John and Maruki

It's somewhat strange but lovely that a principal from the LSO and violist from a significant string quartet formed the Maruki Community Orchestra with its invitation to all to take play, regardless of expertise, and to take on major works.  But that was John Gould.  My first Maruki concert was my second orchestral concert and it featured Beethoven Symphony no.5.  I will always remember how John would recount stories of famed conductors and performers through practice.  But John died sometime back and now we record his loss with a musical biography from PC (Paul) Hubbard, now conductor.  The book was launched over the weekend with a film, String Quartet, about his Carl Pini String Quartet, a discussion with author Paul led by Andrew Leigh, and a short violin play by Winsa Daniswara on  John's old violin, now Paul's.  I have yet to read the book and I look forward to it but the discussion already was informative.  Interestingly, Paul used AI in writing the work, so that too will be intriguing.  A mark of respect for John.

John Gould and the Maruki Community Orchestra was written by PC (Paul) Hubbard and launched with a film, discussion and short violin recital at Lyneham High School Performing Arts Centre.

Tribute and more

I'd been travelling and thus could not prepare with Maruki for Brahms 1.  I have a love for Brahms (and BBB for that matter) and so I asked if I could sit in and Kristen said OK.  So I listened a little to the program following music occasionally during travels so I had some preparation.  We were playing Tchaikovsky Nutcracker suite and Serenade and Brahms 1.  But then, a week or so before the performance, we heard of the death of John Gould.  John was much loved as Maruki founder in 2005, but also widely respected as an LSO principal, Carl Pini String Quartet, AYO, SSO, Dir. Orange Conservatorium and more.  It was quite some thrill to have dealings with John, hearing his anecdotes of various huge symphonic names.  One degree of separation.  My first encounter with John was to play just my second orchestral performance with a program not the least meek: Beethoven symphony no.5 Mussorgsky/Ravel Pictures at an exhibition, Weber Oberon overture and Bizet L'Arlesienne suite no.2.  The pic is John and me after that concert.  So this the concert became a tribute and fond farewell and a favourite piece of John's, Elgar Nimrod from Enigma variations, was added.  It's a slow and beauteous and memorable piece and it took on further significance in this context and, I thought, was played with great dignity and care.  Then something lighter, Nutcracker, which was the piece that had attracted several friends to the concert.  Again, hugely attractive, but joyous and alluring with just a few challenging passages, at least for bass.  Then Winsa Daniswara soloing on Tchaikovsky Serenade melancolique and the biggie Brahms 1 after the break.  Now this was the work I was dreading.  Difficult with timing that was anything from obvious with accents on off-beats and some delirious dotted rhythms.  I faked some lines, as everyone will, but still got befuddled in the 4th movement and I don't think I was alone.  I indulge myself in thinking I wouldn't have lost it given some rehearsals, but given the wedding, I couldn't even attend the last practice on the Saturday before the Sunday concert.  But none-the-less done and achieved.  I love playing the repertoire, building that familiarity that only playing a work can give.  So, this day was a worthy tribute to a much loved leader and my cocky challenge to sight-read (or close enough) a Brahms symphony was achieved.  But my next Brahms will be better prepared and better played.  In the meantime, Vale John Gould (1940-2023).

Maruki Orchestra preformed Elgar Nimrod in memory of John Gould, Tchaikovsky Nutcracker for fun, Tchaikovsky Serenade melancolique for soloist Winsa Daniswara (violin) and Brahms Symphony no.1 for Eric Pozza (bass) to sight-read, all under Kristen Simpson (conductor).

Busy times

I play in a few groups and they tend to group their concerts together, four times pa.  Thus, a week after the Opera Gala, I played with Maruki at Albert Hall.  Now Maruki is just great for playing the repertoire.  This is not a light-on orchestra.   For proof, the program for Sunday was Handel Water Music, Holst St Paul's Suite, Dvorak violin concerto and Beethoven Symphony 6.  Certainly not a lightweight program!  The intonation wasn't perfect and there was a little uncertainty in one B6 movement, but overall it went well and we have certainly learnt something of these works.  There is no substitute for playing them in concert.  The preparation and performance  is something special, drilling your part into your being, unlike any intense listening.  This is a total body experience and an entry into a the mind of a genius.  I liked them all for different reasons, but I'll especially remember the Beethoven for unexpected and tricky intervals (4ths when expecting 3rds) and more.  A pleasure and an education. 

