Songs of lament and reflection

They advise The Elegy Project is "a contemporary chamber music ensemble blending classical, jazz and folk".  It's strange, yes, but beautiful and deeply satisfying.  Think a vocal dectet (a nonet on this day) singing Megan Washington or Lonely woman by Horace Silver and Leonard Feather, or a solo pianist playing Rachmaninov or Chopin's famous Funeral march then joined by the choir, or Joni Mitchell Both sides now, a key song of the '70s, played by a jazz quartet (on this day a trio of piano, bass, vocals).  This is a new group, directed on the day by Kimberley Steele with a string of renowned locals.  It's not a small chamber group given 13 names are listed, but a fascinatingly broadminded and exploratory combination.  Full marks for the mix of musics.  And there were some seriously satisfying performances, too.  Kimberley on solo classical piano and voice; Rachael on jazz vocals, deeply effective and emotive, and also joining in the choir; Chris just that fabulous bassist that he is, but then picking up a Telecaster to back the choir on one tune; Micah impressively spelling tunes and improvising, unhurried and purposeful, on a much nicer piano than I'd heard him on recently.  And the choir, some lovely voices, well intoned on some challenging and well arranged harmonies.  Gus is the drummer to come and he can only add.  I was taken deeply by this concert, the breadth and emotional expression of it all.  Fabulous and still very new.  If you read this post promptly, perhaps you can catch them at Wesley 3pm Sat 13 or All Saints 3pm Sun 14 June.

The Elegy Project performed at Wesley and comprise Kimberley Steele (piano, musical director), Chris Pound (bass, guitar, synth, director), Rachael Thoms (vocalist), Micah Knight (piano), Angus Henderson-Mack (Gus Henderson, drums), Emma Griffiths (soprano), Petta Lindsay and Neille Williams (altos), Oliver Bruhl and Cody Christopher (tenors), Martin Magill, Lachlan Rankin and Daniel Westbury (basses).

Inventiveness

I had the inside goss as tenor Jack Jordan was staying with us for a few days to prepare and perform the first Living Collection session at the National Library, this one for the music of Aussie/Brit composer Luke Styles.  Luke was in house for the event; it was his archive that had been accessioned into the collection of the NLA and we were here to hear of it and to sample some of his music.  The event opened with a children's choir in the Library foyer, then a move to the NLA Theatre and several further performances and discussions.  Marie-Louise Ayres, NLA DG, opened the session.  We saw images of hand-written manuscripts on screen.  We heard discussion back and forth between Luke and Toby on Luke's history at Glyndebourne, the Foundling Museum, Covent Garden and more; his donation, his music and how he thinks on creation and composition; his first instruments (flute> e-bass>double bass); the joy both Luke and Tobias have in working on music with kids; the importance and implications of vocals; Shakespearean sonnets and the work we were to hear, Vanity, setting Sonnets 2,18,137,138.  The music in the theatre was some young-themed songs from the children's choir (out of Vocal Fry and Canberra Children's Choir) under Tobias, vln/vla duo and vln solo (Slogan 1 and Bound) from Brad and Pippa, and those 4 sonnets (Vanity) from Canberra Singers, tenor Jack and bass Andrew with accompaniment from violin Brad with Tobias conducting.  The youth pieces were amusing and playful and not at all rollovers.  The other pieces were hugely challenging to learn, to hear, to understand, at least at first hearing, but fascinating for a prepared, informed audience.  Suffice to say, part of the event was playfully child-centred and influenced, part was a difficult adult listen and a demanding performance, part was a fascinating discussion around this significant addition to the NLA collection.  And you can see all this: it was streamed live and is on YouTube with the title "Living collection: The music of Luke Styles".

Luke Styles (composer) and Tobias Cole discussed Luke's donation and history. Tobias Cole (conductor) led several groups in performance of some music of Luke Styles.  Performers were Canberra Children's Choir, Vocal Fry (choir), Kimberley Steele (piano), Canberra Singers (choir), Brad Tham (violin), Pippa Newmann (viola), Jack Jordan (tenor) and Andrew Fysh (bass).

