Prepared

Adhoc Baroque presented its first concert of the year and it was one work: Il giardino d'amore by Scarlatti. It's a work for a small ensemble with two singers, soprano and alto. Greta, soprano, played the part of Adonis to Maartje's alto Venus as they sing of their love and call on nature to witness it. It's a strange experience hearing a soprano as male, but presumably a counter-tenor would have sung it in its early days. Now it's two women, but these are times of gender fluidity so we are prepared. The orchestra was four violins with cello, bass, organ, recorder and trumpet. As I'd expect from Greta, Maartje and Peter, it was a notable team of accompanists led by BJ Gilby. The music is dignified and uplifting and seemed not overly demanding, at least on the instrumentalists, although the voices seemed to have a challenge with intricate, embellished lines. For once, I followed the words (sung in Italian of the time and translated in the program). It was florid and even amusing to a modern reader. who knows not the ways of aristocratic chambers of the time. Thus the disconsolateness of the surroundings, Venus' amorous beauty and Adonis as pitiless and grasping, the loss of interest in the pretty nightingale and cruel depths where she hides. This is tragic while flowery how it does about it but the lovers eventually come together: "come, fly, sweet content, and bring back peace to our hearts". So it worked out for the pair in the end and we left just a little befuddled by the story but nicely satisfied by the performance. Always a pleasure to hear our not at all Adhoc Barockers.

Adhoc Baroque performed Il Giardino d'amore by Domenico Scarlatti at St Pauls Manuka. Adhoc Baroque is Great Claringbould (soprano), Maartje Sevenster (alto) and Peter Young (harpsichord, director) with guests Barbara Jane Gilby, Jack Chenowyth, Pop Thompson and Matthew Witney (violins), Sam Payne (cello), Kyle Daniel (bass), Robyn Mellor (recorder) and Justin Lingard (trumpet).

One of many

If I search it right, IMSLP offers a list of 89 Stabat Maters by different composers so the annual SM performance by Adhoc Baroque has a few years to run yet. This year the composer was Alessandro Scarlatti (his son, Domenico, later wrote a better known setting). The text was by Jacopone del Todi and recounts the grief of mother Mary at the cross of Jesus. It's a deeply touching thought and thus taken frequently as a theme. The work itself comprises 19 short stanzas, sung by soprano and mezzo-soprano, Greta and Maartje, with accompaniment from organ, two violins and cello. The movements were short, often just a single reading of the text, perhaps a minute or two, sung by one or other or both vocalists. I particularly enjoyed the harmonised singing. Greta and Maartje both present well as soloists but I was particularly taken by their harmony singing in this performance: harmonising, contrapuntal, always clear and well formed, deliciously intoned and fluidly melding. The accompanying organ was discrete, the two higher strings playful and the cello firm and forward moving. In the notes, Peter highlights harmonic and melodic twists in this music with echoes in more modern music: he specifically mentions an off-beat melody in one movement which I remember hearing as an oddity (or error?) on the day. Otherwise, the group, with cello replaced by viola da gamba, performed three pieces before interval - a melancholy motet by Stradella, one of 1750 surviving church cantatas from Telemann and a lively playful piece from Buxtehude - with mezzo, soprano and paired voices. Again, some great playing and very satisfying singing of this unpretentious and deeply faithful C17th music. May the series continue till its natural end!

Adhoc Baroque performed Stradella, Telemann, Buxtehude and a Stabat Mater by Alessandro Scarlatti at St Paul's Manuka. The group comprised Greta Claringbould (soprano), Maartje Sevenster (mezzo-soprano), Lauren Davis and Michelle Hicks (violins), Rachel Walker (viola da gamba), Clara Teniswood (cello) and Peter Young (organ, director).

