Radiant performance

We expected a rush but NCO finished early enough and we relaxed.  Nice, because the next outing was something particularly special.  Guitarist Harley Coleman was staying with us while rehearsing and touring with Luminescence Chamber Singers.  Now, these are a seriously professional group; what they do is worthy of your time.  They had played Andrew Ford Red Dirt Hymns at CIMF and they were touring it through NSW.  We got to see it at The B in Qbn. Luminescence were 6 singers (3 female voices, 3 male) with instrumental accompaniment from Harley on guitar and Freya Schack-Arnott on cello.  Later, a combined children's choir joined for some hymns.  Andrew Ford had written the music, bass line, chords and melody, from the little I've seen.  Roland Peelman worked with the performers to develop presentation and wonderfully rich harmonies while leaving space for improv from the musos.  Roland also conducted the children's choirs on the day.  Andrew Ford was there highlighting the exceptional work on the hymns done by Luminescence.  Suffice to say it was work of the highest artistic achievement to my ears.  I was stunned by the skills and musicality and glorious arrangements; by Harley's understanded chordal interpretation and one pretty rock-dirty solo and Freya's bass lines and atonal plays on sound; by the solo presentations of some songs, then then ensemble performances of others; by the playful drumming on garden pottery, by the reverent singing of the children's choir.  The work comprises 16 shortish songs with lyrics volunteered by invited poets, so a range of themes, but presumably all around issues of Australian relevance.  I caught some lyrics, not all; the richness of performance mostly took my attention on the day.  So I still have a worthy task to read these poems and hopefully a future opportunity to hear a recording or view a video.  Just a stunning performance and a fascinating project.

Luminescence Chamber Singers performed Andrew Ford Red Dirt Hymns at TheB in Queanbeyan.  Luminescence are AJ America, Rachel Mink and Josephine Brereton (sopranos), Dan Walker (tenor), Lucien Fischer (baritone) and Alasdair Stretch (bass-baritone).  Roland Peelman (MD, arranger) arranged and conducted the children's choir from Luminescence Children’s Choir and Music for Canberra.  Accompanists were Harley Coleman (guitar) and Freya Schack-Arnott (cello) and Sammy Hawker (visual artist) provided the backdrop.

Finals

The final concert was a big one, long and plenty of performers and tunes.  It was called Mulanggari and was heavy on first nations themes.  First up was Stiff Gins with our mates Dudok and Kevin Hunt, perhaps others.  SG are entrancing, inviting, singing songs with gloriously correct voices and lyrics that I didn't catch, but I fully expect are worthy, bridging Euro and Aboriginal languages and themes.  Jonathan Zwartz had a role in developing, writing or orchestrating some of this.  A relaxing outing for our Dudok accompanists.  Then an interval a country, sometimes dissonant , often double stopped Ben Ward bass solo piece written by Brenda Gifford. And a ecstatically driving piece for three percussionists by Holly Harrison.  The players were Claire Edwards, Veronica Bailey and Niki Johnson and the piece was wonderfully powerful and rocky with a kick drum and a huge pleasure.  Then a larger group for Wadhu (skin), composed by Brenda Gifford and the solo played by Claire Edwards at Verity Lane earlier in this festival.  As I remember this featured violin Veronique Serret and didjeridoo William Barton.  Then another larger work, Burruguu (time of creation), by Nardi Simpson.  And a final work, again by Nardi Simpson and arranged by Jonathan Zwartz and Roland Peelman, with the further addition of Luminescence Chamber Choir.  The stage just keep growing.  Then a final few words, of thanks to Roland for a great third decade of CIMF and off to chat and drink outside the hall.  The final party, especially for CIMF staff and volunteers and performers and various associates is a well loved ending for the festival.

The final concert of Canberra International Music Festival this year featured first nations, European, reconciliation and related themes.  Works by Nardi Simpson, Holly Harrison and Brenda Gifford (composers) plus perhaps others were played by a cast of musicians featuring Claire Edwardes, Ben Ward, Stiff Gins Artist Stiff Gins Nardi Simpson and Kaleena Briggs (vocals), Luminiescence Chamber Singers (choir), Roland Peelman (piano), Kevin Hunt (piano), Dudok Quartet Amsterdam, Ellery String Quartet, Veronique Serret (violin), William Barton (didjeridoo) and more.