Living collection : The music of Luke Styles

Filmic

The Foray Quintet was formed at a music camp to play Fauré but times change and people move, especially after tertiary training. They are now spread from Sydney through Canberra to Melbourne, so getting together is not easy call. Their preparation was solo practice and a few weekends together and the music was challenging, but what a gig! This was the first of an East Coast tour. The music was one Fauré, his Piano Quartet Cmin Op.15, an early work, along with a world premiere, James Madsen Piano trio "A quiet fanfare", and a work of immense action and plenty of technical challenges, Erich Korngold Piano quintet Emaj Op.15. Korngold is known as a film scorer, and I could just imagine cartoon spills and chases in his music. Kimberley suggested he put all his ideas together and there were certainly lots of ideas splashing one over the other, but it seemed to set together pretty well like a showground ride, all quick twists, unexpected and exhilarating. Before playing, they demonstrated 6 bars with various complexities, glissando, pizzicato, extreme registers, dissonance, trills, but when that segment popped up, it was surrounded by more, not least artificial harmonic glissandos and chromatics. Exhilarating. Even the quieter, slower second movement had the ring of film, dramatic, emotional, immediate. Despite his film-score reputation, Korngold was an admirer of Mahler and the like. According to Kimberley, this was the most difficult and satisfying piece the quintet has played. And for the Madsen trio, I was surprised it had sat on a shelf two years before its premiere (it's always a frisson to attend a world premiere). I liked it, through rolling chords on piano with attractive melody passed effectively between violin and cello, then to a middle of doubt or questioning or uncertainty, then to return to the daily grind of chords and melody. Satisfying. And the outfit was great, attacking the Fauré with ease, comfortable time, good pitch. The Korngold was more a challenge, but played with relish and chops and some good humour around the most tricky bits. Very well done and a seriously interesting program.

The Foray Quintet performed Madsen, Fauré and Korngold at Wesley. Foray comprised Elyane de Fontenay and Anna Murakawa (violins), Sarina Walter (viola), Anneliese McGee-Collett (cello) and Kimberley Steele (piano).

St Martin's alt.

Megan's in London and attending a few concerts. One was at St Martin's in the Field, covering a slew of pop classics. It was not an opportune choice. You can travel through summertime Europe and hear Albinoni and Four Seasons and the like wherever, capably played but very workday performances. The red and black posters give it away; they are everywhere (they have even come to Manuka, if only rarely). It's amusing to see the musos lope out afterwards, non-plussed. Megan observed that the concert was good but we see as good in Canberra, if less frequently. So it was exciting to attend a second challenging performance in two nights, here, at Welsey. First was Australian Haydn Ensemble, all period instruments and classical dignity. Second was Foray Quintet playing Mendelssohn, Shostakovich and Dora Pejacevic in a program called Vatra (Croatian for "heat"). The Croatian reference was to Dora Pejacevic, a woman of leftist leanings who left her noble Croation background to pursue music in Germany. She died in 1923, aged only 37, having written 106 compositions. Foray played her piano quintet in B minor op.40. Interestingly, Kimberley introduced this piece with the quintet playing key themes in each of the four movements. An excellent orientation to a fiery piece written during WW1. The Mendelssohn was the opener, two movements from his piano trio no. 1 in D minor, played to leaven the program a little. The main work, after interval, was Shostakovich piano quintet in G minor op.57. It's a complex piece in five movements written in the Stalinist Russia, in threat of denunciation, in a tumultuous year fur the USSR during WW2. I was enamoured by the music, enjoyed the playing by all, although I particularly took note of Kimberley's piano and watched Annie's bowing and the ring-in violinist Lidia who did a great job at short notice, sharing the first violin seat with Elyane. Foray are brought together from several cities to tour every now and then. This was such a pleasure and such a diverse offering from that of AHE just the night before. A convincing performance that would have been a worthy, and probably more satisfying, alternative to Megan's outing in that London field.