AdHoc Baroque-ry

These are busy weeks towards Christmas. Mine was last weekend with NCO and Maruki. For Pip and Michelle and Clara it was this weekend, with 2 concerts (that I know of) on the Sat and Sun. This one was by the delightfully named AdHoc Baroque playing a program of Venetian music, of Galuppi and Vivaldi. Galuppi was from Burano, one of the Venetian islands, and became maestro di musica at the Mendicanti orphanage. Vivaldi is famous for his time at the Pietà orphanage as maestro di coro. The orphanages were the centres of music-making in Venice at the time (~1700s) and Vivaldi's is especially famed to these days. AdHoc got together a fascinating concert of music of the era, partly sung by Greta and Maartje, but with the addition of an additional 10 singers for the ladies of the Pietà choir. This was a very female event with 12 singers, 8 instrumentalists and Peter as the only male. It was something like this at the orphanages which were primarily female, orphaned or otherwise. The males of the time were sent to work from early age, 10+, and the women were otherwise entertained. But perhaps the most intriguing thing was the singing. The choir sang in SATB format, like the orphanage choirs of the time, so some women were singing the TB (=tenor, bass) lines. Most likely they sang tenor and bass an octave higher (although some women sing tenor in today's choirs). So the pitches would have been closer and the chords inverted differently, any part may have taken the top line and perhaps some women had to transpose from bass clef. All interesting. I listened but didn't particularly hear it as different from a standard women's choir although I did notice a few close pitches. Another muso said much the same. But it was clear and pretty in the higher pitches with only the bass and viola da gamba reaching any depth. Otherwise, I was sitting behind BJ Gilby, so taking a lesson in bowing and expression, and right next to Julie and Chayla, so hearing the glorious trumpet and oboe parts. So the balance was odd, but I took a break from watching bass. The main work was Vivaldi Gloria RV589. Otherwise Vivaldi Nulla in mondo pax sincera and Galuppi Confitebor tibi Domine and Ave regina coelorum. A beautiful program and some glorious performances. AdHoc in name only; glorious in performance.

AdHoc Baroque performed Vivaldi and Galuppi at St Paul's. AdHoc Baroque comprises Greta Claringbould (soprano), Maartje Sevenster (mezzo-soprano) and Peter Young (organ, director) with instrumentalists Barbara Jane Gilby and Pip Thompson (violins), Michelle Higgs, Clara Teniswood (cello), Rachel Walker (viola da gamba), Hayley Manning (bass), Julie Watson (trumpet) and Chayla Ueckert-Smith (oboe) and ladies of the Pietà (the choir) Susannah Bishop, Pip Brant, Michelle Eddy, Emma Griffiths, Vanessa Hooley, Alice Richardson, Carolyn Strange, Sarah Sutcliffe, Veronica Thwaites-Brown and Rachel Walker (vocals).

An advent custom

It's an advent event most years. It's Handel Messiah performed by Canberra Choral Society and friends under chorus master Peter Young conducted by Leonard Weiss with soloists Greta Claringbould, Tobias Cole, Paul McMahon and Jeremy Tatchell. All locals or thereabouts and an array of recognised faces on stage. That's part of the fun, of course, to recognise faces. And the music, which I am coming to understand and follow and appreciate: how and when soloists appear and the Christian Christmas story of joy and despair and the busyness of the orchestra because the soloists and even the choir appear on and off, but the orchestra is at it throughout, at least the strings and keys. I missed the woodwinds playing and the percussion and brass are impressive and essential but infrequent. What a thrill to stand for the Hallelujah chorus, it being so big and rousing that it involves you even if just by standing - sitting for classical concerts is satisfying but also staid. And there were a few singalongs from the audience for this chorus. I also felt like singing some other choruses but was responsible (or elbowed by Megan) when I felt the sing-along urge coming on. No it's not kosher. Sad that I can't get to the real open singalong of the Messiah next week (Wesley, 6-8pm, Sat 23 Nov, $10/5, singers must register). Good feelings abounded in the audience, too, this being a great favourite, and played so capably. I loved the high sops when set free and the complexity of the fugue choruses and the strength of the mid-range tenors and also tenor Paul's voice which filled Llewellyn so easily. And the bouncing baroque music that's so endearing. The orchestra was busy and often flightingly quick. They were perhaps too loud under Greta (they may have just played first desk behind some soloists, restraining the ppps to strengthen the fffs) but small matters. They did an excellent job under Pip Thompson. As for our standing, a man in front of me was a refusenik and it's probably an upper-class-twit custom, but it's fun and involving and all part of Christmas celebrations. As is the Messiah itself. Very well done and very much enjoyed.