Rolling rhythms

I was a little unprepared for Steve Reich.  Not that I don't love his minimalist repetition (I do) or that I didn't recognise Different trains when it was played, but that variation on a theme which was this concert.  I should have checked the program; it was obvious enough.  This was three works by SR, sandwiching one by Kate Moore, Australian resident in Amsterdam, and another by Meredith Monk.  Clapping music was Florian and Roland Peelman clapping in various interacting syncopations, poly-whatevers, reading a repetitive and slowly sometimes suddenly changing patterns.  Fascinating and to be indicative of the other two by SR: variation over time, rhythm patterns that move suddenly or malleably so you feel comfy counting 4 then realise it's a 3 feel or perhaps both and their relationship is changing then maybe something else intrudes, perhaps with another repetition in whatever time if the same tempo.  It's discombobulating but fascination and very much of our times, or the last few decades.  Different trains was like that too, but different with a string quartet (Dudok) playing against three other recorded quartets (also Dudok) and voices (Dudockians, I guess) looping however.  And this one was amplified so maybe effected.  That I don't know.  I did feel the three recorded quartets were less present and tonally authentic than the real one in front of us, but that would probably be PA or settings.  Guitarist Pavel played the middle SR, again instrument over recorded instrument or more and maybe voice.  Roland Peelman played the solo Kate Moore piano piece in the repetitive, mesmeric style of the concert, and played with violist son Florian for the very NYC Gotham lullaby which was melodic and pretty but again stylistically exploratory.  A very instructive and involving survey of Steve Reich and his influence in a program aptly named American Modern. PS: no group pic at the end so only Dudok after Different trains.

The Dudock Quartet Amsterdam, Pavel Ralev (guitar), Florian Peelman (viola) and Roland Peelman (piano) variously performed Steve Reich, Kate moore and Meredith Monk at the National Gallery for the Canberra International Music Festival.  Dudok comprise Judith Van Driel and Marleen Wester (violins), Marie-Louise de Jong (viola) and David Faber (cello).

Clarity

Five concerts in the Christmas series and we got to two.  This was a much smaller concert than the first but what was lost in complexity was gained from the familiarity of the performers and the clarity of the performance.  This was just the core 6 singers who make up Luminescence and who presumably, frequently, sing and practice together.  We could hear that heightened awareness between performers.   We could hear each individual voice, given just 6 singers together in great clarity and the space did its bit too, with its gentle presence.  So the sometimes raucous songs of Spain's golden era and Alfonso's cantigas was a dream.  Despite foot stomps and tambourine percussion.  This is music from later C13th and late C16th, sometimes simple melodies, sometimes embellished or harmonised by the group, sometimes boisterous and festive, sometimes sole voices with perhaps a single tonic note accompaniment.  What I loved was the clarity of a small, comfortable, practised group and the clarity and uniqueness of each voice.  Interestingly, choir was ordered with sopranos at each end, low bass and baritone in the centre and mezzo soprano and tenor between.  One performer spoke of two trios, whether the male lower and female higher, or the right baritone-tenor-soprano or left bass-mezzo-soprano, I'm not sure.  Whatever, this was a memorable display and one fully worthy of Tim's complex recording (hint: love to hear it...).  Just a stunner.

Luminescence Chamber Singers were led by Roland Peelman (conductor, percussion).  LCS comprises AJ America (mezzo soprano), Lucien Fischer (baritone), Veronica Milroy and Rachel Mink (sopranos), Alasdair Stretch (bass) and Dan Walker (tenor).

