Triumphs

This as a new experience, performing in the Australian Centre for Christianity and Culture, on behalf of the Australian War Memorial, through Chris Latham, currently (musical) artist in residence, doing early work towards a later recording, playing virtually all new arrangements, with soloists from the Army Band and the School of Music.  Some of those things we, as Musica da Camera, have done before but not all together like this.  The program was called Triumph of the Imaginationn and it recalled the experiences of POWs in war, especially WW2.  It was profound at times, telling of fellow support, with one piece from a Jewish internee shipped to Australia and several tunes by FS Kelly, our renowned composer (and Olympian) who survived Gallipoli but was lost, still young, on the Somme.   Our soloists were Edward and Stephanie Neeman on piano and Jaime Grech on soprano sax and Chris himself on violin.  We invited several males to chant for the first piece, a movement of a symphony by Schulhoff, all march-time and bass drone.  This was not a concert to take lightly.  The fast stuff can be relatively easy, but the delicacy required for such quiet or pensive works is a challenge, if satisfying to perform.  So a deep, thoughtful concert helping Chris in his work towards another musical memorial and musical recovery project.

Chris Latham (director, violin, arranger) led Musica da Camera (string orchestra) in a POW memeorial concert, Triumph of the Imagination, at ACCC, with soloists Edward and Stephanie Neeman (piano) and Jaime Grech (soprano sax).  PS. Obviously not my best pic!

Which is it?

For me it was Llewellyn 2, my second performance in Llewellyn Hall. For everyone else it was Llewellyn 3, National Capital Orchestra playing Beethoven's Triple Concerto with our soloists Barbara Jane Gilby, David Pereira and Edward Neeman, with a featured extra work with Stephanie Neeman. The rest of the program was Haydn Symphony no.49 "Passion" (named by his publisher but reasonable enough; apparently his only symphony in Fmin) and an intro with Beethoven Fidelio Overture. The four-handed Neeman performance was a little extra, not requiring orchestra and using the Steinway readied for Beethoven: Martin Wesley-Smith My brother Jack. I spoke to Edward about this after the concert. It's a work in 17 (12-5) with canon-like melodies from each performer (perhaps each hand) featuring snippets from Frere Jacques. No wonder this was my favourite, especially given my recent interest, if not success, in polyrhythms. Otherwise, I fell in love with the classical dignity of Haydn, so that was my other favourite to play (other than movt.2 which is a killer). But I couldn't help but enjoy both Beethovens. Fidelio was all bluster and drive from the top. The Triple was a pleasure, to play and to listen to, for I did get time in this one to listen. The lines that moved from cello to violin were clever things; the odd rhythmic interplays of piano and violin were perplexing; the virtuoso cello lines were stunning. I can worry about the count when I'm not playing, but Leonard is a wonderful leader, always there with clear counts and dynamics and cues. But maybe I should think of this as Llewellyn 1 for it was my first outing for my new/old bass. I am still adjusting to a different scale so intonation is a challenge and it's clearly toned, so not particularly loud but projecting well. A new instrument takes time and adjustment. I'm enjoying making my investment.

National Capital Orchestra play Beethoven, Beethoven and Haydn under Leonard Weiss (conductor) with soloists Barbara Jane Gilby (violin), David Pereira (cello) and Edward Neeman (piano). Stephanie Neeman (piano) performed with EN in four hands for Martin Wesley-Smith.

27 takes on 14

I play with several of them and I know they are good. This is the Canberra Youth Orchestra and the concert was the second of their Icons series for 2016, this one featuring Dvorak (8th Symphony). But in addition, there were piano soloists Edward and Stephanie Neeman, Edward playing Gershwin Rhapsody in blue without music but with lots of flourish and poignancy, and both playing Mendelssohn Concerto for two pianos. Everyone I spoke to was enraptured afterwards by the Gershwin. It's so bluesy and lyrical and modern and jazzy and well known and easy to like. The Mendelssohn was an early work: he wrote it at age 14. I enjoyed hearing the two pianos, somewhat similar in tone, playing back and forth between them, somewhat int he tradition of call and response but far more busy. Not quite Mozart, suggested some, but still decent and more to come, and presumably younger than pretty much everyone in our youth orchestra. Their ages are up to 27-or-so and this can include high level students and graduates and much younger musicians. I like the extended age range: there's a mix of levels of development and, I assume, some inherent mentoring of younger by older or more experienced. But it's a wonderful sound, musical and committed. These guys have chops and are developing it further. Even conductor Leonard is of their age, if considerably mature in leadership. A pleasure and a frequent revelation.

Canberra Youth Orchestra played Gershwin, Mendelssohn and Dvorak at Llewellyn Hall under Leonard Weiss (conductor) with soloists Edward and Stephanie Neeman (pianos).