Canberra Choral Society performed Handel Messiah at Llewellyn Hall under Peter Young (chorus master) and Leonard Weiss (conductor) with soloists Greta Claringbould (soprano), Tobias Cole (counter tenor), Paul McMahon (tenor), Jeremy Tatchell (bass) and the Canberra Choral Society orchestra under Pip Thompson (leader)

A Baroque meet

Two of all things: two baroque concerts this weekend; AdHoc Baroque combining with Limestone Consort for one. This was a concert of the meeting of AdHoc and Limestone at All Saints, although there's a certain degree of Venn diagram overlap between these two. I'm sure I've heard at least one of the singers, Greta or Maartje, performing with Limestone Consort, and cellist Clara is common to the two groups and their programs pretty much overlap in period. This was a nicely mixed concert with varied combinations of performers, one or two or no singers, one or two violins, double bass and viola or not. And introductions were also varied, by Limestone's Lauren or AdHoc's Peter. The works were Purcell, two Telemann church cantatas, the Swedish composer Roman, Geminiani and Hasse. They were mostly religious works, instructing the congregation to stifle their eagerness to indulge in a spiritual life, or to shake off darkness and enjoy the light of the peace of the Lord in a harmonious world. Sounds good. We heard of connections, of Geminiani to Avison, of Roman to Handel and Bach's brother, of Hasse to a young visiting Mozart. It must have been a vibrant period of music. We heard of Telemann's financial successes and his readiness to adjust to his consumers (as we would envision it these days) and a hint at an unreadiness to stifle his eagerness and of working for the church or the big kahuna, Emperor Frederick the Great. Notes would have russled in that court. And we heard the music, jigs and aires and minuets, larghettos and allegros and recitatives and pomposi, and Salve Reginae and benedictiones. I loved the voices, especially in harmony; I was physically close to the viola for once and came to better understand its responsive role; I followed the bass and cello and their similar parts and bowings; I drifted with the loud but less assertive organ tones; I followed the violins, in harmony, or Lauren's leading melodic role. The playing was a pleasure and the music was delightful. Two makes one, when AdHoc met Limestone.

AdHoc Baroque met Limestone Consort at All Saints, Ainslie. Performers were Peter Young (keyboard), Greta Claringbould (soprano), Maartje Sevenster (alto), Lauren Davis and Matthew Witney (violins), Michelle Higgs (viola), Clara Teniswood (cello) and Kyle Daniel (bass).

A drive in the country

I'd forgotten how pleasant a drive in the country can be. These days my country drives are on highways, multiple lanes, quick but industrial. AdHoc Baroque were reprising the performance that I missed the other week but this one was at Gunning. Gunning is little and very pretty with its period architecture. It's just off the Hume but, from Canberra, a country drive through Sutton and Gundaroo. The day was clear and warm and calm and the road was quiet. A pleasure. I arrived to find a wildly cute little church (St Edmund's Anglican, 1863) and a bevy of locals in attendance. Then the music. The second Australian performance of Brunetti Stabat Mater (the first was by AdHoc a few week before) and probably only the 4th or 5th performance in the modern world. Leader Peter Young had obtained a copy of the original manuscript from Viennese YouTube performers who had used manuscript copies from a local library (Zentral Universitatsbiblioteck, Zurich). Not available in commercial or other editions, so not widely performed. Brunetti was the feature. The rest of the program was religious music of the era, Scarlatti Salve Regina, Charpentier Magdelena lugens (sung by Maartje) and Stradella O vos omnes (sung by Greta). All written for female voices and small forces that suited AdHoc Baroque, with its soprano and alto pairing up front and a few strings and organ. The strings were Clara on cello, the CSO pairing of Barbara Jane and Pip on violins and Michelle joining on viola for the Brunetti. And Peter leading from organ keyboard, of course. This is such delightful music with various lively solo passages or dolorous with the themes of the dying Jesus and the accompanying women - Mary and Magdelene. The title of the concert was Mater Dolorosa. For once I followed the words and attempted the Latin/English translation. It was worthwhile and revelatory to understand the theme as it passed through various stanzas and associated emotions. Such dignified music, sometimes uplifting or dolorous or heart-rending, sometimes playful with counterpoint or fugue, not least from the vocals, always immensely beautiful. This music is always an intellectually satisfying and emotional delight and with AdHoc we have a group that is expanding the repertoire through Peter's extensive editing of original scores. A local treasure.