Chrissie

Visiting other worlds will surprise but also fascinate.  This was a Christmas concert and some things were from the world of everyday Christmas concerts and so were just lovely joy, especially the singalong on Hark the herald angels sing and O come all ye faithful.  They are both wonderful songs and well known and a huge joy when you are singing, doubly so when accompanied by the likes of the Luminescence Chamber Singers.  Our lines were not the complex harmonies of their choruses but enjoyable none-the-less.  But there were other worlds at this Christmas Classics concert.  The first tunes were the strangeness of pre-Renaissance music (as early as c.1370) where I noticed just one harmony, a simple 5th, but the melodies were exquisite and the rhythmic phrasings were challenging and the stratospheric high notes were just enthralling.  I was a bit dumbfounded that a Song of the nuns of Chester, after starting with females, had a second chorus with males, the lower tenors and basses, but then this is the modern world.  We got more modern with William Byrd ~1580 then through to contemporary takes on early music (not least one by local David Yardley) and generally on Christmas and arrangements of modern songs in an early, richly luminescent style to fit the choir.  There were actually 2 choirs: Luminescence in 6 or expanded to 9 (presumably written for 3 each of SATB) and the Luminescence Children's Choir in the balcony at the rear of Wesley Church, plus an occasional organist on Wesley's worthy organ.  So this was a period outing but also varied and even fun at times.  The singing, of course, was always impressive and sometimes to die for.  I enjoyed several solo segments, not least one from our guest, Alex, and both the extremes were thrilling at times, Veronica at the high end and Jack at the low end.  The chance to join in the singing and the lovely hymns reminds me of the season and has me longing to attend a few sung masses and other services to partake in the joy of singing in community but I doubt the accompaniment at the local midnight mass will be quite so capable.  So a challenging and satisfyingly arty take on the Christmas concert and much contemplated and enjoyed.

Luminescence Chamber Singers and Luminscence Children's Choir were led by Roland Peelman (conductor) and joined by Samuel Giddy (organ) and Valdas Cameron (percussion).  Our guest is Alexander Gorbatov (tenor).

3x8

This concert was called Magic Eight because each of the three pieces were by an octet, two instrumental and one choral.  Most people just drooled over the Schubert Octet, well known and long (6 movements, ~1 hour) and interesting to me as I played my first chamber concert on two movements of the piece.  So I like it and they played it with immense capability and hugely satisfying interpretation, but it was just a little unadventurous for me, standard, ordered, of that era as works usually are, but of an era that just seemed a bit tame.  But what to say?  Max McBride was playing bass and he was inspirational, 5 strings, eyes up and around, glorious soft  tone, explosive semiquaver lines.  I was amused to see the cellist smile at Max's parallel lines to his.  I mainly watched Max and the strings, and the strings seemed to lead it all, mainly from first violin.  Quatuor van Kuijk were inspirational in how they communicated although first violin tended to watch less, but I caught a big smile between the violins at one stage and they were very obviously pleased.  That was after the interval.  Just before the interval was Per Nörgard Wie ein Kind (Like a Child) by Luminescence with Roland conducting, and that was odd, using lyrics and noises from Adolf Wölfli and Rainer Maria Rilke for all manner of fascinating musics.  I enjoyed it immensely, following some strange lyrics projected above.  This was very much not your everyday baroque outing; it was obvious why a conductor was required.  Really impressive and great singing and various noise making.  But by fave was the opener, Igor Stravinsky Octet, all jumpy and playful and totally a work for winds.  I delighted in the brass, not least the high, pure trumpet tones and the interpay of flute and clarinet and the bass-y bassoons and was struck by the long breaths demanded of Zoe Pepper.  This was my fave of the night although all was a huge please for whatever reason.  Nobody I spoke to agreed with me: they all preferred the Schubert.  So be it.  Just a bit too comfy a choice for me.  And one final observation.  The Stravinsky reminded me of Fellini and the dates align, so my guess is that Nino Rota (b.1911) was greatly influenced by Stravinsky (Octet 1923).  But that's just a bit of amateur musicological investigation.

Luminescence Chamber Singers, Quatuor Van Kuijk, Sally Walker (flute), Oliver Shermacher (clarinet), Ben Hoadley and Zoey Pepper (bassoons), Fletcher Cox and Joel Walmsley (trumpets), Jackson Bankovic (trombone), Aidan Gabriels (horn), Max McBride (double bass), Paolo Franks (trombone) and Roland Peelman (conductor) variously played Stravinsky, Per Nörgard and Schubert at the Fitters Workshop.

