Mozart in Mannheim

Well, not just Mannheim; Paris too. This is the second of a trio of concerts featuring Erin Helyard and Skye McIntosh playing music of Mozart at ANU University House, in the Great Hall, under the Leonard French's massive and roughly colourful mural, Regeneration. Erin was playing a regenerated replica of a piano, or hammered keyboard, of the period, Joseph Stein. Mozart himself had written to his father about a piano by this maker, apparently excited like someone lusting for the latest iPhone. At least the movies make out Mozart to be like that. I've read since that Stein would leave out his pianos in all weather to crack so he could repair them as more durable. Amusing. Erin spoke of how he found the period instruments fitted well together for these duets. Skye was also playing a 250yo period instrument (Joseph Panormo? ) with gut strings and baroque bow and period bridge. They played two Mozart Sonatas for keyboard and violin (G major K301 and A major K305) sandwiching a work of Mozart's from Paris, 12 variations on "Ah vous dirai-je, Maman", or, better known to us, Twinkle twinkle little star (K265). The keyboard was earthy (described by Erin as woodwind-like, bassoon in bass and flute in treble). The whole is softer than a modern pairing, more coarse but also more natural, less perfect and precise. Skye could dig into the gut strings and Erin could approach the limit of the hammered strings. I noticed the tuning going off with his attacks, but these instruments are less stable. That's the art in this game. I'll miss the third of this series, Mozart in Vienna, but it's been a pleasure. Free is nice, but mostly I'll miss it for the committed and nicely connected performances. Great stuff.

Erin Helyard (fortepiano) and Skye McIntosh (violin) performed middle Mozart in the Great Hall of University House.

First up, Salzburg

This is Mozart in three cities but I hadn't realised it was 3 concerts for 3 cities. For the first concert, Erin Helyard and Skye McIntosh were playing Salzburg. Its early in Mozart's career and the first sonata, for Keyboard and violin Eb major was clearly early The later ones were much more sturdy, adventurous, comfortable with composition and instrumentation. But they were all evident and hugely attractive. Mozart is like that, after all. And the pairing of Erin and Skye was similarly comfortable. They'd studied together at the Sydney Con, sometime, and played together in Pinchgut Opera and otherwise. Erin was playing a modern replica of a traditional fortepiano. Julie and I chatted of the different tones of these period instruments, not so forceful or loud, a softer bass and ringing trebles. And the violin that's gentler, less firm and forceful. But that's just period instruments. Erin's playing was confident, sure; Skye a little more reticent, and this fitted with what I felt was a lesser role. The violin spoke melodies but the busyness and audacity was in the accompaniment. Must be Mozart, I guess. They played 3 sonatas together (Eb, G, Bb) and Erin played one solo sonata (G) and a set of variations on Salieri. The tone was a nice fit for this lofty space with serried rows of listeners and a most unassertive stage. All lovely and informative and a first step in a performance history of Mozart's works for keyboard and violin. The next are Mannheim and Vienna, sometime in July and August. Looking forward to it. BTW, this all happens in the Great Hall at ANU University House with its massive Leonard Feather backdrop.

Erin Helyard (fortepiano) and Skye McIntosh (violin) performed early Mozart in the Great Hall of University House.

Music for my funeral

People have music at their funerals and I've often thought what I might wish to have at mine. We heard Mozart's Requiem tonight at the Albert Hall for the CIMF and it's profoundly melancholy and touching, but who would have the self-regard to think they justified it? Who could deserve it? We've heard a performance before. Everyone knows it. It was played here on period instruments (A430Mhz). It's tragic; it's truthful; it's redemptive and ecstatic. How can you respond to the choir singing ever-rising sequences? With tears or with unhinged laughter? It's just too profound. It's mostly choral, but there are passages of four solo voices: soprano, mezzo-soprano, tenor and bass. They sometimes sing individually, but mostly with entwined voices, perhaps the tenor appearing through, or the soprano soaring, or the two women in harmony. This version was shortened from the commonly performed one. It was a version by Richard Maunder that's missing three passages (Sanctus, Hosanna and Benedictus) that appear to be Süssmayr not Mozart. Süssmayr was the student of Mozart who was supposed to have completed the work when Mozart died. I'll check our CD later to hear the missing passages, but there were more than enough renowned and deeply affecting passages here. This is music that you wish won't end. I heard it as a little rough in the orchestra at times but very nicely performed by both choir and soloists. The string sections were led by seasoned performers, but these were young players and they were apparently playing on gut strings for the first time. I know gut on a double bass and it is a very different experience so I feel for them; a baptism of fire. Mozart's Requiem was performed by Simone Riksman (soprano), Hannah Fraser (mezzo-soprano), Christopher Saunders (tenor), Andrew Fysh (bass), the Wallfisch Band with ACO2, Elisabeth LeGuin (cello), Albert-Jan Roelofs (organ), Song company with the Sprogis Woods Smith Young Artists and Roland Peelman (conductor).

