Berlin calls home

This was something special.  It's not every Wednesday we have a Canberran returning for a visit from Berlin where she's been playing for 10 years in various European chamber groups, and improv collectives.  But accompanied by the cream of Canberra's players, CSO and the like, just added to it.  Alexina Hawkins played a lovely, period Carl Stamitz followed by a 20th century contrast in a Bartok viola concerto.  Then an added string quartet playing Haydn.  That wasn't on the menu/program but was a lovely thing.  These were not full works but movements, given available time, and at least the first two played by Xina from memory,  With glorious, woody tone and lithe, always expressive interpretation.  Edward Neeman provided accompaniment for the Stamitz and Bartok and was exemplary.  Just recently I've noticed how much more you take in up close, after a string of masters at close quarters.  This too was enlivening and enlightening.  Then a lovely unexpected, unprogrammed  Haydn string quartet to offer an opportunity to play again with old Canberra mates.  I knew the Stamitz so enjoyed that with great intimacy, anticipating every note.  The Bartok was new, twisted and mangled and indicatively C20th strife-filled; Xina suggested industrial or even romantic/poetic, presumably in response.  And the Haydn was just lovely, of course.  So a memorable and special Wednesday lunchtime concert flown in from Berlin.

Alexina Hawkins (viola) performed Carl Stamitz and Bela Bartok with Edward Neeman (piano) and Haydn with Douglas McNichol and Pip Thompson (violin) and Samuel Payne (cello) at Wesley.

Voices

I reckon that voice is the most intimate and natural thus most significant instrument there is, so it's no surprise that I love a choir.  But this concert was beyond the pale.  I was stunned, touched, by Oriana Chorale singing with the Phoenix Collective (string quartet) and pianist Jem Harding under Dan Walker.  Maybe partly because it was intimate in a smallish space, us being in the effective front row at the Larry Sitsky Room, or because of the programming which was diverse and interesting but also consistsent,, from Depeche Mode and Sigur Ros to Elgar and Rach and trad, or because of the number of performers, somewhere around 45.   Not just because the singing was exemplary as was the accompaniment.  This was also the second performance of the night, and I always love a repeat performance.  They sit so much better.  I find it hard to identify a fave piece.  The pop songs by Depeche Mode and Sigur Ros were all suitable for this format and interestingly complex pop tunes with a touch of minimalist electronica interpreted by strings and piano.  A pair of pieces by Ola Gjiela, Dark/Luminous night of the soul, were gloriously hopeful.  Ella Macens Look up: The sky is glowing was long and satisfying and as all the rest deserved hearing the lyrics (which I didn't manage) and Rachmaninov Hail Gladdening Light from Vespers was classic glorious religious music.  Phoenix did a string quartet Scandi-folk number called Waltz after Lasse in Lyby and perhaps the most complex, most intense of all was Lux Aeterna from Nimrod Variations by Elgar as an unaccompanied vocal piece, presumably with multi parts beyond SATB.  This seemed the hardest of the night and the most uncomfy for Oriana.  So what.  I blissed out on the parts, the soaring sopranos and the clear harmonies in Elgar and throughout the night and the intimate accompaniment that came with little preparation as Oriana had only sung with the Phoenix that morning, but that's the way with such professionalism.  It just works like that and it did work a treat.  Beyond a treat, it worked an emotional tsunami.   One to treasure in memory.

Oriana Chorale performed under Dan Walker (director) with Phoenix Collective (string quartet) and Jem Harding (piano) in the Larry Sitsky Room at ANUSOM.  The Phoenix Collective comprise Dan Russell (violin 1), Pip Thompson (violin 2), Ella Brinch (viola) and Andrew Wilson (cello).

Pleasurable annoyances

Super Rats has been around a while but this was my first hearing.  They are an impressive and energetic group playing music that I somewhat recognise but don't know.  But it's busy and driving and oddly timed and foreign in many ways.  In language, of course, but also in approach.  And instrumentation, given the core instrument is a cimbalom.  Cimbalom?  A form of hammered dulcimer developed in the Balkans.  Tim gave me a little introduction to the 145-stringed instrument, its techniques and structure.  I got lost after the chromatic bass strings.  The SR site claims Ottoman court music, Balkan peasant folk, Roma (gypsy) music along with a touch of tango and jazz.  My impression was lots of two-feels, jumpy and danceable, entertaining and driving, the sharp and jangly paired notes of the cimbalom at the centre of it all, with a nicely damped, thumpy bass and an accordion that took its share of solos and Pip's blistering violin.  Our group heard some similarity to bluegrass or US folk, but probably the similarity was from Eur to US.  I admired some tricky repeating bass lines and demanding counts generally throughout the group.  There was a readiness to play ostinato behind solos and a resultant drive and thrill.  And some Romanian vocals that were interpreted to much delight.  Not without reason that this band takes its name from a Romanian word meaning annoyed ones.  Not that they were annoyed or annoying, but they to performed it with panache.  Tim was cimbalom, vocals and the core of the band, having studied at the source for some time so this was both authentic and playfully Aussie-local.  And the band he gathered is capable in its own fields (jazz, classical) and eminently satisfying in this.  What a great local treasure: an authentic, modern take on Balkan music.  Saves a trip to Bucharest in these locked-down times.

