Discovering Schubert

Despite their reputation, I hadn't warmed to Schubert's songs before but this was different. Australian Haydn Ensemble came to town with guest singer David Greco. The ensemble was restructured at the short notice after a death in the family meant leader and first violinist Skye couldn't make it. Simone moved from second to first violin and Rafael sat in on second. Otherwise the team was James and James and Jacqueline. The program also changed with mostly alternating Schubert songs and miniature string quartets from The Four Seasons by Felicien David. FD was also new to me but generally much more light and joyous than the Schubert. The whole was presented as a single set with no interval and with discussions and translations of Schubert's songs ad backgrounds by David. Delightfully and unexpectedly, the concert went off with no applause until the end. This was a pleasure. I've come to dislike clapping for jazz solos and the response here was blissfully uninterrupted. It may leave the performers a little lost between tunes but it carries the flow of music purposefully. The playing was neat and involved as always. Jacqueline was solidly tested in a later song, the famed Der Erlkonig, but her presence was rich and full throughout. So were the others. I wondered about balance at one time as passages passed between strings, but it's relatively trivial, and the commitment, especially from Simone, was captivating. David's interpretations were stunners, with big, rich voice, clear enunciation (although given that it's German, I didn't catch much anyway) and emotive, even dramatic, presentation. His tonal formation was to die for. My choir does nothing of the sort: I'd love to hear the choirs he's appointed to, given this sample (Westminster Abbey and Sistine Chapel, no less!). It was a short program given the last-minute changes but deeply satisfying so the repertoire change was no disappointment and it taught me the impressiveness of this Schubert song repertoire. So, it went well. Our condolences to Skye.

David Greco (baritone) sang with the Australian Haydn Ensemble at ANU University House. Tonight AHE comprised Simone Slattery and Rafael Font (violins), James Eccles (viola), James Bush (cello) and Jacqueline Dossor (bass).

Salut chooks

Salut! Baroque had me thinking of a few things at their concert last night at Albert Hall. Firstly, about the history of music. This is music played with informed authenticity in the period tradition, all harpsichords and recorders and baroque instruments. They must have been an early incarnation of this practice in Australia. S!B are in their 22nd year. But what gets me is the olde sound against the dates of the composers: several were extant in the 1600s and one in the 1500s, but a good few only died in 1770 or thereabouts. JS Bach died before this, but he's somewhere in this ballpark for music and Mozart's short life was around this time, but Beethoven was born in 1770 and he's worlds away. For this, I read that various conceptions of music existed contemporaneously and change can be quick. It may not have looked like that at the time. Thinking of today, there's something pretty similar, with all manner of musics being played and even written. So it is in all art, I guess. The other thing I notice is the bowing and the approach to bass, but that's about me and my learning. But this was such a lovely concert, changing through varied combinations of players and associated sounds. The strings sounding fairly modern, the harpsichord spelling the gentler sounds of that era, the recorders sounding earlier again, but they all took similar roles at various times, with melodies passing to baroque cello or the three recorders taking melody and counterpoint roles, perhaps balancing against the strings. There was just one piece with three recorders alone, otherwise several with strings and harpsichord and with various combinations of recorders. And one with harpsichord and a conversing pair of violins. I noticed one violinist with a jazz in his background (jazz in not totally forgotten here!). Rachael Beesley was leading on violin and she was a great pleasure, committed, expressive, leading. I enjoyed the informal presence of Monika Kornel on harpsichord who would twist from the stool to be able to follow Rachael's or others' leads. Such a great little concert, close and intimate, fairly quiet but expressive and even musically humourous in the last piece with the final movement Pour la caille (=For the chook). For the chook seems a strange name for a movement after the allegros and prestos and adagios of most of the other pieces, but the recorders' squawks or clucks fitted the title. A lovely and entertaining period concert that passed so easily. BTW, the theme was how we know about musical performance in this period - partly through the treatises by various of the composers, Quantz, Avison and others.

Salut! Baroque performed Avison, Corrette, Quantz, Ortiz, Biber, Geminiani, Mattheson, Rameau and Fux at Albert Hall. Performers were Sally Melhuish, Hans-Dieter Michatz and Alicia Crossley (recorders), Rachael Beesley, Rafael Font, David Rabinovici and Meg Cohen (baroque violins), Valmai Coggins (baroque viola), Tim Blomfield (baroque cello) and Monika Kornel (harpsichord).

Concertone

Salut! Baroque's latest concert was called the Virtuosic and Innovative Concerto. From the richly informative essay in the program and also from the five (5!) concerti they performed, it was obvious that the concept and form and size of the concerto has varied over time. These were concerti from the early days when increasing musical virtuosity led to the featuring of a section against another or a few instruments in context of the tutti. The composers were CPE Bach, Telemann, Corelli, Geminiani and Vivaldi. Perhaps two (CPE Bach and Telemann) had obvious front line soloists featured somewhat like a modern concerto does. The CPE Bach featured a baroque flute; the Telemann featured two violins. These are early instruments and not always so loud - I noticed that especially with the flute - so a solo instrument is not so easy to carry off. But this was an intimate performance, as performances presumably would have been, in court, and it worked nicely. Even then the harpsichord was a struggle and the pair of recorders were not too prominent. But such lovely playing and sweet tonalities. I was particularly taken by Matthew Greco's control and tone, as well as Anita Gluyas on baroque cello. He had the lion's share of leading the performers; she had the most prominent and consistent bass-like role. They were both confident and virtuoisic. I enjoyed some momentary smiles from Anita after some particularly challenging passages. She had a veritable workout in the Geminiani, then so did fellow bassist, Tim Blomfield on bass violin (apparently tuned one tone down from the baroque cello for better access to flat keys) on Vivaldi Concerto per l'Orchestra di Dresda. We all know the final movement to this one: it's a killer with rolling tutti semiquavers seemingly endless. It must feel that way when you're playing it. But cheers to all. This was a delightful and beautifully played, intimate concert from our quarterly visitors to Albert Hall.

Salut! Baroque performed at the Albert Hall. S!B comprise Sally Melhuish and Hans-Dieter Michatz (recorders), Mikaela Oberg (baroque flute), Matthew Greco, Rafael Font, Meg Cohen and Anthony Donovan (baroque violins), Valmai Coggins (baroque viola), Anita Gluyas (baroque cello), Tim Blomfield (bass violin) and Monika Kornel (harpsichord).