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.

Two and still hushed

I'd heard the program before but not quite.  Last time Ariana and James were playing within Limestone Consort, with a string quartet and I found the harpsichords, quiet as they are, even raised on the Wesley stage over the strings on the floor below, were still quiet, sometimes lost.  This time, the harpsichords were playing alone, or together, and their volume was theirs, quiet, plucked, perhaps edgy, lovely in that Mediaeval-cum-baroque chamber sound even if still restrained.  They even played much the same music.  The main work was a Bach concerto for two harpsichords (BWV1061), but also a full Krebs Concerto for two harpsichords (I think they only played two movements at the Limestone concert).  The Krebs was written for teacher and student, with one part obviously more difficult.  At one stage in the first movement Ariana was playing semi-quavers, so James' doubled notes must have been demi-semi-quavers.  I know of such a thing (even if I don't have to play on bass).  The other was a strange new/old thing, Thomas Tomkins Fancy for two to play.  James introduced it as an early piece for four handed keyboard, seemingly simple on the page but difficult to put together. They played it on two harpsichords, but close enough.  There were many smiles and maybe some slips but this was a thing of joy, quiet and restrained as harpsichords are, but also challenging and delightful.  I'd dread the tuneups though.  As I arrived, Ariana was tuning then mulled over a retune.  Thus goes period music.  Lovely stuff.

Ariana Odermatt and James Porteous played a double harpsichord concert of Krebs, Tomkins and Bach at Wesley.

This time sublime or what?

 

Three concerts in three days and maybe this is the sublime one.  Dunno.  It featured Bach and two harpsichords, so maybe it's more rollicking than sublime.  Either was, I liked it.  Our local mates Limestone Consort playing Avison, Krebs, Purcell and that feature double harpsichord Bach concerto.  LC normally play with one harpsichord and they play on gut at old-time pitch.  This was A=415 with gut and two harpsichords so there was even more tuning than usual but not unexpected.  I found the Bach my favourite, but there was interest elsewhere.  The Avison was a harpsichord concerto, but just one harpsichord (Ariana).  The Krebs was for two harpsichords, but just two harpsichords, so the strings sat out.  The Purcell was a popular piece, well known and used in films, etc, Abdelazer (the Moor's revenge), again with just one harpsichord (James).  Then the double harpsichord act with strings, the feature work from Bach, BWV1061.  Both harpsichords were busy for three movements; strings sat out on one movement or otherwise dropped in features.  This was the most balanced in volume of the concert, but still the strings overwhelmed at times.  I chatted with Clara and she told me they'd had someone with good ears to check balance, so this was the effect of the audience.  Strange that is had such an effect, but very likely.  Acoustics is a demanding thing.  These harpsichords are really not loud, so cello and violin and viola can overwhelm, even with a pair of harpsichords.  But as with all LC concerts, this was relaxed, friendly, informative (several performers spoke and gave composer background info).  Lauren said Limestone is now in its 10th year and given this outing. I hope they continue.

Limestone Consort performed Avison, Krebs, Purcell and Bach at Wesley Music Centre.  One the day, LC comprised Lauren Davis and Michelle Higgs (violins), Iska Sampson (viola), Clara Teniswood (cello) and Ariana Odermatt and James Porteous (harpsichords).  PS, excuse the pic; not my best!