Super Rats played all shades of Romanian music at Band Bang Cafe.  SR are Tim Meyen (cimbalom), Alister Price (accordion), Pip Thompson (violin) and Simon Milman (double bass).

Doing pretty well here

This was Canberra Strings at Wesley and they were playing Mendelssohn String Quartet no.2 Amin. Barbara introduced it and it was descriptive. She talked of the influence of Beethoven, the similarity to an earlier song by Mendelssohn seemingly written for an amour, the fugue in the second movement and how it's introduced by viola leading to violin 2 and how it's inverted and how it intensifies as repeating instrumental lines gradually arrive after fewer bars. All interesting. Otherwise, the work took the whole concert and it was a pleasure. Four movements; lovely interplays and great playing all around; varied tempos and passions, but eminently confortable. It's great return to Canberra with stuff like this. Before the concert, hearing of my listens overseas, said "we do pretty well here" and it's true. We do and this was one example. A pleasure.

Canberra Strings comprises Barbara Jane Gilby and Pip Thompson (violins), Lucy Carrigy-Ryan (viola) and Samuel Payne (cello). They played Mendelssohn at Wesley.

Them changes

The program had to change close to the event for unpredictable reasons but these are professionals and the replacement was great. From Transfiguration to Quintessence. The replacement may not have been quite so adventurous (Schoenberg + Richard Strauss > Mozart + Mozart), but it was lovely music and it was beautifully played. The group was Canberra Strings led by BJ Gilby with members of the Canberra Symphony Orchestra in the High Court foyer and the music was Mozart. So worthy and immensely attractive. First up was the String quintet Gmin, then a swap of players for the Clarinet quintet Amaj. Barbara introduced it with short hints on the various movements: Allegro; Minuet/trio with 3 dissonant chords to listen for; slow with muted strings (other than cello); the final in Gmaj and "quite jolly". The Clarinet quintet was written by Mozart for a friend and was perhaps the first work for this combination. Movements: fast; slow; minuet and two trios (MTMT); slow to upbeat. That one was particularly recognisable in through various movements. I imagine it's an absolute standard of the clarinet repertoire. I missed taking notice of the dissonant chords, but for my jazz ears they may seem fairly tame. I did notice the firm and satisfying cello tone and especially its prominence when the other strings were muted. I loved the clarinet in its attractive lines. To my ears, it was particularly suited to this space, perhaps because it was quite loud and the echo/reverb was significant and enhancing. But a lovely and formidably performed concert in the resonant space of the High Court. Much enjoyed.

Canberra Strings performed in the High Court Foyer. CS comprised BJ Gilby (violin, leader), Pip Thompson (violin), Jack Chenoweth and Lucy Carrigy-Ryan (viola), Samuel Payne (cello) and Eloise Fisher (clarinet).

This is CJBlog post no. 2,100

4>8

The Mendelssohn is a classic of the form and the Spohr is a prelude to it. These are two pieces for 8 string players. Spohr's was written at age 40 when he was well respected; Mendelssohn's when he was just 16. Spohr's is a double quartet, inventive but essentially two string quartets playing together. Mendelssohn's is more a work for 8 players playing together, soaring, lyrical, intricate, as the program says, with exuberant joy. Famous enough that you're expected to remember the first time you heard it. I remember, at least, hearing this group do it some time back at Tuggeranong Arts Centre. The group is a relatively new one, eight strings, professional players from the Canberra Symphony Orchestra, led by BJ Gilby, with various faces mostly from front desks. Impressive. And well presented. Quiet and effective entries and bows. Barbara likes that: you have to be the musician people expect, confident in performance. Her style shows in a presence that's engaging. This was another in the High Court foyer, so a large audience, well versed, frequent attendees, listening with that reverberence of concrete and marble. And the black against the bright, sun-lit, tree-blown windows. Professional, serious but relieved, well punctuated music; phrases and scales dropped from strings like honey; busy and intricate in the passing of passages through the members. I found it fascinating to follow some of these passages, starting with one cello then to the other, through violas to violins and a final exhuberant embellishments on the first violin. Wonderful music in a wonderful space with wonderful local musos. Much enjoyed

Canberra Strings comprised Barbara Jane Gilby, Doreen Cumming, Pip Thompson and Isobel Ferrier (violins), Jack Chenoweth and Lucy Carrigy-Ryan (viola) and Matisha Panagoda and Julia Janiszewski (cello).

