New world

Sunday was the New World, at least that one of Dvorak, and it was great fun.  I'd played it before but not with such pleasure, but I loved this take, perhaps quicker and more on edge.  It's not too difficult, but a few passages are tricky and mvt.3 zaps along but many of the melodies are just so lovely, friendly, welcoming.  THere was some last minute anxiety amongst the basses but it all happened.  Quite amusing, really; one for the records. And the rest of the program was good.  A world premiere from Ben Hoadley, NCO Artist in Focus 2025, fairly short and pleasant and nicely portaying the flowing stream it was named for as Riparian.  Then Kyle on solo bass for Mary Finsterer.  Even with some PA amplification, some enriching reverb and a reduced orchestra, he was sometimes overwhelmed, but his playing with masterful.  Lake ice portrayed lake ice perfectly well (if too expansive a lake) and sounded to me as lovely moody film music.  Kyle followed up with a solo bass number with references to his punk / e-bass background: shorter, unaccompanied, frequently chordal, rock punchy.  But the New World was the pull factor and it sat well and invited a good audience.  It's not uncommon to have touchy final run-throughs and even some chuckles when things go awry, but in concert there's a natural concentration that avoids such slips.  This was tight and satisfying and presented an inviting new world, perhaps more common these days in the concert hall than out.

National Capital Orchestra performed Dvorak, Hoadley and Finsterer in the Snow Concert Hall under Louis Sharpe (conductor, MD) and with soloist Kyle Ramsay-Daniel (double bass).

Direct lineage

Given this concert's Bohemian theme, I would no longer think of Simandl as unconventional but artistic, yes.  Simandl developed the major technique of double bass playing although he now has competition from Rabbath.  But still his technique and book is known by all who take up classical double bass.  Kyle Ramsay-Daniel, known to all the local classical string community, performed a lunchtime Wesley concert with Ella Luhtasaari entitled the Bohemian Double Bass and featuring Franz Simandl with Adolf Misek, Frantisek Cerny and Vojtech Kuchynka.  All from the Austro-Hungarian area and perhaps all having studied in Prague.  Kyle gave a great background to each composer even if I didn't catch it all, but most important, of course, were the compositions.  A scherzo capriccioso form Simandl, melodic and playful and way up the neck as perhaps as all double bass solos do.  Then a three movement sonata from Misek, a beautiful notturno & intermezzo from Cerny and a final canzonetta from Kuchynka.  So mostly light and lyrical with a touch of dance in the rhythms.  It was demanding bass for Kyle and he did it proud (I learned tons from just watching) with effective and responsive piano accompaniment form Ella.  But the greatest claim of all was Kyle's own link to Simandl, having studied in a direct line of a few generation to Simandl himself.  It's not so far back (Simandl 1980-1912) but still wildly exciting to hear.  I guess that places Max McBride one step closer to the great Simandl himself.  And that story of 600 solo recitals by Kuchynka.

Kyle Ramsay-Daniel (bass) was accompanied by Ella Luhtasaari (piano) playing compositions for double bass at Wesley.

A matter of will

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

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

Biggie B9

I've recently been living off this quote from Dave in the bass section of the CSO: "It's not that hard; it just takes a year to learn it".  He was talking of the bass part of Beethoven Symphony no.9.  I just saw them playing it and the bass section did a fabulous job, clear and present and crisply played.  The next morning I looked at the B9 bass part and I can see what he meant.  Lots of notes over 25 close pages of bass clef, but it's in Dmin so just one flat, and key changes to just 2 flats and 2 sharps at various times and pretty few accidentals, so the fast runs are scalar and mostly consistent.  There are some big intervals and the lower notes that get played on their extensions so some clumsy stuff, and the tempos are not very forgiving although pretty consistent, but it is a work of supreme genius so worth the effort.  The CSO did a great job at a decent tempo.  The singers were satisfying.  The choir was prepared by Tobias Cole and was good but I just wanted it bigger.  I guess ~100 on stage with choir of ~40.  The vocal segment only comes in the final movement, although that's the longest.  The choir sat from the start, but the feature singers entered after the second movement, I guess to allow that transition to the final thrills.  They don't sing masses, but they were lovely to hear: always the presence of the soprano, the fullness of mezzo, the bigness of bass and the humanity of tenor.  But mostly my ears were for the basses.  I did notice a revealing passage where a lines moves from bass to cello to viola to seconds to end with the firsts, not always identical but related.  For me it was a revelation for the violas.  Otherwise, Jessica Cottis was flowing and expressive in her conducting and informative with her introduction, as were the EU Ambassador to Australia, Gabriele Visentin, and CSO CEO, Rachel Thomas, who introduced the concert.  The Ode to joy is the EU's anthem, of course.  And not to forget composer Miriama Young who wrote the introductory piece, a brooding and fairly short Daughters of Elysium, who appeared on stage to applause after.  But it's hard to share with B9.  It was given as 71min duration but it felt nothing like that.  I guess it's a function of how well it's known, although I did notice the repeated themes a few times, especially in the third movement.  But the explosive styles and the uplifting power and the thrilling fugues just take you over.  Perhaps not apt for a classical concert but my head was often nodding and my mouth a grin.  Just so fabulous.  I just hope to play this great work one day.  Congrats to our local orchestra and great to see so many local faces on stage and off.  Bravo and thanks!