The priest and the others

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

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

Different ages, different certainties

My concerts are relatively few C(ovid)E but Limestone Consort is one I have got to.  Their concerts are small and intimate; the music is delightfully aged, often somewhere around Bach but also challenging Mozart; the composers are lesser knowns and we hear talk of them from Lauren and the others.  What is it about this era that I so delight in?  It's dignified and stately, presumably written for courtly life, often relatively simple and frequently very danceable.  Dancing is one of its functions, along with impressing visitors and sometimes providing music for the lords and families to perform.  All those things, and that other world of one religion unto God and the associated certainty.  Our only certainty is climate failure and civilisational collapse (listen to Parliament and you wouldn't know it) so it's nice to take an hour off for Quantz and Dall'Abaco and Scheidt and Lanzetti and a Bach that has an precarious provenance and sounded just a little odd to me.  Such a pleasurable outing with entertainment and information from Lauren and Clara and James with visiting flautist Jennifer.  The balance was just a little awry, the flute was mild but the harpsichord was diminutive, but the playing was heartfelt.  They played a mix of combinations so I could hear James playing solo variations by Scheidt and it was lovely.  Clara was firm and omnipresent on cello which pleased this bass-ender.  These are the lines we play in counterpoint and harmony and she did them with real purpose.  Lauren was joyous and melodic above and also Jennifer, if not so prominent.  The flute and violin playing together were lovely in reference and response to each other.  Again, the nature of the style.  As were the gut strings and baroque flute and genuine harpsichord.  So lovely and satisfying and too soon ended.

Limestone Consort performed Quantz, Dall'Abaco, Scheidt, Lanzetti and Bach at Haydon Hall, next to St Christopher's Cathedral in Manuka.  LC comprised Lauren Davis (violin), Clara Teniswood (cello), James Porteous (harpsichord) with Jennifer Brian (flute).

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.

Cautiously in concert

The return of live music is now judicious, especially with the second wave of CV19 in Melbourne and, as I write this, Bateman's Bay. That's Canberra playground territory, so we are all a little apprehensive. But this Limestone Consort concert was planned a month or more back and it went ahead. With sparse seating and limited numbers, as planned. And without the cello we expected, but that was due to a slip in the kitchen; not at all to do with the pandemic. So just Lauren on violin with James on harpsichord. Clara could just turn the pages (I don't envy Clara: finger skin injuries may be temporary but they stop your playing and they can be very painful). The program was Schmelzer for two numbers and Handel, Biber and Bach. Lauren noted that Schmelzer was appropriate for the program, given he died in a Plague. Certainly apt. Lauren always gives informative background introductions, social or musical. Another comment was on the Biber piece, Mystery (Rosary) sonata no.5 (Jesus in the temple). Apparently Biber was hugely inventive, even predating atonal composition. Here it was scoradatura, so the violin (a new and powerful-sounding baroque violin on loan from Hugh Withycombe) was tuned to an A major chord. Apparently the notation was for standard finger positions so the tones surprised the ear. Otherwise, there were two solo harpsichord pieces (Handel Voluntaries and fugues no. 3, 8 and Bach Toccata in Dminor (not that renowned Toccata and fugue - BWV913 not 565). In all, a lovely outing, small and sadly missing the cello, not least in the Schmelzer Cucu sonata, but a welcome return to live classical gigs.

On the day, Limestone Consort appeared as a duo comprising Lauren Davis (violin) and James Porteous (harpsichord), playing Schmelter, Handel, Biber and Bach.

Backs

Organs are different things. The organ player's back is usually facing you; the music is variously grand or delicate and variously toned. It's different from other keyboard instruments, too. Sustain is achieved by holding down notes; notes are on/off rather than with a natural decay; volume is not controlled by the playing hands but by the foot pedal; there are several keyboards (=manuals) for hands and one for the feet. It must be confounding for pianists or harpsichordists, although obviously some aspects carry over. The ACT Organ School at Wesley Music Centre presented a student concert comprising 10 players over an hour-or-so. Again, they were varied: several school kids and some advanced students and ANU SOM students. The music was mostly Bach and Buxtehude, but the advanced performers branched out, into Hindemith, Messaien, Widor and Franck. I love baroque (we all do), but I particularly enjoyed the modern takes with the differing harmonies, the demanding dynamics and the rest. Wesley provides the organ and manages the Organ School. The teachers come in from interstate: tiring but obviously enjoyed. Brisbane organist Christopher Wrench is the senior tutor and he emceed for this event. A great pleasure from all players and an inspiration from several.