Maruki Orchestra performed at Albert Hall.  John Gould (conductor, violin soloist) led for most of the concert and played violin for the Dvorak concerto; Kristen Simpson (conductor) led the Dvorak.  The bass end comprised Jeremy Tsuei, Jennifer Groom and Eric Pozza.

B four

It's the fourth Beethoven symphony that I've played, thus B four.  Sadly, I was not particularly well prepared.  Endless conflicts have come up over the last two months and I've missed a mass of Maruki practices.  Even on the day, I had an invitation to a friend's birthday party that conflicted with the warmup and performance.  I dropped gear off, then got to the party then returned for the show.  No warmup.  This on a significant program: Beethoven Symphony no.7, Krommer Concerto for two clarinets and Mussorgsky Pictures at an exhibition.  B7 and Pictures are well known.  The Krommer was new to me, although apparently he's well known to clarinetists.  That was a Mozart-ish early classical concerto in three movements.  Maruki are no slouches.  We got through it all, not fabulously resonantly, but we did it and experienced the pieces and learnt so much of them.  I enjoy this experience and this exposure to the repertoire.  For we work through a very serious repertoire, just as the pros.  Just perhaps not quite so well intoned.  Then to finish off, a dinner party at home.  It was a busy weekend, but why let up?  Congrats to our crew for a massive performance.

Maruki Orchestra performed Beethoven, Krommer and Mussorgsky at Albert Hall.  John Gould (conductor) conducted.  Caroline Faulder and Beth Battrick (clarinets) soloed.

Finding the lost year

Finding the lost year was the theme, and title, of the Maruki Covid-return concert of last Sunday.  Still Albert Hall.  Still much the same repertoire as we expected to play before the arrival of Covid scotched music in Canberra.  Strangely, despite the time we've had it, it was a difficult concert.  The concerto was changed (the other to reappear in a few months) due to lack of a ready pair of clarinets.  It was replaced by Sibelius Violin concerto played by our ex-LSO master and musical director, John Gould, but it was a strange and fluid thing which challenged us no end.  It's described as a concerto for violin and orchestra, so presumably orchestral parts have their own expression.  Whatever, it's strangely indefinite at times and the parts are oddly unrelatable at other times.  Not that it's unpleasant, but it's willowy or liquid and thus a challenge.  Otherwise, we played a world premier from Alan Hinde, a symphonic poem called In search of lost land which portrays an ocean voyage of discovery with considerable wave-like clarity.  Nice one!  Also Beethoven Egmont overture.  Beethoven is always a winner.  And Schumann Symphony no4 Dmin, the earlier version from 1841.  This had its demands, but ended hugely with exhilaration so a great pleasure to play.  From a jazz POV, I was amused by a pizz bass line that drove the orchestra, in every way a walking bass line.  I could only feel at home in that part.  Even if we are returned, it remains Covid time with a limitation on numbers (thus an easy full house!) and various other demands and no afternoon tea.  But it was fun and demanding, as Maruki outings are.  Maruki doesn't shirk on its programs and this is just one clear example.  Next concert is Beethoven Symphony no.7 (!) and that missing Krommer Double clarinet concerto and Mussorgsky Pictures at an exhibition.  Just a another normal program for this community orchestra! 

Maruki Orchestra performed Beethoven, Hinde, Sibelius and Schumann at Albert Hall under John Gould (conductor).  For the violin concerto, Jennifer Groom (conductor) led and  John Gould (violin) soloed.  Alan Hinde (composer) provided the world premiere.