The Canberra Symphony Orchestra performed Beethoven Symphony no.9 and Miriam Young in Llewellyn under Jessica Cottis (musical director, conductor).  Kristen Williams (violin) was concertmaster.  Solo singers were Emma Pearson (soprano), Ashlyn Tymms (mezzo soprano), James Eagglesone (tenor) and Adrian Tamburini (bass).  Tobias Cole (chorus master) prepared the CSO Chorus.  The bass section comprised Max McBride (principal), Kyle Ramsay-Daniel, David Flynn and Muhamed Mahmedbasic.

Colossus

Bottesini is by tradition the bassist who towers over the craft.  I've heard Kyle Ramsay -Daniel play his music before but a full concert of just Bottesini is worthy of Kyle's title, Paradigm Shift, even if it sounds rather C20th sci-fi rather than virtuosic C19th contrabass.  The paradigm shift was the thought that the bass had a solo, lead, melodic role and Bottesini pretty much created that role himself.  It's a mighty task to take on but Kyle does it justice: all high harmonics, occasional drops to low notes, flighty sequences and loads of thumb position, even lower on the neck.  I was also fascinated by the lines played up and down the neck on the G-string.  Apparently it's a thing, common although not ubiquitous.  So we had variations on "Nel cor piu non mi sento", Elegy no.1 Dmaj, Concerto no.2 Bmin and Fantasia of "La sonnambula".  Some huge demands and capable responses.  Not something I would even think of approaching but I freely admire someone who does.  Kyle played with piano accompaniment from Edward Neeman, called in just days before due to last minute sickness.  You wouldn't know the change without being told.  So a concert of ridiculous demands and hugely worthy responses.  I remain in awe of Bottesini, of course, but also of Kyle for taking this on.  I guess I quote Giovanni B himself by saying "Bravo ... bravo ... bravissimo".

Kyle Ramsay-Daniel (bass) performed Bottesini with accompaniment by Edward Neeman (piano) at Wesley.

Common enough

I know of the eight double bass concerto played by the AWO (Witching hour / Elena Kats-Chernin) and I follow basses but even so I was a but surprised at the description as a "time honoured ensemble".  Shows you what I have to learn.  Nonetheless, this was a world premiere of a local contrabass quartet with the admirably slick name of C2Q (Canberra Contrabass Quartet) and it was very well attended and created a ton of interest and it comprises a capable crew, essentially the bass section of the CSO. So what's not to like?  It was a strange sound, even for me, a bassist: deep and rich and growling.  And it's strange to allocate roles.  Max had the 5-string and essentially took the bass/low role while Kyle was the key melodist and host, with Dave and Isabella various playing harmonies and responses and melodies and middle parts.  I checked IMSLP for double bass quartets and there were a few pieces and exercises and the like but none were played.  It's telling that every piece had an arranger so probably these are bassists rewriting from cello and other parts.  And I was also amused at the description of the concert as "some much-loved symphonic repertoire" given the first two composers weren't on the tip of my tongue.  But so what!  The works were by Fitzenhagen, Bortniansky, Dvorak and Schubert and were first up fairly subdued (Ave Maria, Sacred concerto no.24) then the well known and beautiful New world Symphony mvt.2 and the series of Schubert Viennese dances.  So a fabulous and unique take on symphonic music at the low end.  I loved it and it went down a treat.  And I think a little tour is in the offing.