Preceding the Requiem was another work of death and immense sadness, a Stabat Mater. Stabat Mater is a 13th Century Catholic hymn of Maria dolorosa standing under the Cross of Jesus. You can only imagine the depth of sorrow in this image. Stabat Maters have been written by many composers. Pergolesi's is the famous one; this was by Luigi Boccherini of Lucca. This version was a new edition by Elisabeth Le Guin for three voices. Elisabeth ventured from the US to play cello for this performance. I enjoyed this performance but was a little non-plussed by Boccherini's work. The first notes are appropriately mournful, but then the music becomes merely dignified, then perhaps dramatic, sometimes almost light and danceable and not sufficiently pathetic to my ears. None-the-less it's a worthy work, Elisabeth's work is admirable and I loved the three voices, tenor and two sopranos. I particularly enjoyed the tenor, although intertwined sopranos were also luxurious. Boccherini Stabat Mater was performed by Susannah Lawergren and Anna Fraser (sopranos), Christopher Saunders (tenor), the Wallfisch Band with ACO2 and Roland Peelman (conductor).

The painting is Pietro Perugino, Mary at the Cross (1482) National Gallery, Washington DC, USA. Click on pic to view larger

Symphony or concerto?

This was another great success for the Canberra Symphony under Nicholas Milton. I wasn't so taken by the first half: Mozart Overture from Marriage of Figaro, a light and recognisable piece to start the night, and Beethoven 4th piano concerto with pianist Clemens Leske. I think I prefer symphonies to concerti: more democratic, more balanced and internally consistent, whereas a concerto, even with a 9' Steinway (which I presume they were using) is still unbalanced between solo instrument and the strength of even smaller orchestra, and essentially more an individualist, even competitive event. Maybe it suits the times. The Beethoven was all long chromatics and weighty left hand melody and the lines felt not so even and not too obviously resolved so this didn't so much appeal to me. Then interval, another wine and a return to Mahler Symphony no.1. The first notes were quiet and I wondered if this was indecisive. Not at all. Phrases were soon appearing, from different instruments, even from trumpets off stage, appearing then decaying. Hints. A passage of threat. Then busy, interacting, layered themes, pulling together for a joyous, outgoing, vibrant country fair. Flutes as birds; strings answering; single note harp tacking; deep slurred notes bowed on bass. Then on through layers of melody, and an explosion of percussion and horns and brass. This first movement was richly layered with a touch of rural idyll. The second movement was a strutting 3/4, a lone horn, into a smoother, seductive waltz, then a return to the strutting 3/4. The fourth movement started with a solo bass playing Frere Jacques (kid you not) then a canon through cellos, violas and the rest, melding in and out with another Yiddish-sounding folk song. Nicholas Milton is flailing; he's an effusive conductor, calling for dynamics that an orchestra of undemonstrative Australians is a bit loath to give him. I reckon he's good for the CSO; they could have a little more abandon. Then into the final movement, perhaps revisiting the first, explosive from the start, then through various rises and falls, of volume and intensity. Big with tubas and standing horns and timpani and brass; swingeing bass lines. I thought I judged the finale, but it came and went and came again. Perhaps for a first time, I followed the symphonic structure with some understanding, but I still don't know why the combinations of complex layers then that odd 3/4 second movement with the sandwiched waltz, then Frere Jacques and the folk tunes, then the complexity and energy of the finish. In such a big space, Mahler could have done with a larger orchestra and extra dynamics, but we loved this nonetheless. Very interesting and attractive and satisfying. The orchestra again did the night justice, Clemens Leske did an good job, the combination of works was impressive, even if I had a clear preference for the Mahler symphony, and Nicholas Milton was ever the fine host and vibrant leader. Congrats to our locals.