AdHoc Baroque performed Brunetti, Scarlatti, Charpentier and Stradella at St Edmund's Anglican Church at Gunning. AdHoc comprised Peter Young (director, organ) with Greta Claringbould (soprano), Maartje Sevenster (mezzo-soprano), Barbara Jane Gilby and Pip Thompson (violins), Michelle Higgs (viola) and Clara Teniswood (cello).

Farfalle

It was a more compact Adhoc Baroque that gathered for their most recent concert. This was at St Paul's. Just four: harpsichord, cello and a singing pair of soprano and mezzo-soprano. The music was no surprise, though: Vivaldi and Scarlatti but also Bononcini, Bellinzani and Geminiani. Not just the music, but also the themes, were those of the time - Dido and Aeneas, Cleopatra and Mark Antony. Ancient and largely forgotten history to our times. The farfalletta (butterfly) is more current, at least as a theme. It was a clever piece by Vivaldi that really did flip about lightly in the wind, as if on the wings of a butterfly. But how dignified and courtly is this music. The recitatives that speak the stories with minimal accompaniment; the even phrasing; the occasional pairing in harmony of the two singers; the frequent dance-like gait. I loved the harmonised vocals when they came, and enjoyed the sometimes face-to-face interaction of singers Maartje and Greta (although we did lose some direct volume when they sang to each other) and the sequenced cello lines in accompaniment with the continuo harpsichord. Mostly these were tunes with singing, either one singer or two, other than Clara playing a cello sonata (Geminiani Dmin op.5 no.2) with Peter's accompaniment. This is lovely music to close eyes to and follow the stately movements. A lovely, dignified set of tunes from one of our best local baroque ensembles.

Adhoc Baroque comprised Greta Claringbould (soprano), Maartje Sevenster (mezzo-soprano), Clara Teniswood (cello) and convenor Peter Young (harpsichord). They performed Vivaldi, Scarlatti, Bononcini, Bellinzani and Geminiani at St Pauls, Manuka.

Secula, secula, seculam

Again, that great name, Adhoc Baroque. Perfect. There was lots on that afternoon but I ended up following the name, not least for the offer of lovely early music. This was a concert of secular cantatas, Italian, written for the pleasure of a knowledgeable, and probably indulgent, crowd outside the confines of the biggest benefactor of the day, the Church. The title, Capricious love, tells it all and also tells of the different interests of the original audiences. Three pieces by Handel; one each by Vivaldi and Scarlatti. The title of one also makes obvious the theme, Tu fedel? Tu costante?, and the two names in another title, Lidio e Clori, recounts a dispute that was delightfully presented with some convincing dramatic flourish. Amusing. Stately music, beautifully played, handsomely sung. Greta and Maartje as two women (was Maartje crossing as a man Lidio e Clori?); Peter leading from a period electronic keyboard; and strings, Lauren and Michelle, Ross and Rachel on viola da gamba for the authenticity. Lovely music that just bounced at times, Rachel's very capable viol basslines and the beautiful soprano/mezzo voices above. Great way to spend some time inside because, baby it was cold out.

Adhoc Baroque were Greta Claringbould (soprano), Maartje Sevenster (mezzo-soprano), Peter Young (director, harpsichord continuo), Lauren Davis and Michelle Higgs (violins), Ross Mitchell (viola) and Rachel Walker (viola da gamba).

