see we beat London to the premiere of one of the works, Five Shakespeare songs. Not that it's so important, but it's amusing. Penelope is clearly one very impressive Australian in the world and this was a very impressive array of locals performing her music.

The music of Penelope Thwaites was performed at St Paul's Manuka by Igitur Nos (choir) under Matthew Stuckings (conductor, director) with soloists Veronica Thwaites-Brown (mezzo-soprano), Greta Claringbould (soprano), Ken Goodge and Raphael Hudson (tenors) and the Hawker Harmonists (children's choir). Accompaniment was by Emily Leong (piano) and Colleen Rae-Gerrard (piano, organ) and James Sneddon (drums).

Tallis two

Igitur nos did a double act concert of music of Thomas Tallis. It was just a short concert, but interestingly repeated with just a bbreak of an hour so to travel between venues. The first was at St Paul's Manuka, a church setting fitting the period and the dignified choral style. The second was the foyer at the National Portrait Gallery. Widely different: modern, square, timber and glass and cement. But to talk of this as a duo is inadequate. The main work was Spem in Alium sung by eight choirs of five parts. So think 8 not 2. On the day, Igitur nos was slightly larger again, with 46-or-so singers and musical director Matthew out front conducting. Most presumably went to hear SinA, although the rest of the program was beautiful and delicate. But SinA is renowned and complex, with the singing moving from left-stage to right, choirs 1/2 through 3/4, 5/6 to 7/8 and back again and at various times in tutti mode or otherwise merged. Sometimes, simple voices, perhaps a little unbalanced; sometimes great masses of singing. It's a work to hold in awe, but also to hear frequently to understand. The other works were simpler, presumably SATB or thereabouts, If ye love me, Verily verily, various psalm tunes, Locquanbantur, some personal, some religious. It was a stunning satisfying outing, and especially memorable for the repeat performance. I found I prefered the space and the performance of the NPG. I walked after with one of the singers and she confirmed that: more room, less interference, so singers had heard new things. But it's also the warmup and slight exhaustion of a repeat performance in short time. That settles and brings out emotional sturdiness and I thought it showed here. A memorable pairing.

Igitur nos, under Matthew Stuckings (conductor, musical director), performed the music of Thomas Tallis, including Spem in Alium, at St Paul's Manuka and the National Portrait Gallery foyer.

Not Joni Mitchell

"The last time I saw Richard was in Detroit in '68 and he told me / All romantics meet the same fate / cynical and drunk and boring someone in some dark cafe". I could continue and it's a formative song but I won't. The last time I heard Fauré Requiem was NYC in 2011. It was the 10th anniversary of 9-11 and we happened to be in town and there was memorial music everywhere. Plenty of choirs; plenty of deeply connecting music. Where? As I remember, Grace Church on Broadway, an Episcopalian Church. A lucky and unexpected find. We caught the last 20 mins or so and we were warmly welcomed. Episcopalian is High Church Anglican for us. And so it was for my second Fauré Requiem. This was St Paul's Anglican, Manuka, with Igitur Nos. A very fine choir, led by Matthew Stuckings, singing Fauré Requiem, but before that, Britten Hymn to St Cecilia and Vaughan Williams Mass in G minor. A fine set of religious musics. I need to listen to Fauré more. It is a core repertoire item, but I haven't connected yet. The VW was different. I connected from the first notes. Softer than the diversions and canons of Britten; soft, smooth, meditative, blending voices and plainchant introductions. This seemed settled into its milieu; part of a grand tradition, openly and simply. I liked this. The Fauré has more variation; perhaps it's more mournful and sparse. It was sung from the organ loft and the balance was hard to set and the voices were somewhat distant, but this is ethereal music, touching hope for some passages. Igitur Nos is a great little choir doing a fabulous job on the choral repertoire. I admire them, now knowing something of the skill of SATB voices. Those soaring sopranos; those beauteous harmonies, gentle and inviting; the occasional solo voices. Religious choral music does what's it's meant to do, to invite you to confirm faith, even if we are a bit long in the tooth for that after rationalism and Pell. But so beautiful.

Igitur Nos performed Fauré, Vaughan Williams and Britten at St Paul's Manuka. Matthew Stuckings conducted. Soloists were Catherine Schmitz, Hilary Howes, Mark Boast, Oliver Raymond, Hannah Bleby Orford, Carolyn Strange, Paul Francis, Jonathan Lee, Andrew Fysh. Christopher Erskine and James Porteous (organ).

