Lamentations 2

We are deep into the Holy Week music program at Wesley.  I've missed several concerts with conflicts and the Porpora Lamentations cover two sessions, Wed and Thurs, and I can only get to Thursday.  Alan covers the recording activity for me with my gear and I process the two sessions in one.  Its an exciting outing given this performance of Lamentations by Nicola Porpora (1988-1768) is thought to be the Australian Premiere.  Wed is sung by Greta Claringbould and Thurs by Maartje Sevenster, a powerful pair of local singers, soprano and alto.  Accompaniment is Ariana Odermatt on virginal and Rachel Walker on viola da gamba.  Wesley stalwarts and strong players all.  Holy Wednesday's lament is 1:10-14 The enemy laid hands on all her treasures followed by a short viola da gamba instrumental Recercada ottava sobre tenores Italianos by Diego Ortiz.  Maundy Thursday's lament is 2:12-15  They said to their mothers, "Where is bread and wine" followed by The Carman's whistle by William Byrd performed on virginal.   The Wednesday session "depicts the deep humiliation and physical suffering of Jerusalem following its destruction by the Babylonians in the summer of 586BC[E]".  The Thursday lamentation describes "describes the city as a 'scorn and a hissing' to the nations.  Jesus is famously 'the man of sorrows' who wept over Jerusalem."  The themes may be distant as I try to recall details of Holy Week from school days, but the music is delicate and full of dread and disappointment.  And maybe an Australian first.

Greta Claringbould (soprano), Maartje Sevenster (alto), Ariana Odermatt (virginal) and Rachel Walker (viola da gamba) performed Porpora lamentations at Wesley on Holy Wednesday and Maundy Thursday.  The pic is from Maundy Thursday with Maartje Sevenster singing.  And thanks to Alan Hinde for tracking the Wednesday performance.  

Contemplating the body

These days of modernity and medicines we protected from so much, but Easter remains a brutal story from ancient/mediaeval history.  I felt this with a jazz gig on Good Friday evening but primarily with a concert for Holy Week at Wesley in the afternoon.  The music was Buxtehude Membra Jesu Nostri, a great powerful work of early baroque (I guess) with five voices and accompaniment with a theme of Christ on the Cross expressed in 7 short movements totalling ~60 minutes: ad pedes; ad manus; ad genua; ad latus; ad pectus; ad cor; ad faciem.  That is, an immersion in the horrors of crucifixion, specifically this one: contemplations on the feet, knees, hands, sides, breast, heart and face.  Not at all modern, but powerful, not least in Latin.  Each movement started and ended with a SSATB "concerto" then arias by various individual voices or parts.  Accompaniment was mainly violin, viola, cello, harpsichord, but for some time, adding organ and viola da gamba 1,2.  All period instruments.  And this was a stunning experience, so well sung by several of our local luminaries, and similarly accompanied.  Just a work of power and beauty seldom experienced.  Stunning.

Buxtehude Membra Jesu nostri was performed at Wesley Church on Good Friday.  Performers were Greta Claringbould and Jade McFaul (sopranos), Maartje Sevenster (alto), Dan Walker (tenor), Andrew Fysh (bass), John Ma (violin), Lauren Davis (viola), Clara Teniswood (cello), Rachel Walker and Caroline Downer (violas da gamba), Marie Searles (harpsichord) and Ariana Odermatt (organ).

Sweep of history

I associate the recorder with mediaeval, pre-baroque music and small chamber playing and there was definitely some of that when Robyn Mellor played her sweep-of-history at Wesley.  The earliest was Giovanni Bassano from 1685 and then Frescobaldi and Jacob van Eyck (blind from birth so not doubling as a painter) and she still hadn't got to 1700s.  That's early music.  But then a jump to mid-C18th with de Boismortier and Couperin and JS Bach.  The Bach was written for the transverse flute, which is essentially what we have now, although it would have been a wooden flute in those days, I guess.  But the final two numbers were the surprises.  First some jazz (?) played on a modern square-tubed marine play bass flute, Pete Rose I'd rather be in Philadelphia.  Not modern jazz so much as bluesy-traddie but with rhythmic plays and unexpected vocalisations.  Nice one.  Then Australia represented by Ross Edwards Ulpirra and using an Australian-made descant by a female instrument maker in Australian timber.  So the recorder continues to evolve.  Robyn mostly played solo, but were variously accompanied by Arianna O and Rachel W on harpsichord and viola da gamba.  Both of that pre-piano era and deliciously sweetly toned if a cad to tune.  An unexpected but informative trip through recorder history from one of our local masters.

Robyn Mellor (recorders) performed a history of the recorder with accompaniment by Ariana Odermatt (harpsichord) and Rachel Walker (viola da gamba) at Wesley.

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).

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).