New for Easter

Great to see the emergence of a new local ensemble, and with a great name: Adhoc Baroque. A light-hearted take on some deadly serious music for Easter. They performed at Canberra's strangely out-of-place heritage church, St John the Baptist (which predates Canberra's establishment by ~80 years), taking advantage of the stony presence and a nice loft organ for one piece. We heard Pergolesi Stabat Mater and Salve Regina and some excerpts from Vivaldi's take on Stabat Mater and Pescetti Sonata in C minor for organ. This ensemble presents with one voice per part, variously organ, two female voices (alto and soprano), viola da gamba, viola and two recorders or two violins. The voices were very satisfying alone but richly evocative and harmonically thrilling together. Two recorders are truly a sound of another era, rounded and evenly toned as they are. They viola and violins were played with modern bows (and presumably metal strings) so were strong and decisive. It's different from gut, but still perfectly satisfying to my ears. Interestingly, Rachel commented that her viola da gamba (with gut and period bow) had the sound of open strings for all notes because of the frets (they have strange moving frets that require tuning). I'd admired her firm and wonderfully steady playing and even string crossing and maybe this fretted sound helped it to match neatly with the modern instruments. The organ for the vocal pieces was sampled electronic and sounded perfectly well for the style. The major work was Pergolesi Stabat Mater which tells the story of Mary under the cross, variously deeply sad and bouncingly triumphant at the religious outcome. The Vivaldi was an interesting comparison, being on the same topic. The organ was a delightful interlude. Great concert. Welcome to a capable new group.

Adhoc Baroque was led by Peter Young (director, organ continuo) with Greta Claringbould (soprano), Maartje Sevenster (mezzo-soprano), Robyn Mellor and Olivia Gossip (recorders), Pip Thompson and Elysia Fisher (violins), Lucy Carrigy-Ryan (viola) and Rachel Walker (viola da gamba).

Continuing a long choral history

Fifty years ago, Canberra was a town of just 15,000. But even that mini community could form a choir, and this choir continues today as the Canberra Choral Society. Even more amazing is that this amateur choir is now sophisticated enough to perform a range of choral works of high calibre and to justify a Sunday live broadcast to ABCFM. So it was this weekend: Easter weekend. I’ve written here about the wonderful Messiah I heard before Christmas from the CCS. This performance was a much less known and more varied program, with limited musical accompaniment, about 100 singers, and with up to 8-part harmony: two each of sopranos, alto, tenors and basses. Interestingly, with voices interspersed, rather than in blocks.

The performance lasted about 1 hour, and was formed of 4 brackets, each of two, three of four tunes, of radically different eras and styles. Bracket 1 was Britten and Bizet. Bracket 2 was Monteverdi and others of that era, along with a modern piece, Araluen, by Matthew Orlovich. This bracket was performed without organ accompaniment. Bracket 3 was disarmingly two songs in the American gospel tradition, also with virtually no accompaniment. Bracket 4 was Mascagni and Vaughan Williams. The recurrent theme was Easter, with two Te Deums (Britten to start the program and Vaughan Williams to end it).

It was not something I feel competent to comment much on. I noticed a good swing feel in the third bracket, which surprised me, but these are modern people so have inherited a feel for swing. I felt even 100 voices or thereabouts only just filled Llewellyn Hall, but it’s a big space. I liked the new electric organ that sounded big and true. I loved Karen Fitz-Gibbon’s solo soprano voice, which soared with incredible clarity and beauty, even if it got lost just once or twice. She’s an honours student at ANUSM, and looks like she has a future. And the music, although largely unknown to me, was a fascinating mix of eras and styles, and worthily presented by a surprisingly capable choir. Just another unexpected wonder of this little town, and not the only choir of note.

The Canberra Choral Society performed at Llewellyn Hall with Peter Pocock and Tobias Cole conducting and with Karen Fitz-Gibbon (soprano) and Peter Young (organ).