A Canberra swoon

Igitur nos did an internal "Swoon vote" (a la ABC-FM): each member listed 5 songs they'd like to do, giving ~100 votes, and from this came their concert at the CGGS Chapel on Sunday. The concert was named Angel voices and what a terrific concert it was. It was a dream to hear such a good choir, doubly so in this nice venue, glassed in with views of mock-tudor and gums and Red Hill and a lovely mid-winter sunny Canberra sky and a gently reverberant acoustic. The voices were fabulous: unwaveringly steady, clearly enunciated, softly attacked, precisely pitched, revelling in harmonies, generously dynamic, closely listened and keen eyes on conductor Matthew. I was close and noticed some impressive individual voices, too, especially the sopranos clear and soaring and tenors rich and high. The program was nicely varied. Ola Gjeilo, a contemporary Norwegian, three English songs by Stanford and Elgar, three US songs, by Barber, Lauridsen and Whitacre (interestingly, the Barber and Lauridsen used words of the same James Agee poem), contemporary Australian David Basden with a Pater noster (he was present for this performance). Also a lovely Tavener called Funeral Ikos written for the Greek Orthodox rite, Howells, Rutter and two from the supreme master, JS Bach. One was a trio sonata played by two recorders and baroque pipe organ (G major, BWV1039); the other was a Cantata (BWV106) with SATB solo voices, choir, organ, cello, 2 recorders and two viole da gamba. This was the biggest and most impressive work; the Elgar and Rutter least interested me; the Basden was wonderful as a genuine local original; perhaps the Tavener or Gjeilo or Whitacre or Barber or one Stanford were my favourites. Interestingly, I'd sung two of the program with some choir or other (Stanford Blue bird and Whitacre seal lullaby) but nothing like this. This was a revelation. Truly a choir of real quality.

Igitur nos is Matthew Stuckings (director, conductor). Singers were Greta Claringbould, Meredith Norman, Meredith Boroky, Michelle Eddy, Olivia Gossip, Jane Godtschalk, Catherine Hayman, Karina Berger, Carolyn Strange, Anne Marie Delseg, Liz Keough, Karen McKenzie, Gerard Clifton, Marcus Klaiber, Paul Francis, Todd Heather, Stephen Lawton, Andrew Freeman, Jonathon Lee and David Smith. Accompanying musicians were Anne Ewing (piano), Olivia Gossip and Robyn Mellor (recorders), Rachel Walker and Alec Hunter (viola da gamba), Clara Teniswood (cello) and James Porteous (organ). Greta Claringbould (soprano), Maartje Sevenster (alto) Norman Meader (tenor) and Andrew Fysh (bass) sang the solo parts in the Bach cantata.

Acclamations of the season

From the first notes I was enamoured. This was Igitur nos with a small chamber orchestra (2xvln,vla,cl,bs), directed by Matthew Stuckings, playing a Christmas concert in the foyer of the National Portrait Gallery. Lots of light, lots of glass, lots of luscious choral reverb. In this space, I couldn't always pick up Matthew's comments, but the voices swelled beautifully. The first two songs were carols - Ding dong merrily on high and This is the truth sent from above (more obscure) - sung without accompaniment. I noticed sweet harmonies and accurate phrasing and shared enunciations: those final consonants crisply together, the dynamics common to all. This is a very nice choir. Then the chorus, And the glory of the Lord, from Handel's Messiah, all dignified and joyous. Magnificent. This was to repeat as the unplanned encore at the end. Then a English Protestant carol, by Orlando Gibbons regarding John the Baptist, all sparse and upright and clearly enunciated and featuring a solo alto by Rebecca Alexander. Then a few singalongs - Once in Royal David's city and Hark the Herald angel sings. I could see some moving lips but was hearing the choir. Then a very English song, Mine liking, all folky and rural and unadorned, and an English arrangement of the German In dulce iubilo, faithful and straightforward. Matthew introduced the next, by John Rutter, as his conversion to Rutter's compositions. The piece was What sweeter music and I'm sure the orchestra didn't blink at 6 flats. Then Healey Willen on the Epiphany and two more singalongs: O little town of Bethlehem and O come all ye faithful. By then, the audience was more confident, and I, for one, enjoyed the opportunity to join in (reasonably discretely!).

This was joyous and involving with its carol singalongs, but also remarkably beautiful with the lovely voices blending and expressing as one, and with a receptive string quintet of considerable presence. The space was worked well for the ensemble, even if it also highlighted occasional children's shrieks. So, a worthy acclamation for the Christmas period and a delight for the ears.

Igitur nos and its accompanying string quintet were directed by Matthew Stuckings. They perfomed a concert of Christmas carols in the foyer of the National Portrait Gallery. Rebecca Alexander (alto) soloed for the Gibbons.