Rustic folk

Of faeries and fools was the title of this concert and I could see the reference clearly in at least 3 pieces.  The sounds were different as the musical combinations were different and to some degree as the styles were different, but the performances were consistently impressive.  The works dated from after Grimm's Fairy tales (1812) and carried on some of the influences.  First up as Schumann with a clarinet trio (Oliver Shermacher, James Wannan nad Roland Peelman on clarinet, viola and piano) just stunningly sharply played all round.  Then piano (Roland again)and two vocals (sopranos Susannah Lawergren and Anna Fraser ) for Dvorak Moravian duets.  Now this reminded me of Schubert songs and that's a strange style to my ears, dated both in musical form and lyrical themes.  The lyrics were translated to English and projected behind.  I could only chuckle at the dated love songs.  But that's that style.  The singing and piano were great though.  Perhaps better without the meanings?  Then an interval and a ridiculously funny Janacek Nursery rhymes in Czech language.  Again lyrics translated and projected and and the absurdity was a delight.  Luminescence played this with James Wannan and Ronan Apcar.  Then to finish, a much larger ensemble playing Katz-Chernin Village idiot, a work in 5/4 variously 3-2 and 2-3 and a collapse of time at the end.  This was a much larger group with a Alma Moodie string quartet and Jacques Emery on bass and others including e-pno and e-guitar and piano accordion and percussion.  So a very different , more modern and humourous take.  A great finish.

Schumann, Dvořák, Janáček and Kats-Chernin were performed at the Fitters Workshop variously by James Wannan (viola), Oliver Shermacher (clarinet), Susannah Lawergren and Anna Fraser (soprano), Roland Peelman and Ronan Apcar (pianos), Theo Carbo (electric guitar), Fletcher Cox (trumpet), Jackson Bankovic (trombone), Aidan Gabriels (horn), Veronica Bailey (percussion), Alister Price (accordion), Jacques Emery (double bass), Luminescence Chamber Choir and Alma Moodie Quartet.

Diversity

Well I dropped my phone and cracked its screen as I waited to enter The Great Divide, a CIMF concert at the Fitters' Workshop, but I came around in the end.  It was an intriguing mix of styles and they shouldn't really work but they did.  First up was Luminescence Chamber Singers directed by Roland Peelman singing mediaeval Spanish cantigas and Portuguese motets.  Six singers, 3 men, 3 women, occasional percussion and foot stamping, religious themes of Mary and women variously as saviours and whores, so clearly unwelcome in today's thought.  I was amused or maybe concerned with women singing this stuff, even as we realise the diverse times and thinking, this being a very earthy and religious age, but the historical denigration of woman's role was pretty obvious.  Strange and confronting to our ears and yet would have been unquestionable in those days, I guess.  Then an interval and a wine and I could forget the phone for a few minutes and I was intrigued by Jason Noble playing Steve Reich New York Counterpoint on clarinet.  I wondered how it would be accepted in this crowd, given he was plugged in, effected, multitracked, whatever.  I asked him later; if I got it right it was 8 clarinets plus two bass clarinets, all multitracked and no effects, just the rich resonances of the space.  I enjoyed that.  Then Orava playing Shostakovich String Quartet Gmaj no.6.  Again I felt some discomfort around me at the quite difficult melodies but I enjoyed it immensely.  Nicely expressed, accurately intoned, earthily bowed and intriguing as a composition ("a masterpiece of Soviet optimism post-Stalin" / CIMF concert program).  So a fascinating and satisfying concert if the lead-up was less pleasing.

The Luminiscence Chamber Singers under Roland Peelman (director), Jason Noble (clarinet) and Orava String Quartet performed at the Fitters' Workshop for the Canberra International Music Festival 2022.  Luminescence comprised AJ America, Veronica Milroy, Dan Walker, Lucien Fischer, Jack Stephens and Roberta Diamond.  Orava comprise Daniel Kowalik and David Dalseno (violins), Thomas Chawner (viola) and Karol Kowalik (cello).

Done!

There were seven days of Creation and they were covered within parts 1 and 2 of Haydn's Creation at the Canberra International Music Festival, if I got the lyrics right.  So what of part 3, after the interval?  It may have been Adam and Eve enjoying each other, for there were some lyrics thus suggesting.  But then I didn't get all the lyrics.  I was entranced by the truly excellent bass playing of Kirsty McCahon sitting tall and up front and I didn't catch much of the rest.  Even the whales that James mentioned at interval.  Well, maybe they were a big bass part (?) but I was just watching the bowing and hearing the incredible projection of one baroque, presumably gut, bass amongst such a large ensemble and the way she seemed to almost ignore the music and look around constantly.  I downloaded the music this morning and it's not so difficult to read, being baroque, but still, I was in awe.  But otherwise, the individual singers were very good to great, the chorus was impeccable, the orchestra based on the Australian Haydn Ensemble was tight and expressive and Chad, who I drove the other day, the keyboardist, was Euro-confident and again someone who knows when to raise his head from the music, the baroque horns just sounded great and Roland was his hyper-energetic self as conductor and driver of it all.  I was in awe from the first few minutes from the tightness and clarity and precision and overwhelming baroque beauty, and it just continued for the two-or-so hours of the performance, but then, for the sake of the occasion and the musical beauty, I was prepared to ignore some distinctly dated, particularly non-feminist awareness.  Did I say I enjoyed it?  Yeah, and the bassist was good too.