Classical jazz

The classical equivalent of a jam session is a play through, I guess.  I was asked to cover for a session playing the Trout last Thursday evening in someone's house with just family and dog as audience.  The request just came on Thursday morning so I had a sight read at home with a recording and revisited a few of the harder passages that weren't such easy reads (not least a lovely jazz-like diminished run).  Then the run through that evening.  The musos were very capable.  We got pulled up a few times, repeated a few other times (I was responsible for some of each) but mostly it worked well (perhaps only in my "good enough for jazz" hat).  I was happy because I should know the Trout.  It's one of a popular few chamber pieces with double bass.  Two similar others were mentioned: a Beethoven septet and a Schubert octet.  I've played each of them, as I had the Trout, but a regular run through wouldn't hurt.  And then a chat and a drink.  First bowing for the new year and with such a capable crew.  What a treat.  Thanks for the invitation.

The lineup for the Trout was by George Chan (piano), Georgina Tran (violin), John Gould (viola), Rita Woolhouse (cello) and Eric Pozza (bass).

Red shirting

Never let it be said that Maruki shirks. I've said it before and this latest concert is just further proof: Dvorak Slavonic dances 1,2,8; Gershwin Rhapsody in Blue; Tchaikovsky Symphony no.4 Fmin op.36. Anne Stevens soloed for the Gershwin then took up her normal position in the violas. The turnout was good with visitors from NCO and elsewhere and the audience was solid, partly there for Gershwin. It's a popular piece, and as I recognised while Anne worked through the syncopations and diverse key signatures, not easy. It wasn't too bad for the orchestra (although I was pleased to get the offbeat triplet scalar runs towards the end: they were a doozy). The big challenge was kept for the Tchaikovsky, especially the first movement. At first blush, the fourth movement looked scary with its quick semi-quaver scalar sequences, but the varied syncopations of the first movement were killers. The time was 9/8 feel at a reasonable speed so that was not the issue but the dotted feels were. As for the bowing, that can await my next take on this very big challenge. The Dvorak was more presentable, as Dvorak seems to be. I never seem to find him an insurmountable challenge. But as always, when John puts on his threatened red shirt, we do our bit. Not perfect but decent and performance is the best way to get to grow accustomed to any piece of music. Again, a big program and a decent take on it.

Maruki Orchestra performed Dvorak, Gershwin and Tchaikovsky at Albert Hall under John Gould (conductor) with soloist Anne Stevens (piano) and Paul Hubbard (concertmaster).

Weddings, parties...

A chamber group from the Maruki Orchestra played for the funeral service of Anne Bicknell at Albert Hall. It's not a normal gig but Anne was a foundational member of Maruki and had rehearsed the day before she suddenly and unexpectedly collapsed. Anne was always a helpful, supportive smiling face, welcoming and musical and no doubt a much-loved and worthy doctor as well (she was a GP in Ainslie and Director at BreastScan ACT). Her musical interests ranged widely, from AYO to the Australian and International Doctors' Orchestra. The musical tributes included her nephews Charles and Raphael Hudson singing Handel with Anthony Smith and our Maruki chamber-sized group playing Beethoven Violin concerto Dmaj op.61 mvt.2 Larghetto with John Gould as soloist. Anne will be missed.

Maruki Orchestra, John Gould, Charles Hudson, Raphael Hudson and Anthony Smith performed at the funeral celebration of Anne Margaret Bicknell.

Big Day Out

Another big outing for Maruki at Albert Hall. This concert featured two symphonies as well as an overture and another piece. Maruki is never one to cop out! The symphonies were Beethoven 4 and Dvorak 8. The other pieces were Wagner Meistersingers Prelude to Act 1 and Saint-Saens Dance macabre. Nothing too easy and some big and satisfying blowing. But my thoughts went more to some delicious slower movements. Beethoven mvt.2 and Dvorak mvt.3 were gloriously beautiful even if we may not have done them their full justice. Listening back to my recording does not quite match my preparatory listening to Berlin Phil or Tafelmusik but that's the nature of a community orchestra. And that's is not to say it's a wasted play. Maruki is a wonderful opportunity to enter into the scores of a range of repertoire works and there's nothing like playing a work to get close to it. And such a pleasure when something just clicks, like the introductory trumpets in the first movement of Dvorak, or a perfect horn solo line that appeared, where?, somewhere in Beethoven. And it's a good laugh to take on the challenging lines and perhaps cover a not-quite-perfect performance. I chuckled over several in the first movement of Beethoven and some rabidly quick repeated phrases in the forth movement (they ask basses to play this?). But, on the other hand, there's great joy in our quick, prominent and extended melodic lines towards the end of Meistersingers, or the power and stability that underlying rhythmic basses can give to an ensemble, as in Beethoven mvt.2. Maruki gives exposure to some very great music.