Tallis and continuity

The Musical Offering keeps on giving, this time with Igitur nos singing in the National Library foyer. It was only a short concert, but pure in the way of the Iggies (not a term I concocted). They sang from the books of Thomas Tallis, Eric Whittaker, Edward Bairstow and Maurice durufle.
These are religious songs, mostly dating from far before Canberra’s establishment but a few from after, mediaeval in impression if not always in date. I noticed blooming vocal attacks from these singers and I imagine this allows them to neaten their tone and intonation. This is gentle music, softly portrayed, even if complex in form and movement. I noticed some harshness on high soprano notes while listening from the ground floor in the marble space, but this dissipated from the balcony above. Up there, the tone was more pure and the parts nicely balanced and the counterpoint so evident: the basses rich and supportive and the tenors and altos moving under the soprano melodies. The audience was entranced, even if unsuspecting: happening on a choral performance when coming to study or emerging from bookshop or café. It’s a life-affirming experience to happen on a choir like this, and so apt in an institution of learning and memory that is a library. Not that a library is all so pure: for some it’s a place of work with all its workplace tiffs and managerial organisation and social happenings and the rest. Megan and I worked here many years back. Matthew Stuckings, Igitur nos’ musical director, currently works here as a mansucripts librarian. You can forget its importance when it’s a daily visit, but a concert like this is a reminder. A choir singing Tallis, with all its resonances of history and continuity, just confirms the noble role of the Library. Igitur nos is always a joy as is this institution, and, for that matter, the Musical Offering.

Igitur nos performed in the foyer of the National Library of Australia for the C100 Musical Offering. Matthew Stuckings conducted.

Prep 2

Later that evening, I got to Igitur nos rehearsing at All Saints Ainslie for their performance of Bach’s Easter Oratorio and selections from Handel. I wouldn’t have attended the rehearsal, but I melt over Bach choral music and I have a clash with a gig on the day. This was all business: stops and starts; repeats from bar nn; advice on interpretation and introductions; comments and praise and jokes. It’s a working environment and the music is just in segments, but the beauty couldn’t help but show through. They sang in English, but the one soloist I heard, alto Maartje Seventer, was Dutch and her arias were impressive. She was telling me later that she’d lived a 1 hour train ride from the Amsterdam Concertgebouw: obviously a good influence. The choir is accompanied with a neat chamber orchestra of strings, bassoon and oboe, harpsichord, percussion and a pair of baroque trumpets. The trumpets were bliss in Handel towards the end of the night. All timpani and trumpet and exultant fanfares. I was about to leave but was called back by joyous 2-feel and rising sopranos of the Hallelujah Chorus. I usually close my eyes for classical music, but I was rocking my head and smiling for this one. Is this head-banging for the 1600s? I dread that I can’t make the gig but a taste is better than naught and I got the levels for Megan to record on the day.

Igitur nos were rehearsing Bach’s Easter Oratorio BWV249 and selections from Handel’s Coronation Anthems and Messiah at All Saint’s Anglican Church at Ainslie with Matthew Stuckings conducting.

Latins sing German

I couldn’t get to Igitur Nos performing Brahms’ German Requiem but I got to the rehearsal the day before. There were times of considerable beauty (and some obviously challenging high notes) and it had me wishing to be there on the day. Matthew was working the choir and visiting singers, so this was interrupted, on-off, “Take it from Bar nn” stuff. So it was interesting but choppy and without the tension and commitment and continuity of performance. The visiting voices were Sydney baritone Raphael Hudson and Hobart soprano Pamela Andrews. The accompaniment was four handed on a Yamaha C7 (I understand it’s All Saint’s new indulgence) by brothers Alistair and Colin Noble. Igitur nos will soon start practicing for Mozart’s Requiem in early November. Here are just a few pics of the rehearsal.

Matthew Stuckings (conductor) led the Igitur nos chamber choir with accompaniment by Alistair Noble (piano) and Colin Noble (piano) and with singers Raphael Hudson (baritone) and Pamela Andrews (soprano). Igitur nos comprises Alison Knight, Andrew Freeman, Bruce Watson, Caroline Kayser, Catherine Hayman, Clara Teniswood, David Harcourt, Gemma Dashwood, Gerard Clifton, James Graham, Jonathon Lee, Karen McKenzie, Karina Harvey, Louise Skelt, Markus Klaiber, Mary Harwood, Meredith Boroky, Meredith Norman, Olivia Denney, Steve Harris, Stewart Skelt and Todd Heather.