Haydn Creation (Die Schöpfung) was performed at the Canberra International Music Festival by Roland Peelman (conductor), Skye McIntosh (concert master and leader of the...) Australian Haydn Ensemble, Chad Kelly (keyboard), Alexandra Oomens (soprano), Andrew Goodman (tenor), James Ioelu (bass), Sydney Chamber Choir (vocals) with Kirsty McCahon (double bass).

Visuals

The theme of this year's Canberra International Music Festival is "Pole to Pole".  The link to Schumann, Roland's favourite composer and not featured at all in the CIMF program, is that he suffered bipolar disorder.  Apparently there was much difficulty in his experience and his family but the music is the height of the romantic and Roland's fave.   Schumann was writing at the time of Chopin and Liszt.  Roland played three works, Phantasiestücke (Fantasy pieces) op.12, Arabesque op.18 and Waldszenen (Forest scenes) op.82, and I could see why Roland was so impressed, even if the era is not my fave.  This was complex and satisfying music with considerable visual presence, as in the various named scenes in the forest (Hunters on the lookout, Lonely flowers, Friendly scenery, Wayside Inn and the like).  You could feel these pieces of music as authentic recreations in a way that you often can't visualise even much modern visual art.  Funny that.  And it wasn't just the compositions that impressed.  I love Roland's annual outing before CIMF.  He is such an intense and involving player, playing here from memory and with true commitment and dynamics.  I imagine it as the product of European training, but maybe it's just Roland.  Dunno.  Impressive either way.  Just great stuff.

Roland Peelman (piano) played Schumann at Wesley.

So this is Christmas

It's Messiah so it must be Christmas. We went to Handel Messiah. Not a rare event, but a pleasant one. This time, in Llewellyn Hall, with nice comfy seats in place of church pews, so that was a plus. Not the only plus, of course. It's a great work, very memorable and attractive and satisfying as choral works are. And it's a work of audience participation, standing as we all did through the Hallelujah chorus, then clapping. The clapping surprised me. It's the end of part two, but I didn't expect the interruption of applause. Roland Peelman was up front, conducting from the harpsichord chair, flailing and emoting as he does so effectively. Anything Roland puts his hands to is gold. And the orchestra was that. They worked hard, certainly not least Kyle on bass, and it was consistently comfortable and easy and melodious. Peter Clark led from the first violin chair, emoting with body movements and leading a very responsive and neatly consonant and flowing group. Amy Moore, Stephanie Dillon, Richard Butler and Andrew O'Connor sang the solo parts with confidence. At various times, I was convinced by each of them. The choir was large, Canberra Choral Society Massed Choir, being the CCS augmented with paying unauditioned guests. I toyed with this one year, but it's a big ask, a short, intensive preparation and quite costly. So no. The Llewellyn never grants players the ability to overwhelm with power and volume. No different here: for all the numbers, the choir was not powerfully loud, although you adjust and it is satisfying. The part were a little unbalanced, too, but that's a function of lack of men in choirs and largely unavoidable. Dan Walker had clearly prepared the choir well with Anthony Smith as accompanist. But the time went quickly, and I felt more intimacy this time than most. Perhaps the choruses or the structure is becoming better known to me, but the hours (3.5 hours from start to end, including the interval) went intriguingly and pleasantly. It's a lovely tradition if a harsh story that's less central to our society these days. But the program argued it had been written as entertainment, for theatre rather than church, and so it's fitting and it worked. A big and satisfying production.

The Canberra Choral Society, its massed choir and orchestra, performed Handel Messiah at Llewellyn Hall under Roland Peelman (conductor) with Peter Clark (concertmaster) , Amy Moore (soprano), Stephanie Dillon (alto), Richard Butler (tenor) and Andrew O'Connor (bass).