Incongruities

It's incongruous that I'm in Albert Hall hearing music of the renaissance. Polifemy is singing. Polifemy is a female choir, thus -fem-, I guess. They are supported for some tunes by Walking the Dog. WtD is another incongruity and a big one. It's a recorder ensemble. I've just read a book about Umbria where I lived for a few months many years back. This music seems perfect for stone cathedrals and Perugino madonnas and big echoey spaces. (Did you know the Virgin's wedding ring is in the Duomo at Perugia? It's displayed one day per year, 31 July, and I read about it, sitting on the steps of the Duomo, on 1 August many years back. It's an unlikely goal.) This day is sunny, we are in the new world, in Australia. I feel it doesn't quite fit, but closing my eyes, I'm transported. These are pure voices, in three parts. They sing with the faith and the love of nature of the cinquecento. The program speaks of Gastoldi and joyful celebrations of love and spring and singing and dancing; of Festo and passionate and erotic feelings of unrequited and unattainable love (I won't say for whom, so close to Easter). Also William Byrd and Janequin and madrigals. The space suited the choir, but I felt especially the low tones. The Paetzold bass and contrabass recorders raise all manner of interest, all square and modern and boxy, but also they sound a dream! This is a tone of a harmonium or organ, pure, sweet and rounded, and strong and prominent amongst the smaller, plastic recorders with different bores. I've seen these wooden recorders before but not noticed how pure is their tone. Lovely. Same with the lower (alto) voices in the choir, these also were prominent. The lower tones had presence in this place. These were mostly women: the choir was all women; the recorders were mostly women. I thought of cloistered choirs form 500 years ago. Were they women? Presumably, there were women's choirs, but I imagine males also sang in high register, as I've heard with local period choirs. Whatever, it was quite beautiful and it had parts with range; so an alto felt like a low line. The singing was mostly 3 parts, sometimes accompanied by the recorder ensemble and, for a few tunes, by a single viola da gamba. Some music was obviously canonical, repeating lines through different voices or instrumental pitches. The recorders sounded of a lost era, innocent and honest tone, simple counterpoint. The voices spoke of belief and faith, something that is not the modern. This is music of another era and we are blest to hear it but only touching an understanding. Perhaps it's a function of my recent readings, but this was a surprisingly enlightening visit to another world that we might know of but of which we are unlikely to know. Sunny Canberra, our unassuming Albert Hall, provided a touch of the renaissance today and it was enlightening.

Polifemy performed with Walking the Dog. Polifemy comprise Susan Antcliff, Hanna-Mari Latham, Liz McKenzie, Robyn Mellow (director), Joan Milner (tenor viol as well as voice), Carolyn Savage and Rachel Walker. Walking the Dog comprise Olivia Gossip, Nick Horn, Robyn Mellor (director), Ann Neville, Chris Short and Anna Weatherly.

Ye olde Aussie bush

It’s quite strange to go to the Australian bush with gums appearing through the window to hear early music. Bush Baroque is an early music quartet, all viols and little organs and harpsichords and recorders. This concert was a charity performance in the music room of the home of the two leaders, Richard and Joan Milner. It’s literally a drive past the dam wall and through the eucalypts and take care for kangaroos. Nothing like the world of Guerrera and Byrd and Buxtehude and Telemann. Or of Godfrey Finger (that’s a new composer for me) or Bach, although they did perform a few songs by David Yardley, our extant local with a mediaeval musical bent. It seems strange, but the tunes I recognised, other than Well Tempered Clavier, were by David. So, it’s all a perplexing disjunction of era and geography, but beautiful music none-the-less.

The performers changed liberally for different tunes. Bush Baroque comprises Richard Milner, Joan Milner, Sylvia Shanahan and Rachel Walker, playing variously keyboards, recorders and viols. On the day they welcomed Emma Griffiths (soprano) for the songs and Owen Bingham for an additional bass viol. A trio started with a prelude from Bach’s Well Tempered Clavier and a sonata from Bellinzani, played on recorders and organ. Then Emma Griffiths with three viols for two motets by Guerrero, and four viols for fantasies by Coprario and Byrd and then Emma again with two viols for two songs from David Yardley. These may be recent (they are original lyrics put to modern music in mediaeval style by David Yardley) but they are memorable and true to form. Then the second half of a Buxtehude cantata from Emma with organ and two viols, a Finger sonata on harpsichord and two recorders and a Telemann cantata sung by Emma with harpsichord and two recorders. It’s beautiful music with passages passing canonically and courtly, witty, often pious presence and the olde tones of small organ and harpsichord and recorder and the frequent sound of tuning viols. I imagine stone halls or cathedrals, or perhaps rousing drinkers although not so much in this program. All strange for the circumstances of a house in the Aussie bush, but at least to finish, with a raffle for CDs and local wines on the deck, it felt right. But then, Canberra is a wonderful place of diverse interests and it is the bush capital, so what’s out of place? An afternoon of mediaeval viols and heavenly, embellished soprano is a thing of beauty and pleasure. Baroque in the bush is another satisfying and surprising local discovery.

Bush Baroque is Richard Milner (viols, recorders), Joan Milner (organ, harpsichord, viols), Sylvia Shanahan (recorders) and Rachel Walker (bass viol). They were joined at this concert by Emma Griffiths (soprano) and Owen Bingham (bass viol). They performed music by JS Bach, Bellinzani, Guererro, Coprario, Byrd, Yardley, Buxtehude, Finger and Telemann.