A blessed Easter 1

This is a blessed Easter in Canberra: we can hear both Bach Passions. The first was a grand affair, St Matthew Passion at St Christopher's at Manuka with 31 musicians in two orchestras and ~140 singers from two choirs. The musicians were from Canberra Symphony Orchestra and the like with BJ Gilby and Pip Thompson as the two orchestra leaders. The choirs were Canberra Choral Society and Australis Voices (one of the Woden Valley Youth Choir family). The whole was conducted by Andrew Koll of local Canberra Bach Ensemble fame with solo vocalists Robert Macfarlane, Jeremy Tatchell, Greta Claringbould, Maartje Sevenster, Christopher Roach and Andrew Fysh and a series of choir members playing smaller parts (identified when in character with a coloured scarf). St Matthew's is big regardless, but this was unabridged, totalling 78 movements, variously chorales or recitative or aria, in two parts with an interval. 3.5 hours in the original German. There was a script and translation projected but it wasn't always easy to read. Impressive and demanding, even for audience. But the time went. I loved the returning choruses, the voices were sometimes startling, always reverent, relevant. The Evangelist holds it together by telling the story, but what a job. Robert McFarlane was hugely impressive in this role. It's a story we know well enough, although spread over 3 hours there were features and references that I didn't know so well, so educational too. Other than the basses on stools or Pip or Barbara who occasionally stood, or a peak at the solo Viola da gamba down the aisle, I could see little. But then I mostly watch the bassists anyway. They were Kyle Daniel and Isabella Brown, both of CSO. Mostly it was delicious Bach contrapuntal fare but just once I was aghast, well into the first part with reference to Hell. It was bass hell: a very long fretful passage of semiquavers. But they pulled it off. Otherwise, I noticed how cleverly Bach expressed the plot or theme of a chorus in his writing. Somewhere in the second part I realised how effective it was then I heard it ongoing. And that haunting chorus that recurs, sung by both choirs (is it Wir setzen uns mit Tranen nieder or part thereof?) that just has your skin squirming with its simple beauteous melody and deep intimacy. Just a stunner. A fabulously successful outing for this work of great genius. Congratulations to all. Now for Bach's other survived passion on Good Friday...

JS Bach St Matthew Passion was performed at St Christopher's Manuka Canberra Choral Society and Australis Voices, two orchestras led by Pip Thompson and BJ Gilby with solo voices Robert Macfarlane (Evangelist), Jeremy Tatchell (Jesus), Greta Claringbould (soprano), Maartje Sevenster (alto), Christopher Roach (tenor) and Andrew Fysh (bass) under Andrew Koll (conductor).

Laying claim

It was a big claim to make (and presumably a playful throw-away) that this was "one of the most beautiful pieces ever written" but it was lovely and the playing was easily up to it. This was a group led by BJ Gilby performing Brahms Clarinet Quintet Bmin Op.115 at Wesley. I left with Pip and she said playing chamber music with friends was the best way to spend an afternoon. I could understand that whether the music is best ever or not. But how nice was this? The gentle interplay of a string quartet with the oddly insistent and unrelenting tone of the clarinet. I hear clarinets often enough but here it was frequent and prominent and that tone was so diverse from the strings: sustained but fatter, rounder, touching on mediaeval I thought. And the playing was lovely, not unexpectedly. Relaxed and easy but done with awareness and care. Barbara is leading us in MdC at the moment and I'm seeing her approach to preparing a group: slowly, highlighting surroundings and other players and understanding how the lines fit together, interweave, respond to each other. Not at all bull-at-gate, take it from the top. The performance was like this. Clear in intent, spacious and ready for changing lines and leads. So, if it was the most beautiful music eva, maybe so, but I just sunk into the pleasure of an afternoon of melody and interplay done with thought and awareness. That's my greatest ever.