Energy and erudition

To play at a Wesley Music Centre's Wednesday lunchtime concert is an annual outing for Roland Peelman. It's an introduction to each upcoming Canberra International Music Festival, of which he is the Musical Director. It always relates to the CIMF's theme and it's always fascinating and informative and a musical treat. Roland just exudes energy and erudition. There's purpose and history in his performances and vivacity and commitment in his playing. In concert, I've seen it as he leads a group from the keyboard. At Wesley, it's solo piano and this time the theme was Bach, although he played nothing that was on the CIMF program. That's easy enough given Bach's output. This was a study of chromaticism and tonality. First up was Prelude and fugue Bmin BWV869, the final and most extravagant of the 24 works of Well Tempered Clavier. Then an insert, a short impressionistic piece written for Roland by Belgian composer Frank Nuyts. Roland confirmed it was virtually all written tonally, but some intervals were decidedly jarring. Then Chromatic fantasia and fugue Dmin BWV903, apparently with a recitative in the fantasia and an fugal theme using the B-A-C-H letters (in German, for us Bb-A-C-B) but rearranged in ascending order. All fascinating. Mostly played form memory. This is music that is intimate yet challenging for all, audience and Roland, and you feel it with him and explore its intellectual complexities but also its art. A great pleasure to come into Roland's space with such a concert. Many thanks.

Roland Peelman (piano) played Bach and Nuyts at Wesley.

An end

I attended too few events for this CIMF but I did get to the finale and it was stunningly and deeply interesting. The first half was particularly a challenge for some. For that, read contemporary! First up, Ned McGowan performed a solo flute piece, Salvatore Sciarrino Come vengono prodotti gli incantesimi. It was to be performed on bass flute, but was on standard concert flute in the end. This was all tonguing and valve slapping and occasional sudden crescendoes. More rhythm then melody. Then a premiere by resident composer Mary Finsterer called In praise of darkness inspired by Jorge Luis Borges' book of the same name about his loss of sight. Played by the Festival Sinfonia and directed by Roland Peelman. Five movements, often a tuned percussion background (marimba?) with strings in slow crescendoes and sudden decrescendoes (in synth parlance, where we most hear this, long attacks and sudden releases), occasional manic church (tubular) bells accompanied with sudden green lighting then hand drumming; later angry whale sounds, long notes over a choppy semiquaver rhythmic phrase, Chinese gongs and woodwinds and bass drums. I guessed the work was mainly in 6/4, but I could be wrong. Counting must have been hard. It was extended (~40mins) and some questioned that but I liked it, all darkness and depth and anguish and resolution. Then interval then Alice Giles featuring with a string section on two Debussy Dances sacrées et profane. Deliciously played and closer to home for some of the audience. And to finish, the Festival Sinfonia appeared again under Roland with solo violinist Tim Fain playing Bernstein Serenade (after Plato's Symposium). This was a new work to me and several others I talked to, but still familiar. The colours and instrumental combinations of West Side Story (think Rumble or Krupke) were evident. And the references were classic too, if older than WSS's Romeo & Juliet. It comprised five movements named for characters and themed about love and formed as an unlikely violin concerto. Tim Fain was strong and comfortable and I thought he looked very satisfied at the end. But a fascinating work that will get a workout on my Naxos or Spotify streams. Then an after-party for the players and supporters. There's fun in that, of course. Next year is CIMF no.25. A truly impressive tradition that I can only hope grows and grows.

The CIMF2018 Festival Finale at the Fitters' Workshop featured Ned McGowan (flute), Alice Giles (harp), Tim Fain (violin) with the Festival Sinfonia under Roland Peelman (conductor) playing Sciarrino, Finsterer, Debussy and Bernstein.

Violins talk

The Canberra International Music Festival is on again. The first thing I managed was a talk session with two violinists: Roland Peelman as host with internationals Cecilia Bernardini and Tim Fain. The chatter was of violins (of course), why they took up their instruments, what specific instruments they play, how are they different, but also into period music, especially its development over recent decades and the huge upheaval it caused. Interestingly, too, we heard the two violins live in comparison. Both are seriously impressive instruments, both from the classic source, Cremona. Cecilia plays Amati; I didn't catch Tim's family. Tim's is set up as modern; Cecilia's is set up for period playing, with gut. She uses the period bow, but also a transitional bow for classical music. We heard the differences between instruments and between Cecilia's bows. Fascinating and truly a rare opportunity.

Roland Peelman interviewed Cecilia Bernardini and Tim Fain (violinists) at the Ainslie Arts Centre.