Foray Quintet performed Shostakovich, Pejacevic and Mendelssohn at Welsey. Foray comprised Kimberley Steele (piano), Elyane de Fontenay (violin), Lidia Bara (violin), Sarina Walter (viola) and Anneliese McGee-Collett (cello).

Warmer inside

It was cold weather, perhaps not so strange. Strange Weather Gospel Choir were performing for a mid-winter gig at Wesley Music Centre. Last time I heard them it was much warmer, during a Moruya Jazz Festival. There were smiles and one clearly beaming face, but the cold was insistent for this gig. But there's always joy in this music, and this was no different. They started with a few varied gospel songs with finger snaps and hand claps. Piano accompanied for most of the gig; some following African tunes added African drums and one was just accompanied by drums. Then a song that I particularly enjoyed: simple but from the Torres Straight, so not a thing of common international awareness. This and some others were open as singalongs. Then a more complex and layed tune, Irish blessing, and a finale with Weevily wheat, lively and amusing in 2. Just a gentle battle of the sexes, if I gathered it right, but it's obscure with lines like "I don’t want your weevily wheat, / Neither do I want your barley" even if they seem to want the fine young man, Charlie. There are serious themes here, too, but in our secular days they are easily missed (this is a gospel choir, after all). It's fun music. You can feel nothing but a desire to move and sing with the choir. Some didn't quite move with easy abandon but others did well and one face of especially beaming joy enlightened it all for me. Great fun, nicely staged and very infectious. They have their 20th anniversary on 15 November.

Strange Weather Gospel Choir performed at Wesley Music Centre for family and friends. Kimberley Steele (musical director) conducted and Lucas Allerton (piano) accompanied.

Naming a new ensemble

It's good to see the birth of any new ensemble. This one is the Foray Quintet and it's done it first tour with two piano quintets by Fauré. The lineup is piano with two violins, viola and cello; five women from a Canberra / Melbourne association. The name obviously refers to foray as in new undertaking and to Fauré, the composer who they played it on this tour. I'm told we can expect to hear other composers and other combinations, but these two works by Fauré were lovely: modern but with a melodic bent, attractive and thematic. Kimberley introduced the first work, Fauré Quintet no.1 D minor Op.89 with a few observations and associated musical samples. About how the first quintet is bright; the other darker and more complex. About how the accompaniment moves harmonically, how the passages "travel". I understood in diatonic chords rather than in single line phrasing. Kimberley suggested a jazz awareness. Also how the rhythmic movements were more "circular" than "square" as in marches. Again I thought jazz and swing, at least a softer feel. Strange, this, but the final movement of the Op.89 was almost the theme of Fly me to the moon with its falling, rising, falling phrase, starting initially with the pianistic simplicity of a music box. Felicité introduced the other work, Fauré Quintet no.2 C minor Op.115, with descriptive impressions: first movement period drama and obscure moments then Alice in Wonderland; second movement slow man running on beach; third movement dreamtime, end of a busy week, tired reflection that the "viola keeps in check"; fourth movement another musical reference, to the Game of Thrones theme, or perhaps the tango. We all have our own visualisations for music; it's interesting to hear someone else's. This was very beautiful, dignified music, nothing like the extremes that modernism was to develop to, lyrical and sweet but with honest straightforward connection. I was amused to see in the program that Fauré has been called the St Francis of music and was variously described as modest, timid, grateful, content. It's not flamboyant music but immediately comprehended for its with honesty and depth. This is just the second performance of the first tour, but the ensemble was comfortable and convincing and the music seemed well suited. A lovely outing and looking forward to another down the track.

Foray Quintet played two Fauré's Quintets. They comprised Kimberley Steele (piano), Elyane de Fontenay (violin), Felicité Heine (violin), Sarina con Walter (viola) and Anneliese McGee-Collett (cello).

