Love and war

This is a theme that's around with the new film of The Odyssey but it's nothing new.  Two of our major classical music groups combined to do a program on this very topic, Guerrieri et Amorosi, Warriors and lovers, highlighting madrigals by Barbara Strozzi and Claudio Monteverdi, two major composers in mid/late-1600s Venice, Monteverdi older than Strozzi but both prolific and renowned, if Barbara is lesser so these days.  And a few instrumental pieces by Apeiron in respite by GB Vitali and Scarlatti.  Madrigals were written for solo voices, one for each part, and MD Dan Walker highlighted the challenge of this fluid music for a choir and Oriana did a wonderful presentation to my ears, capably accompanied by our renowned locals Apeiron Baroque as a quintet.  The themes suggest a more martial awareness by CM with an amorous sinfonia exploding into martial music, love portrayed as a literal disaster although later Cupid being praised rather than Mars.  Maybe because this Eighth Book of Madrigals is dedicated to the newly crowned Holy Roman Emperor.  Other the other hand, I note a sweetly sung song about an Athenian Maiden raped by the King of Thrace (lyrics by BS's father), a song on affections of the mind (Yearning, desire...) and an argument over sources of joy which resolved to a single kiss.  But this is just a sampler and my notes are just a borrowing from the program anyway.  But the song, the accompaniment, the vocals solos were a thing of great pleasure.  Again a warmly received concert and a full hose at Wesley for an imposing musical pairing.

Oriana Chorale was accompanied by Apeiron Baroque at Wesley with a program of madrigals by Claudio Monteverdi and Barbara Strozzi.  Oriana Chorale was conducted by Dan Walker (MD) with sometimes soloists Ali Hardy and Jade McFaul (sopranos), Oliver Bruhl, Cody Christopher and David Faraker (tenors) and Patrick Baker, Neil Bulleid and Joshua Dunne (basses).  Apeiron Baroque comprised John Ma and Brad Tham (violins), Marie Searles (harpsichord), Anton Baba (cello) and James Holland (theorbo).

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).