Aussie, French, Czech

Someone couldn't use a ticket so I got to a Selby concert.  It was Selby on piano with her selection for this concert, a piano quartet, violin, viola, cello.  And it was a quite a worthy set of players and instruments, not least SSO and Brodsky Quartet amongst many others.  The mention of instrument makers had me listening for preferences.  I particularly liked the Guadagnini violin and found the Amati viola somewhat nondescript, but there are so many factors.  Not least Llewellyn Hall which always seems cavernous and particularly so for this lineup.  They played Stanhope, Faure and Dvorak in that order and that's the order of my preferences.  From talking with other audience, I got the feeling Dvorak was the fave and Stanhope the unwelcome.  Certainly he was different, all odd counts and more modern harmonies.  I found myself trying to count while phrases seemed to fall as 5 then 5 then 4 then whatever, but probably sitting within 4/4 bars.  I was not sure but intrigued.  The Faure was also soft but, given the informed introductions to each piece, had me thinking French vs German and I could feel the difference and that intrigued me.  Then Dvorak, with pretty simple underlying chord structures and mostly predictable parts over.  There were some spots I warmed to (mvt.4?) but mostly it just seemed obvious stuff.  This music has gone on for a few centuries and can become ordinary without the churn of change to disrupt and enliven it.  But just my uninformed musicological thoughts.  The works were Paul Stanhope My song in love unknown (2000), Faure Piano quartet no.1 Cmin, Dvorak Piano quartet no,2 Ebmaj.  Comfy keys...

Kathryn Selby (piano) convened Andrew Haverson (violin), Tobias Breider (viola) and Miles Mullin-Chivers (cello) at Llewellyn to play Stanhope, Faure and Dvorak.

Chatter

Another chat session, this time with two Australian string quartets: Orava and Pietra. Orava played the other day so I know them for that. They are the seniors (relatively) having established themselves, studied in the US with the Takacs Quartet, got an agent and a CD with Deutsche Grammophon Australia (impressive) playing Tchaikovsky, Rachmaninov and Shostakovich, making their name at festivals, committed and needing to eat. The Pietra Quartet are still students at Sydney Con, developing the group, still to decide on a whole range of things like their image and style and key repertoire. I know violist Justin as he performed the Stamitz concerto on our Musica da Camera CD. Younger and developing but on the path. This all came out in discussion with moderator Vincent Plush, ABC radio presenter, ex-music lecturer and the rest. The discussions were brief but relevant: identity and presentation; naming (Orava means squirrel in Finnish); getting together and staying together; approaches to music and sound; choosing repertoire; experiences with the Australian repertoire; interestingly, "where is home"; AYO in their development (most had been AYO performers); cultivating audience; women in string quartets (not at all an issue for youth, but some historical relevance); instruments, old and new; Queensland's Year 3 string program; performing live vs recording. Lots of thoughts there, so no time for any short performance. I didn't ask my question, but it would have been "do you still play weddings", or, survival skills for musicians. Lots of interesting chatter.

Vincent Plush (moderator) interviewed the Orava and Pietra String Quartets. Orava comprises Daniel Kowalik and David Dalseno (violins), Thomas Chawner (viola) and Karol Kowalik (cello). Pietra comprises Anna Da Silva Chen and Ben Tjoa (violins), Justin Julian (viola) and Miles Mullin-Chivers (cello).

The classics

The concerts at CIMF are varied, often with mixes of performers. This was called Classic Souvenir: obviously classical but again well varied. First up was Schubert on fortepiano, then Beethoven on fortepiano and violin, then a string sextet from Tchaikovsky. Perhaps he's romantic, but it's related. Keiko Shichijo performed Schubert Impromptu op.90 no.3 in the damnable key of Gbmajor. But then it's different on piano. It was likely developed from improvisation but the effect is an attractive melody with a busy left hand. Then Cecilia Bernardini joined for Beethoven Sonata for violin and piano in G major. Now here's a gentle key! It was written for the Archduke and a specific violinist as a "musical dialogue with refined classic gestures" (Roland Peelman from the notes). There was a lovely and generous musical playfulness and awareness between these two musicians who play together in Europe. They are capable, mature players and their ease together and deep skills are evident in the comfort of the interaction. I've noticed the best players are something like transparent as the music speaks through them. This was like that: easy and evident. The final work was a somewhat odd: a string quartet extrapolated to a sextet, with paired violins, violas and cellos. It changes the standard form of first and second violin by expanding this relationship to the lower instruments. It's quite a fascination to hear two cellos talking different lines, sounding moderately different. Otherwise, a busy and intense work presented by the Orava (String) Quartet with friends. Someone commented that it couldn't have been played by women as it carried evident testosterone. Not sure of that one, but it was busy and energetic and approached with rabid glee. Either way, a fascinating and different take on the classics theme.

Keiko Shichijo (fortepiano) played Schubert solo then Beethoven with Cecilia Bernardini (violin). The Orava Quartet with friends played Tchaikovsky. The Orava quartet are Daniel Kowalik and David Dalseno (violins), Thomas Chawner (viola) and Karol Kowalik (cello) and their friends were James Wannan (viola) and Miles Mullin-Chivers (cello).