Piano and two deep voices

Kimberley Steele presented another of her concerts at Wesley, this time with two very different streams: baritone Alexander Knight and cellist David Pereira. Alexander took much of the program with his big voice. [I was near the stage as they were warming up and this voice was huge! Who needs amps with a trained voice around]. Alexander was singing a range of art songs, from Rachmaninov and Schumann and Vaughan Williams, but through to some more obscure names like Gerald Finzi, George Butterworth and Dilys Elwyn-Edwards. I think Finzi was my favourite with more modern malleable harmonies and words form Shakespeare. Schumann was my least favourite. Perhaps because of his fame, he seemed predictable and the foolish nationalism and boy-war-wonder of the Two Grenadiers put me right off (I’ve just finished Farewell to arms and All quiet on the Western front so I’m now distressed by the war is great / Great war meme at the moment). His I bear no grudge also annoyed me, seeming to be more grudge bearing in musical presentation than not. Kimberley’s inclusion of the Elwyn-Edwards was a great remedy. Trust a woman’s sense. It was a song sung at her wedding and was vastly different to the Grenadier’s view. Perhaps the encore was somewhat the same, if from a bloke’s POV. It was one for the rum drinkers and Alex performed it with humour and grand operatic gestures. Fun.

The other part of the program was very different. David Pereira joined Kimberley for a rendition of Chopin Sonata for cello and piano in G minor. Chopin wrote it very near his own death, but it was not maudlin. Despite Chopin pianistic flamboyance, this was a work of joy and seriousness and unpretentiousness. Four movements over about 30 minutes. A very real pleasure with wonderful playing on both parts. I’ve heard David at two recent concerts and this one was particularly intimate. This was confident, firm and informed playing. I can understand his reputation.

A very enjoyable concert of two very different worlds. The outspoken verbalisation of voice with baritone power and a similar range in strings held together by Kimberley’s empathic piano One image returns to me here, when voice set the tempo and piano followed with wisps of notes. I think it was in Rachmaninov The Isle. Quite beautiful but also perfectly responsive and coherent. Another memory will be the wonderfully colourful image from poet Housman put to music by Butterworth: “feather head of folly”. Perhaps out of modern times, but amusing.

Kimberley Steele (piano) accompanied Alexander Knight (baritone) on songs by Gerald Finzi, George Butterworth, Rachmaninov, Vaughan Williams, Schumann and Dilys Elwyn-Edwards. She paired with David Pereira (cello) on Chopin Sonata in G minor for cello and piano. Op.65.

Three further paces

Jack Hobbs and Kimberley Steele returned for the second in their trio series, called Three’s a crowd, this time with flautist Rachel Howie. At the first concert, I noted the historical development. The developments continued so that here they arrived at early C20th. The music was still tonal but the melodies were distinctly different, anticipating or hangi, playing with rhythm, moving away for 4x4 structures and simple calls and responses and with more play on intervals. This was adventurous without dissonance, although a little of that also snuck in. Weber Trio in G minor was from an earlier romantic, but the rest dated about 1900. Poulenc’s flute sonata displayed this modern melodic sensibility, unexpected phrasing and anticipated pauses. Then two Czech composers. Janacek A tale which started fiery and passionate and later settled, and featured some unusual, extended cello pizzicato. Then what is apparently a standard repertoire piece for this combination, Martinu Trio. It was introduced as three movement, folks and Czech cultural influences, some light-heartedness. I could appreciate the humour but I also found it quite disjointed. I’ll have to revisit my recording, but I think Janacek was my preference. I was more impressed with the trio, though. It’s a good venue with clear sound and a decent piano and no interruptions, and maybe this was a motivation, but this trio was very satisfying. Grand and voluminous flute, sometimes delicate but lively and precise cello, and a constant certainty in piano. They are going their own ways, now, for further study and life. A shame but that’s how things go. This music was tonal but inventive and the playing was certain and sensitive. Very nicely done. Rachel Howie (flute), Kimberley Steele (piano) and Jack Hobbs (cello) performed at Wesley Music Centre for the second Three’s a crowd concert in the C100 series.