Eloise Fisher (clarinet), Barbara Jane Gilby and Pip Thompson (violins), Lucy Carrigy-Ryan (viola) and Samuel Payne (cello) performed Brahms at Wesley.

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)

Indulgence

Barbara Jane Gilby introduced the Mozart by saying we should ignore the images and pre-conceptions of Mozart, formed by film, TV and the rest, and listen to his music. That's how we'll best know him. They were about to play Mozart String Quartet no.4 Gmin K.516. It was written late in his life. Things weren't going well and his mood was sombre. Barbara's notes observe that the introduction to the fourth and final movement summarises his melancholy, but that the listener is finally sent away in a happy frame of mind. Also to note was Mozart's contrariness, so this work was written in five voices as in the Baroque, despite most German writing of the time being in 4 voices. Whatever, this was a strong concert out of the CSO and some younger performers, not least Sarah, just 15 , in her first performances on her second instrument. And mozart is always so pleasurable that you can sink into his comforting melodies and just indulge and so I did.

The Canberra Strings Ensemble performed Mozart String Quintet in Gmin K.516 at Wesley. Performers were Barbara Jane Gilby and Pip Thompson (violins), Lucy Carrigy-Ryan and Sarah Zhu (violas) and Samuel Payne (cello).

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).

Antipodes

Barbara Jane Gilby noted one of her sayings "No practice is ever wasted". She was introducing the Canberra Strings, a new string quartet formed to visit New Zealand as musical ambassadors. Another earthquake intervened and the tour was called off at the last minute, but at Wesley we got to hear a program of modern Australian music prepared for this tour. The music was from 1912-2002. The composers were Alfred Hill, Peter Sculthorpe and Graeme Koehne. The music was widely varied. I also enjoyed hearing these players, who I've heard mostly in the context of a symphony orchestra, so a big group, in the intimate setting of a string quartet. Each individual with his/her own independent role and leading statement, but all merged into a compositional unity. And each with a clear voice, emerged from the melded symphonic tone. The Alfred Hill was from the Carnival, so light and pleasurable. The Sculthorpe was anything but. His String quartet no.6 was dedicated to Bonny Drysdale, a friend recently deceased. It is sombre, with movements marked Lento molto, Lento and Lento. There was some intriguing harmonic colour here, painful statements from the various strings, some rhythmic interest, but heavy going. I enjoyed the Koehne most, Whirling dance, from his String quartet no.2 Shaker Dances, all odd times and mingling tempos and simple joys. You could feel the interest and raw newness of this group with music that seemed still new and developing and this was part of the excitement. They formed in October at the request of government, so this is a business proposition amongst the artistic purposes, but no loss there (much music is and has to be). I enjoyed this immensely and look forward to future outings, for the players and the localness and the interesting music they unearthed, but also for the exposed musicality of the string quartet format.

The Canberra Strings are Barbara Jane Gilby (violin), Pip Thompson (violin), Lucy Carrigy-Ryan (viola) and Alex Voorhoeve (cello). They performed at Wesley.

Chamber one

Chamber music is exposed and in the respect quite unlike orchestral music so I was a bit wary leading up to my first chamber concert with the NCO Octet. We were performing with a string of other groups at a memorial concert for Dr Philip Toua to fundraise for Clare Holland House at the City Uniting Church. But the room was glowingly light with concealed windows, nicely live with a reflecting sloped ceiling, the audience was inviting and the list of performers was intriguing and varied, so I enjoyed this. I learnt that English and Tongan congregations meet at this church, and the family was of Tongan descent, and this was an added interest. The performers included three Pacific island choirs: Peroveta Singers of PNG, the Tongan Youth Choir and the West Papuan Students of Canberra. All had a fascinating power of voice and at their best, inviting harmonies. Robert Schmidli turned up to play Bach's Chromatic Fantasy and fugue in D minor. Great work and nice playing. Canberra Choral Society presented three songs; very smooth and professional. Pip Thompson and Douglas Mcdougal of the CSO explored some repertoire for two violins, a few jazz tunes, but most significantly a Sonata (Op.3 no.6 D maj) by Jean Marie Leclair, after setting the scene with a bottled life history (a fascinating and sad story). As they volunteered, three of six of the Lord Byron 5 performed a few of Byron's poems as folk rock tunes sporting the best costumes of the day. Our group, NCO Octet, performed two movements of Schubert's Octet for Strings Fmaj with rather lesser costumes (all black). That went well enough. I enjoyed it immensely despite the exposure. Thanks to Geetha and family who organised the event and my band. A first exposure!