The Canberra Symphony Orchestra performed under Nicholas Milton (conductor) at Llewellyn Hall. Clemens Leske (piano) soloed in the concerto. The program was Mozart Overture from Marriage of Figaro, Beethoven Piano concerto no.4 and Mahler Symphony no.1.

AYO2014/07 (Orch 3)

This was AYO's second weekend of orchestral concerts. What a revelation! I'd attended the first weekend and admired the skills but there were some faults, entirely understandable given these musicians had been pulled together for a short time and were not a regularly performing outfit, and were young and perhaps with some nerves. But what a difference a week makes, at least at this level of intensity. I could close my eyes and follow this music with immense pleasure, and this was my experience throughout the final two concerts. These orchestras had matured markedly in one week, thanks the intensive experience, the committed and obviously popular tutors and the rest. My hats off to the AYO.

The early concert started with the Hopkins Chamber Orchestra under Geoffrey Lancaster performing Mozart Symphony no.31 in D, Paris. Three movements, admirably presented, starting with big chords and devilish flourishes, then classic delicacy and tunefulness, then an unassuming waltz for the second movement, and a final movement of buzzing strings, four time, lighter, with more flourishes and canonic movements. Lovely. Second was a world-premiere, Philip Jameson's Dunsinane. PJ is only 20 and could not attend as he's studying at Yale. Performed by the Bishop Orchestra under Alexandre Bloch. AB introduced this work by saying that Dunsinane is Gaellic for "hill of ants" then talking of his images of tones, woodwinds as crickets, strings as snakes that move slowly and bite. He suggested we use imagination to picture music, especially modern music. The work started with a woodwind rhythm overlaid with a slow strings melody. It seemed to split into two parts, firstly weighty then lighter or more jumpy. AB's "hill of ants" metaphor fits perfectly with Great Birnam wood coming to high Dunsinane Hill. Then to end, Alexander Orchestra under Richard Gill performed Brahms Symphony no.2 in D. This follows last week's performance of Brahms' 4th. RG spoke later to ABCFM saying why this pair was chosen. Every performer should play a Brahms symphony; he was a great musicologist; he was seen in light of Beethoven; he's in the centre of the classical music history and the music camp is performing major works throughout this history. RG's quote that "Until Australia has every child in musical education from Kindergarten to Year 6 we will remain barbarians" was well received. Another interesting quote was when asked why there's no instrumental popular music: "you can learn everything through singing". I wonder if there may be more to consider for each of these quotes, but it's interesting to hear them. But back to Brahms. Interesting to see the basses at the back, with the percussion. There's pastoral here but also mechanical, lullaby and some strangely prominent leading notes that aught my ear in the first movement. Then a more melancholy second movement. I'm enjoying some very responsive and powerful passing swells through the strings and accompanying swaying performers: nice, involved. Then the final movement, livelier, morning-like, looking optimistically forward to a new day. I still feel a little uncomfortable with some Brahms' changes but who am I to question? Then a big ending. This is sounding wonderful, professional, worthy. Most impressed.

The Hopkins Chamber Orchestra under Geoffrey Lancaster performed Mozart Symphony no.31 in D, Paris. The Bishop Orchestra under Alexandre Bloch performed the world premiere of Philip Jameson's Dunsinane. The Alexander Orchestra under Richard Gill performed Brahms Symphony no.2 in D.

AYO2014/1 (Orch 1)

It's January and the Australian Youth Orchestra are back in town for their National Music Camp. It's a biennial event here in Canberra, and I hope it remains that way. It's a two week event with a series of free concerts in week 2. It's a young group, aged from teens into the mid-twenties, well trained and keen. There's real excitement at these concerts and real skills. You can hear a few rough edges, from lack of experience or nerves, but to be expected. Yesterday was concert day 1 with two orchestral concerts each presented by three orchestras.