Maruki Orchestra was directed by John Gould (conductor) with Melvyn Cann (concert master) and Peter Ellis (violin) as soloist on SS. Maruki played Wagner, Beethoven, Saint-Saens and Dvorak at Albert Hall. The bottom end was Jennifer Groom and Eric Pozza (basses).

Family matters

And great matters they were: Vaughan Williams and Beethoven; Lark ascending and Emperor concerto. The theme of our latest Maruki concert was Keeping it in the family. The solos were played by daughter Georgina Chan on violin for Lark ascending and her father George Chan on piano for the Emperor concerto. They both did wonderfully well. Georgina is studying music at UQ so expected, but fabulous none-the-less. George is a doctor, so this is a hobby, but again this was wonderfully convincing. But that's not all. Maruki concerts can feel like steak knives in their extent: that's why I enjoy them. John Gould has us playing the repertoire: all the names and seriously demanding stuff. The added works for this concert were Brahms symphony no.3 and Borodin Polovtsian dances. It would be a demanding program for a professional orchestra let alone a community orchestra, but Maruki takes it on. Yes, there were times our intonation and timing could have been better, but we've learned four major pieces and playing them is so much more instructive than just hearing them, however many times you do that. So, congrats to George and Georgina who truly did themselves proud, and thanks to John and the orchestra for expanding my experience of the repertoire. And to add, the story of the basses. We were four on the day so satisfyingly present in the mix. Jennifer had been around for the term so she was a mainstay. I only returned from Europe shortly before and arrived with Melissa, of CYO and ANU, for the final two practices. Then once-Maruki bassist, Naomi, literally arrived unexpected on the day to play (!) . And yet the basses sounded and sounded well. Congrats to a capable crew!


Maruki Orchestra performed Beethoven, Brahms, Vaughan Williams and Borodin at the Albert Hall under John Gould (conductor) and Melvyn Cann (concertmaster). Soloist Georgina Chan (violin) played Lark ascending and her father, George Chan (piano) played Beethoven piano concerto no.5 Emperor. The bottom end coagulated over the weeks and days leading up to the concert: they were Jennifer Groom, Melissa Fung, Naomi Barber and Eric Pozza (basses).

A muso's dilemma

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

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

Not shirking, waving

You can't say Maruki Orchestra shirks at challenges. After all, it's a local, community orchestra but it takes on the big, real works and gathers them into intimidating programs. This concert was a star example. First set was Mussorgsky Night on Bald Mountain, a demanding, often virtuosic tone poem with all manner of feels throughout. Apparently telling a story of a gathering of witches: the assembly; chatter and gossip; Satan's cortege; Black mass; Sabbath. Then a symphony, no less, before interval. This was a little cutie, Bizet Symphony in C major, written when he was aged 17 and only performed after his death. It's a lively thing, pretty, reminiscent at times of horse riding. I thought little of it early on, but it grew on me. Then interval and afternoon tea. Then the continuation of an unusually built program. Bach Concerto for Oboe d'amore BMV1055r played by Ben Stewart. Bach is deceptive, sounding lithe and light and bouncy so apparently easy, but it never lets up and there are always some tricky phrases. No less here, especially in the quick first movement. The second is lovely; the third quick again but more malleable. Ben did a great job on his first concerto outing on this relatively rare instrument. Then, to finish, the most challenging piece of the day, Elgar Enigma variations. Everyone knows Nimrod, of course, and it's deliciously inviting. Enigma is a work of 14 variations on a simple theme that's outlined first up with each movement is dedicated or influenced by someone known to Elgar. Some are hugely tricky or quick or varied. There are accelerandoes to cause fear and polyrhythms and all manner of intricacies appearing to just disappear with another variation. Not easy but well known. The orchestra always rises to performance, playing remarkably better on stage. Not professional, of course, but presentable. The feels were solid and time didn't drag although some intonation wasn't quite perfect. But a worthy outing and an excellent immersion in a huge classical program. Thanks to John and all.