Three paces in history

The order was skew-whiff but the development was pretty obvious. Estelita Rae, Kimberley Steele and Jock Hobbs played Schubert, Brahms and Mendelssohn in the foyer of the National Library for another C100 concert. I’d heard all these players before although not in this format. I spoke to Jack after the gig about the development of this music. They played the Brahms first, although he’s the latest of the three. I heard this as solid, rich in interplay and more turgid. It was the first movement of his B major Piano trio. I checked the key – yes, B major, about the worst key for any jazz player despite its appearance in Giant steps. The Schubert followed. This is actually the earliest of the three (1828).
Jack called it the “most classical” and it was lighter, fresher, more immediately attractive, with more straightforward instrumental roles and less interplay and development. More chamber- and song-like than the symphonic styles of Brahms and Mendelssohn. This was Schubert’s Eb Piano trio op.100 second movement. Apparently said of it “see the sun setting”. That fits. Then the major work of the night, all four movements of Mendelssohn’s first Piano trio in D minor. This is the intermediate work between the other two. The movements vary, of course, with the piano evidently presenting a larger conception. The first movement was Russian passionate, with sequences, echoing lines and interplay, wide dynamics and emotional richness. Then a slower, questing second movement and a bouncy third in 3/4 time. Then a final smoother movement where I was taken by some massive ascending and descending passages on piano that were mirrored by violin and cello. I felt the Trio played the best here. Jack told me the Brahms had its first outing and was not so settled. The Schubert was lovely but the Mendelssohn made demands. Certainly by the Mendelssohn they were playing with attachment and gusto. The piano could have done with a tuner’s visit and the noisy sliding foyer doors were an interruption, but the live acoustic and the small audience was a pleasure. This was a lovely visit to some significant names but also an opportunity to view changes in styles over the time. Nice.

Estelita Rae (violin), Kimberley Steele (piano) and Jack Hobbs (cello) performed in the foyer of the National Library of Australia for the first Three’s a crowd concert in the C100 series.

Spelling Martinů

I have to admit I had to check the spelling of Bohuslav Martinů (and more besides). Jack Hobbs and Kimberley Steele played Martinů as the first of four tunes at St Albans. Then Brahms and Beethoven and Arvo Pärt. I’ll admit I always check the spelling for Arvo Pärt, but at least I know him well enough. What a wonderful concert this was: beyond any expectation. Kimberley started Martinů with piano arpeggios of strungth and confidence that surprised me from the start, then softened for Jack’s cello melody which was thoughtfully interpretive, quite a deep and touching take. I could imagine his teacher, David Pereira, in his playing and I thought of Pieter Wispelway’s personality and again searched for lost memories of a concert of Paul Tortellier in Florence.
The Martinů was clearly folksy, being variations on a Slovakian theme. Jack suggested we listen for bell towers and sewng machines. I heard more dancing and rural scenes and some bouncing cello that spoke of chases and some intriguing crossing polyrhythmic passages by piano at one stage. This was impressive and interesting. Brahms was slow and sentimental, lyrical, with a deep jazz-bass-like pizzicato to start, and a later higher, thinner pizz. The Beethoven was the final movement of his A major sonata. Again, sentimental and slow but giving way to exhuberance. Aparently he wrote it while acutely deaf but prolific. It’s joyful to some degree, but more energetic and bright and there’s a fabulous yearning cello that appears a few times to which the piano responds with an inviting cheerfulness. To finish, the Arvo Pärt was a beautiful meditation in 6/8 with dotted-minum melody from the cello. I found this quite a stunning concert with a range of styles and very capable playing. Looking forward to anohtr gig with this pairing. Jack Hobbs (cello) and Kimberley Steele (piano) played Martinů, Brahms, Beethoven and Pärt at St Albans.