The Canberra Contrabass Quartet (C2Q) played its premiere performance at Wesley.  C2Q comprises Max McBride, Isabella Brown, David Flynn and Kyle Ramsay-Daniel (basses).

Solo

Solo bass is not something I know.  I hardly even remember a solo concerto I've heard live, and the solo bass is a different animal again.  Kyle Ramsay-Daniel blew me out yesterday with a solo bass concert at Wesley.  Now this is not a thing for particularly known works.  Other than the opener by Francois Rabbath, I only barely recognised a name but two that I looked for were on YouTube played by the composer.  And in this case, I guess all were composed by the premiere performer.  There's all manner of stylish, relevant bass techniques here - harmonics, double stops, various bowings, even jazz-like pizz - but perhaps the key is that deep, deep sound that permeates when the open E or A strings are played.  Otherwise, there's plenty in the mid-range but also plenty in the thumb positions and into the stratospheric harmonics, including some harmonic arpeggios and the like that were furious and ridiculously fast.  There were chords here, too, usually from double stops, but the movements could be pretty obvious to the ear.  And the tone was lovely.  Kyle uses one instrument for solo work, another for orchestral.  Common enough given the volume demands of orchestras.  This instrument was gloriously toned.  There was very occasionally the chance of slightly wobbly pitch even given Kyle's chops and experience but that's virtually unavoidable, for which I can only thank God,  as a fellow bassist, even one not nearly so adventurous.  Kyle is bringing a bass quartet to Wesley in a few weeks.  I can only drool.  BTW, Kyle played Rabbath, Xavier Foley, Hans Fryba, Nicholas Walker, David Anderson and Sam Suggs.

Kyle Ramsay-Daniel (bass) performed solo at Wesley,

Never enough

Lauren Davis convenes the Limestone Consort. They play Bach and other composers of the period but also, if less frequently, from other periods. This concert featured Telemann, Albinoni and two works by JS Bach. Someone had said they can never have too much Bach. I feel it too. Obviously it's a function of Bach's brilliance, but I wonder if it's also a musical style that suits our times. After all, he was lost at one time to be revived by Mendelssohn, his son JC was more popular in his time and his cellos suites, now considered great masterworks, were also little known before being repopularised by Pablo Casals in the 1936. So Bach has had his forgotten times. But for us and our time, he's a sublime genius. The two works here were his double violin concerto and his Brandenburg concerto no.3. Both are instantly recognisable for several themes even if you can't name them. I'd played Brandenburg 3 so wanted to hear it again, and I was again amused by that diminutive second movement, but this day I was most taken by the double violin concerto. It was a thing of sublime beauty so I could have had more Bach. But the other two were interesting. Lauren had likened Telemann/JS Bach to Art Deco/Nouveau. I guess in that order, even if it's out of precedential order. I think Bach would be the mellifluous one (Nouveau) but then the dignity and order (Deco) might also be with him. The Telemann was his Burlesque de Quixote, a suite of 8 movements telling the Don Quixote story which seemed pretty ordered and simple against the Bach. You could hear amorous breathing and horse galloping and otherwise but it didn't cut to either intellect or heart like the Bach. But then I also have respect for quantity as well as quality and Telemann is apparently the most prolific composer in history: 1,043 church cantatas and 43 passions amongst the rest. Albinoni was no slouch either, penning about 50 operas alone, although many are lost. All interesting and all worthy enough, but Bach remains supreme. The playing was great. I thoroughly enjoyed the pairing of violins in the concerto; Kyle laid down some outstanding bass lines and quick, quippy fills; we were sitting right next to Lauren and could enjoy her lead and phrasing and bowing and the rest. That intimacy is a thing I also greatly love. Give me a decent player in an intimate setting anytime. So, a lovely concert with some outstanding music from one of my favourite ensembles around town.

Limestone Consort performed Telemann, Albinoni and JSBach at All Saints Ainslie. LC comprised Lauren Davis, Michelle Higgs, Claire Phillip and Matthew Witney (violins), Iska Sampson and Elysia Fisher (violas), Clara Teniswood and Nicole Wang (cellos), Kyle Ramsay-Daniel (bass) and James Porteus (organ).