This year's primer

It's an annual outing and one that I look forward to with anticipation. It's Roland Peelman's intro to the upcoming Canberra International Music Festival. Roland is a fine musician so the performances are intense, informed, virtuosic, but they are more than that. They are also seminars in the history, background, intent of the composers, with just a touch of the technical, too. This year it was Schubert, Satie and Debussy. We heard of Schubert's intimate gatherings in the environment of repression under Metternich. Roland played three Moments musicaux, apparently written as last thoughts by this social character. Then Satie, who lived a solitary life on the margins. His compositions were simple, he was self-taught, no virtuosity of grand harmonic structures, saying much with little, at a time when Wagner's complex and saturated music was in vogue in France. Roland played three of his Avant-dernieres pensees, just short pieces, mostly with deep melody in the left hand against staccatos or arpeggios in the right. Then the etudes from Debussy. Apparently he had admired Wagner for a short time, but came to be influenced by Satie. It was Debussy who orchestrated Satie's Gymnopédies. Debussy explored harmonies freed from traditional tonal and functional relationships through variations of register, orchestration and the like. Roland played etudes exploring repeated notes, opposing sonorities and composite arpeggios. In this context, Roland talked of the piano's ability to handle repeated notes as the hammer doesn't fully retract and its importance as a development from earlier keyboard instruments. That was a new one on me. All fascinating and all so well played. And from memory. It's one aspect of music that it becomes imbued in people. Roland displays that, not least with his memory in performance. Playing from memory displays a deep connection and only assists in performance. So, a fabulously interesting and capable concert and a intro to the upcoming CIMF, no doubt to be as impressive as ever.

Roland Peelman (piano) performed Schubert, Satie and Debussy at Wesley.

Potpourri

This was the first concert of the Canberra International Music Festival 2017 and it was a veritable potpourri. No surprise there; it was promoted as the Gala opening : a world of music. obviously touching on a range of performers and styles coming up in the festival. Festivals are not easy things to organise and I was surprised by some of the names: they hadn't been on the brochure, released well before the program. But nothing lost: these were great and fascinating players. First up was Luminescence Chamber Choir with William Barton on didj, a world premiere called Beaver blaze, based on White Australia, the poem by Oodgeroo Noonuccal. The theme of the Festival is Revolution, after all, and this was profound. Then Lisa Moore starting with Bach then through a lithe and flighty Schumann Bird as prophet to end with a modern piece by Rzewski. He was a new name for several I spoke to (me too) but he was also well received by several: my little survey suggested a discerning and adventurous audience. I was particularly taken by Lisa's estimable sense of time: firstly in the firm and resolute Bach then in the delicate, featherweight Bird as prophet. Then my passenger, Alex da Costa and his Strad, played some duos with Roland Peelman. Phenomenal technique, wonderful loud tone. Yes, it's a Strad but you need technique to get that from it. Stunning tone and chops, playing Vitalia, Prokofiev Montagues and Capulets, Tchaikovsky, de Falla. There's a good bit of performance here and prodigious capability and an alluring instrument to boot. Then interval and an Australian premiere from composer Chen Yi, currently at the ANU School of Music, Yangko, played by Alex with Roland and another on Chinese percussion. Interesting to hear Alex doing something outside the mainstream: no surprise that he did it with ease. The Simon Bolivar String Quartet are visitors from Venezuela. They played Shostakovich String quartet no.8 C min op.110 with satisfying intonation and lovely moving instrumental focuses. Again, very well received. And an end with a composition by ex-Canberra now-Brisbane bassist and composer, Robert Davidson, with renowned didgeridoo player, William Barton, Landscape, played by string quartet, guitar, didj and harpsichord. I'm looking forward to hearing more from Robert later in the programs. Then drinks and a celebration of the opening of the festival. As always, CIMF looks fascinating and cleverly themed, let alone its musical capability and profundity.

The CIMF 2017 opening gala concert featured William Barton (didgeridoo), Clive Birch (bass vocal), Luminescence Chamber singers, Alexandre da Costa (violin), Minh Le Hoang (guitar), Lisa Moore (piano), Roland Peelman (piano, harpsichord, percussion) and the Simon Bolivar String Quartet with members Alejandro Carreno and Boris Suarez (violins), Ismel Campos (viola) and Aimon Mata (cello).