Maruki Community Orchestra performed Mussorgsky, Bizet, Bach and Elgar under John Gould (conductor) at the Albert Hall. Ben Stewart (oboe d'amore) soloed in the Bach concerto.

Difference engineers

Sunday afternoon was back at Albert Hall for another orchestral concert, this time with Maruki. So how is this one different? It was oddly arranged with the symphony up first before interval. That may seem trivial but it's a radical departure from the norm. It was done this way as the three shorter works had to go together and the final piece should be Elgar Pomp & Circumstance no.1. That's the Land of Hope & Glory theme and the final tune of Proms at the other Albert Hall (London) and this concert was called Last night Prom. And, finally, because it's fun to singalong with and the tune is so lively and stirring. It was also fast and tricky. The other shorties were Gounod Ballet music from Faust, mostly sight readable except maybe the quick final movement, and Tchaikovsky Marche Slave, which I've played before but still haven't mastered some tricky spots. The symphony was Dvorak 6, intense, committed, very fast even into thumb positions in the final movement, rest-less so the second movement was slower but demandingly passionate, and tricky in often unexpected themes and melodies. Not a work for slouches, but Maruki are not that: John can be expected to call up the big works. Maruki pulled it off not perfectly but surprisingly well. Congrats to all for a very demanding, extensive concert with some seriously demanding works.


Maruki Orchestra played Dvorak 6, Tchaikovsky, Gounod and Elgar at Albert Hall under John Gould (conductor).

Tasking

You can't say that Maruki doesn't challenge itself, or at least that John Gould, conductor and musical director, doesn't challenge his players. Maruki takes on the full deal. I started with Beethoven 5th and did his third soon afterwards.. Otherwise, it's been a string of Dvorak symphonies and others by Tchaikovsky, Brahms, Mozart Requiem and one Bach suite, Pictures at an exhibition and a string of concerti. And Bolero, repetitive but popular as it is. This time was no let-up: Mendelssohn Ruy Blas overture and violin concerto played by John, and Tchaikovsky Symphony no.2. John likes to take on the beg works. It was a hard program, lots of tricky bowing and quick tempi, not least in Ruy Blas. The concerto was perhaps the most difficult I've played as accompaniment. John did an excellent job as always. But he's got a history in the LSO, no less, so there's talent and experience here. You just have to hear his anecdotes at practice to appreciate his background. Maybe not as young and lively as he was, but still with fire and a senior's awareness. And the Tchaikovsky. The Dvorak 4 that we played at the last concert was perhaps my favourite at that time. Now perhaps it's the Tchaikovsky 2 with its unrelenting drive and ongoing sequences. Just get on board; you're in for an exhilarating ride, as long as we can hold it together. And we did, perhaps except for one passage where one section rushed ahead. The clarity and intonation were sometimes a challenge, but this is a community orchestra of all ages taking on the most profound and challenging works. It's a funny feeling when it's over, you stand for the final bow, the wariness and tension relieved, the work of months performed. The audience does its part in clapping, but I find it a strange time, relaxed but not particularly elated, almost ready to think to the next challenge. For Maruki, it's Dvorak 6 and Pomp and Circumstance (a good English crowd pleaser for the run-up to Christmas) and Gounod ballet music. All great fun and excellent training for this game. Well done all in Maruki and looking forward to the next one.

Maruki Community Orchestra performed Mendelssohn and Tchaikovsky mostly under John Gould (conductor). The Mendelssohn violin concerto featured John Gould (violin) as soloist under Michael Stenning (conductor).