The Philip Toua Memorial Concert featured the Peroveta Singers of PNG, the Tongan Youth Choir the West Papuan Students of Canberra, Robert Schmidli, Canberra Choral Society, Pip Thompson and Douglas Mcdougal, Lord Byron 5 and the NCO Octet. The NCO Octet comprised Airlie Andrew (bassoon), Anne-Marie Siiteri (French horn), Jane Russell-Jones (clarinet), Eliana Suyin and Sanchia Toua (violins), Bethan McDonald (viola), Evelyn Andrew (cello) and Eric Pozza (bass).

Chalk & cheese

BJ Gilby had a busy week: CSO on Wednesday and Thursday; practising with NCO on Friday then performing on Sat; finally performing again on Sunday. Maybe others had it so busy and maybe that's the life of a professional muso, but I understood the busyness of that program. Music like this takes preparation, it's not just a matter of turning up to the job on the day. Only Barbara knows the other work put in behind the scenes, to learn parts and to rehearse various groups. I just know because I attended four of these events: CSO Thurs; NCO practice Friday; NCO performance Saturday; Romance & Revolution Sunday. R&R was one of a series of concerts in the theatre at the Tuggeranong Arts Centre. This concert was two groups playing two works: Shostakovich Piano trio E minor Op.67 then Mendelssohn String octet Eb major Op.20. Chalk and cheese, really. The first was heavy, post-war, influenced by loss and tragedy; the second was lively, the work of a 16-year old (!), joyous, busy, alive with hopes for the future. It's not surprising that the first was played by young performers: Aaron Chew, Helena Popovic and Olivia Thorne; youth often takes on the big thorny issues. The second was performed by the seasoned professionals. It's sometimes thought that older generations have seen and digested loss and survive notwithstanding. Whatever, the older group played the lighter music, busy and complex as it was. I much enjoyed the 1944 Shostakovich for its Jewish folk themes and frenzied dances. This was a modern piece that came alive to me with this rendition, just three parts, clear and well spoken. The Mendelssohn presented as two string quartets arrayed side to side but this was far more complex than shared parts from mirrored quartets. There were lines that passed throughout, harmonies shared and played with, at one stage an endless line played in harmony throughout. This was youthful, joyous, energetic and the octet played it with charm and understanding. So this was two halves of an unmatched orange, but fascinating for that very thing. Great playing throughout, intimate and close (we were in the front row), diverse and inventive. Great little concert.

Romance & Revoluation was staged at the Tuggeranong Arts Centre. Aaron Chew (piano), Helena Popovic (violin) and Olivia Thorne (cello) performed Shostakovich. Barbara Jane GIlby (violin, leader), Pip Thompson, Jack Chenoweth and Isobel Ferrier (violins), Caroline Suthers and Lucy Carrigy-Ryan (violas) and Patrick Suthers and Matisha Panagoda (cellos) performed Mendelssohn.

Knowing the Bible better

I knew of Elijah but not his story. Douglas McNicol was Elijah in the Mendelssohn Oratorio with the Llewellyn Choir and Sinfonia under Rowan Harvey-Martin. The other soloists were Rebecca Collins and Christina Wilson and Michael Martin and Charlie Barnes. So, mainly a local affair with numerous recognised faces, but with import DMcN who went through Elder Con with a friend so I knew of Elijah. I didn't know Elijah's story and didn't know Mendelssohn's setting except a few choral pieces that I've sung: He that shall endure to the end and O come everyone that thirsteth. Both are memorable themes that had me lift my ears. We enjoy much music through recognition. If I didn't know it, certainly DMcN did: he carried music under his arm but I didn't notice him reading it and he was the busiest amongst all the singers. Elijah was baritone, supported by tenor, soprano, mezzo-soprano, and, for just a few lines, boy treble. This was a noble and impressive effort and not one for wusses. The program was three hours including the interval. I pondered the style at one stage. It's obviously not baroque, but the bass style is ordered and scalar like baroque and the singing style also neat and even. The big choral sections were a pleasure as these always are, with ~100 singers giving voice. I enjoyed watching RH-M, too, involved and guiding. A big performance of a Biblical story with much satisfaction that deserved a better-informed listener.

Mendelssohn Elijah was performed by the Llewellyn Choir and Sinfonia under Rowan Harvey-Martin (conductor) with Pip Thompson (concertmaster), Anthony Smith (repetiteur) and soloists Douglas McNicol (baritone), Rebecca Collins (soprano), Christina Wilson (mezzo-soprano), Michael Martin (tenor) and Charlie Barnes (treble).

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).