Christopher Wrench (organ tutor) compered a student concert for the ACT Organ School at Wesley Music Centre. Performers were Christopher Taylor, Ariana Odermatt, Kate Cole, Jacob Wu, Timothy Kelly, Rebecca Anderson, Jayden Lohe, Jonathan Lee, James Porteous and Linus Lee.

Guts

Limestone Consort are one of my local favourites. It's a small mostly baroque group that performs in the wonderful All Saints in Ainslie with its hints at deep, or at least mediaeval, European time. Eminently suitable for baroque concerts. This one was Limestone's first with gut and period bows for the gentle, earthy, authentic tones (and the more frequent tuning). Limestone will be playing at the upcoming Canowindra Baroquefest and they were preparing their program of Trio sonatas for that outing. Corelli, Mondonville, Stradella, Pachelbel, Purcell, Rosenmuler, Telemann and Handel. This was some very stately and dignified music played very capably and with much joy. Leader Lauren can smile with joy when performing. Otherwise it seemed like there was a good deal of quiet concentration, although I heard afterwards of some grins that might have ruined Olivia's embouchure (string players have it easy for making faces). We always learn something from Lauren's intros. She introduced trios in this context as two upper parts with basso continuo accompaniment. She touched on early, middle and late baroque and styles in Italy or France, perhaps England and Germany and we heard something of biographies, of Stradella as the embezzler and ladies' man and the first failed assassination attempt on him and the successful second (angry husbands, I guess), of Telemann as the most prolific of composers who was also the godfather of CPE Bach, of Purcell's inventive chords or comparisons of Corelli's Italian and Mondeville's later French styles. And the lineup was a little changed. This was two violins, cello, bass, baroque organ, with sometimes a recorder replacing the second violin. Flauto, or recorder, is a delightful and certainly period sound and quite a change from the otherwise string sounds. The responding top lines sound very differently from recorder/violin compared with two violins. I also noticed that the mix was quite bottom heavy, with double bass and cello, presumably unison but the bass an octave lower, assisted with the organ that would have also been playing continuo, although that's an unassuming sound. There's quite a pitch difference there with no intervening viola. So soft but with considerable range. And, as ever, such a pleasure. Limestone is a lovely local group. I enjoyed this immensely and no doubt Canowindra will too.

Limestone Consort performed baroque trio sonatas at All Saints Ainslie. This incarnation comprised Lauren Davis and Michelle Hicks (violins), Olivia Gossip (recorder), Clara Teniswood (cello), David Flynn (bass) and James Porteous (chamber organ).

Strange sights

It was the strangest thing to attend a concert and see ... nothing much ... a bare altar. We were at concert of pipe organ and cello with performers James Porteous and Clara Teniswood. The concert was in St Paul's, Manuka, a nice lofty stone church with genuine tuned bells and an impressive organ. But the organ was in a loft behind us and Clara was there with James so the visuals were not too special. But the music was lovely. James performed four tunes and Clara played on two, including Vierne Symphony No. 2 and Bach's Prelude and Fugue in G major BWV 541 and Bruch's Kol Nidrei arranged for cello and organ. The third was by Saint-Saens, but I've lost the program. The organ is lofty, big, satisfying, seriously deep, so I was surprised that a single cello was so effective, although the tunes with cello were more subdued. Despite the strange orientation, the sound was good and full in the nave. The Bach was attractive and grand and intellectually satisfying as Bach must be. The Vierne was big, impressive, sometimes loud, utilising the organ and its various stops and diverse pipes and tones. The Saint-Saens was more delicate, quieter, essentially a cello piece with accompaniment. The final Bruch was melancholic with cello and organ. All this happened behind us but I like to close my eyes so little lost there, but odd none-the-less. A lovely concert of church music from the concert program of a group I had never heard of, the Royal Society of Church Music, ACT Branch. Well, I'll be! They keep coming out of the woodwork! And they have monthly recitals on church organs around Canberra.

James Porteous (organ) and Clara Teniswood (cello) performed at St Paul's Manuka