Weekend 2

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

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

Hard one

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

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

One hell of a program

Maruki takes on the big challenges and this program was as big as I could imagine. To warm up, Dvorak Carnival overture. Then Mendelssohn Symphony no.4 Italian; someone told me some of the quick passages are commonly used for professional orchestral auditions and I could believe it. Then a break before the heavy lifting, Tchaikovsky Symphony no.6 Pathetique, a deeply felt end-of-life portrayal starting with two delicate divided double bass lines and ending with those two lines spelling out a fading heartbeat. And a waltz in five. It's quite stunning and transparent storytelling that I seldom expect in music, but maybe I'm just hearing these pieces differently given the intimacy that comes with learning to play them. The Mendelssohn was more a jaunty, bouncing line but with an equally story-like second movement with a walking bass line that speaks of a pilgrim march. The Dvorak was just lively and playful from the top. Maruki played the works best ever, as one does with the encouragement of and audience and the performance. Not quite the breakneck pace or the delicate precision of the professionals on CDs but unexpectedly well for a local community orchestra. And the sound was big. We had something like 70 players on the day and 3 basses. This was a huge undertaking pulled off with great success.

Maruki Orchestra performed Dvorak, Mendelssohn and Tchaikovsky at Albert Hall under of John Gould (conductor).

3gt5

The Fifth had its difficulties but it was nothing like the Third. Maruki played its final concert for the year and the main work was Beethoven Symphony no.3 Eroica, the one dedicated to Napoleon then renounced. It's a mammoth work, revolutionary in its time and full of plenty of fast and tricky passages all round, not least for the basses. Little rest here. And some neat diminisheds runs. It's great to be able to claim a performance but I would need to work on it for some time to satisfy myself that it was mastered. All part of the thrill and spills. We were three basses for this performance, Jennifer and me joined by eminently capable CYO player Matthew a few weeks before the performance. Maruki grows for a performance, presumably from CYO or other ringins, perhaps to provide an instrument we don't have (eg, harp) or to fill out a section. Maruki was 59 players for this performance. And what a program to join into; not for the feint hearted. Beethoven 3 plus an unrelenting Bach Orchestral suite no.3, a lively and humourous Brahms Academic Festival overture (interestingly also on the recent program for Brindabella) and the race-horse tempo Glinka Ruslan and Ludmilla overture. A hefty workout on the day and a demanding learning schedule over recent months. Maruki played better than in any practice - it's the way with the commitment of performance, of course - although can still improve. We are not professionals, after all, despite the program, but it's an exhilarating and music-educational experience. Much enjoyed and thanks to John and all.

Maruki Community Orchestra performed Beethoven 3, Bach, Glinka and Brahms at the Albert Hall under John Gould (conductor). The bass section comprised Jennifer Groom, Matthew Gambrill and Eric Pozza.

Three discourses, authentic occasions

I am enjoying this! My week is punctuated by various musical outing, not least two (2!) orchestral rehearsals on Saturdays. This week was busy with concerts, too. Two little orchestral outings for whoever from Maruki was able to turn up. Both were community events: one for the parish that hosts our practices; the other for a prize-winning teacher at Canberra High School. Canberra High was fun, with a very large, if obligated, audience for their school assembly. But in addition, a jazz outing for Tilt at Albert Hall (of the classical, read live, acoustics) for the Artists Society of Canberra Spring Fair. All fairly low key, none particularly remunerative so justifying a relaxed presentation, but all treated with due seriousness. The Maruki gigs had us reprising Strauss and some Dvorak from the last concert and taking some first bites at Bach Orchestral Suite no.3 which we will play in full (with Beethoven 3rd, Eroica) in early December. The Albert Hall gig was an opportunity to play with effects for a more edgy jazz/pop presence. Much fun. Thanks to all my offsiders. I've included a few snaps of some ASOC art that appealed to me.

Maruki Orchestra is conducted by John Gould. Tilt comprises James Woodman (piano), Eric Pozza (bass) and Dave McDade (drums).