A return to old haunts

Musica da Camera played the High Court on Sunday and it was a return to an old venue. MdC is in its 40th year this year and they played the first concert held in the High Court, well before the recent series that has continued since Canberra's Centenary year. I'd heard that from an original member of the group, but on the day, I also heard it from a friend who I know otherwise who had attended that first concert. Circles within circles. It was the Running Festival that day, so access was a chore, but the audience was a nice size and the acoustics were flattering - just a nice degree of reverb where we were located. MdC was also celebrating the launch of its first CD (again, after 40 years) but I've mentioned the CD in another post. For this concert, MdC invited several CSO members: Barbara Jane Gilby (CSO concertmaster), Lucy Carrigy-Ryan (CSO violist and soloist for two works) and Kyle Ramsay-Daniel (CSO principal bass). The program was varied although had a melancholy tinge. Vivaldi (Concerto in G All Rustica) started it all with a lively spin, but then Hindemith Trauermusik was the first to commemorate a death. Then Elgar Serendae for Strings livened things up a little but Puccini Crisantemi memorialised another death. Then two recent Australian compositions: James Grant Waltz for Betz was a waltz offered to his wife for a Valentine's Day (lots of bass pizz and pretty solo melody line) and Graeme Koehner Whirling dance was polyrhythmic modernist work (I liked this one but not too easy to follow, especially while transposing up the sub-low-E notes on bass). Then, as encore, Morricone Gabriel's oboe (theme from The Mission), everyone's memorable favourite. That's the sort of composition you could retire on. Lucy played the solo parts on Hindemith and Grant. Barbara led from the first violin seat (standing like the higher strings and Kyle). Kyle just stood beside me a blasted his way through the music with some great reading and convincing playing. So that's what it takes to be a principal bass. He did a great job. We'd played the program through on Friday and I'd preferred that take, but others didn't agree. It just shows how we judge group performances by our performance. But what a pleasure to play with these professionals and this excellent string orchestra and to play in the High Court to a generous audience. And thanks to Karina who organises this concert series.

Musica da Camera performed at the High Court. Invited guests were Barbara Jane Gilby (musical director), Lucy Carrigy-Ryan (viola soloist) and Kyle Ramsay-Daniel (bass).

Thoughts on bass

The minutes leading up to Hayley Manning's graduation recital had me perplexed. There were a string of bassists and a tabla setup. Ben and Kyle on each side of the stage with a tabla player between. Geoff and Brendan were down the back on bass, something I only realised later. At the starting time, Hayley arrived upfront to play a freeform melody by Francois Rabbath against a low-E drone from the other basses. They left and Hayley introduced the next works as more conventional. Misek Sonata no.1 Amaj and Koussevitsky Concerto F#maj, both played with piano accompaniment. These are not trivial works and F# is not a trivial key. I was in awe of Hayley's thumb positions, harmonics, long scales and the like. Technical challenges abounded and she did them justice. Then the final work, Anderson Capriccio no.2, a contemporary bass work played solo, with a "flurry of rhythms notes that display the full raw power and potential of the double bass as a solo instrument" (from the program notes). How apt: this one worked for me as a bass solo piece. It got me thinking of the role of bass. The Rabbath was effective, where the bass was being itself. The Misek and Koussevitsky were impressive, but I kept feeling the piano just said more and more interestingly with its handfulls of notes as chords and arpeggios and that easy dexterity, so why the solo bass? But the Anderson was my favourite, toying with the low pitch, the upper reaches, the grandiosity with clumsiness that is the string bass. In parallel, it reminds me of my readings in Bass Player mag, where they continually rile against overplaying, perhaps clumsily, by repeating that the bass is there to make others sound good (!). I guess they mean that its role is essentially accompaniment, especially by spelling rhythm or groove. The Anderson took a prime role for the low end and made it interesting, not least by using rhythm, but mostly this observation is right in my book. Play less, play neater, play with awareness of others. It's harder than it sounds and it's not an impediment or limitation. Nothing makes drive like a bass line, in funk or in classics. With instruments, it's horses for courses. So congratulations and thanks to Hayley for her graduation and her thought provoking recital.

Hayley Manning (bass) played Rabbath, Misek, Koussevitsky and Anderson for her graduation recital in the Larry Sitsky room at ANU. Support was from Kylie Loveland (piano accompanist), Kyle Ramsay-Daniel, Brendan Keller-Tuberg, Ben Drury and Geoff Prime (basses) and Yash Vyas (tabla)