The Hopkins Chamber Orchestra conducted by Geoffrey Lancaster opened with Mozart Symphony no. 29 in A. Mozart is obvious a mile off. This was written after 28 other symphonies while he was a still a teenager. It's light and breezy music with inevitable melody. The performance was stronger on some more forceful passages and a bit nervous at the start, but these guys had the unenviable role of going first. Next was a world premiere. The Alexander Orchestra under Richard Gill performed a nine-minute commissioned work that had its first outing at the NMC, Andrew Howes' Ichiros. This interested me. Andrew explained the work is written around the length of an instrument to perform a fifth, the ratio of Pi and Pythagoras' golden mean. So the work builds as crescendo and cacophony at a point around 2/3 of the way to the end and uses mallet hitting train track cut to the mean. I heard a filmic mash of swells and bells, mysterious and fluid. Tones passed between instruments and occasionally one played a melody. A trumpet featured later, playing tonally but intervallic not scalar. Eventually, it returns to the start, a rubato-like agglomeration of sliding strings and unison trombones and an ecstasy at the end. Most interesting. And also interesting, Andrew advised he'd spent 450 hours composing this 9 minutes of music. Third was the Bishop Orchestra under Alexandre Bloch (Assistant Conductor, London Symphony Orchestra) performing Brahms Symphony no. 4 in E minor. Brahms was called labelled one of the three great B's (with Bach and Beethoven) but the program notes mention that Tchaikovsky called him a "giftless bastard". There were times I felt the music sagged, struggling for purpose or direction. I liked the flowing, legato first movement; the third is irrepressible and popular; the fourth had some amazingly long string lines, including for bass. The performance of all was impressive, tight with decent intonation, better on some louder passages. I would have liked more dynamics sometimes and other times more projection, but this is a first concert by a young group only getting in its stride. Hugely impressive.

Bohemia (with Viennese interlude)

We’d listened to Dvořák’s Symphony no. 8 driving to Sydney in the morning and I wasn’t particularly looking forward to it. We were going to the Opera House to hear Bohemian adventure, a performance by the Sydney Symphony Orchestra. It’s the second of our three matinee runs we’ve booked for 2013 to get to know the SSO. It was a nice day, we know an easy park, we quickly checked out the latest World Press Photos on exhibition at the State Library, and I settled into the Opera House with some trepidation.

Our Bohemian adventure was three pieces: Bartók Divertimento for strings, Mozart Piano concerto no.22 in E flat and Dvoarak Symphony no.8 in G. I’d expected to be most intrigued by the Bartók and from the first notes I was entranced by jazz harmonies and lines reminiscent of Gershwin, high range dissonance against low range consonance, restrained tempo and boxy but disjointed crochet-quaver melodies. The playing was strong, confident, outspoken. I was seriously enjoying this orchestra (if not the noisy audience). The third movement livens up, more virtuosic in style and even jokey with pizzicato contrasting with bows. I enjoyed some challenging counting. I thought one spot was 4-5-3-3, but it ended before I was sure. This was written in 1939 and thoughts of impending doom are around. It’s just strings and they can be cloying, but this was a very satisfying work. Then Mozart, lovely in its classical dignity; a big change although not unexpected. This was lighter, more even and formal and courtly with horns and brass and descending chordal movements. I thought the trumpets did an excellent job and enjoyed the swelling strings and pensive second movement (forget the audience again) and the billowing brass and flowing notes and the pretty, never-forced melody throughout. I loved the sweetness of high notes on the piano with lid removed, but wondered what the original would have sounded like. I was amused by Jonathon Biss’ sweeping physical movements and loved the endless pretty melodies. How lovely was this!

Then Dvořák and we were very pleasantly surprised. This is a good orchestra. The movement and colour and development were evident. Listening in the car, the work had just seemed undirected, undeveloped, disjointed. This orchestra was big and the sounds were abundant. The intonation seemed comfortable and the orchestra played willingly and as a whole. I felt a touch of discomfort with high strings, but this is common and has me wishing to hear some great orchestras and how they handle that. And the articulation was neat and responsive as parts moved around. I blissed on some bird-like flutes; I enjoyed dance-like sections and filmic panoramas, but the big, melliflous tones had me. This piece was much more interesting than we’d expected and I put that down to a capable orchestra made comfortable with frequent performances. We’re starting to understand the SSO and recognise faces and I’m becoming more convinced.

Conductor Antonello Manacorda was given flowers that looked all the world like a botanic coffin and it had us chuckling, but it was also the pleasure of a performance that had us leaving in such good cheer. Great gig! Antonello Manacorda (conductor) led the Sydney Symphony Orchestra at the Opera House. They performed Bartók Divertimento for strings, Mozart Piano concerto no.22 in E flat and Dvořák Symphony no.8 in G. Jonathan Biss (piano) performed the Mozart.