Helen presents

Click on this image! Helen Moore coordinated the final performance of the year in the High Court foyer series, and it was big. Long enough that it required an interval; complex enough that it required a running list; populated enough that there were instructions for where any performer had to be at any time. Two choirs; trumpets; piano; harp; singers; conductors. All spread throughout the space; necks craning to find where a song or fanfare or mediaeval ballad was sourced from. And what an audience! I came moderately early and noted the stream of people striding to the building. Inside, it was chockers, people on every surface with a view, unknowing passers-by peering through the glass walls during the show. And we could singalong. I love Christmas for the singing, although a little more church might help with the words and phrasing. Most singers got the common carols: While shepherds watched, Joy to the world, First nowell, O come all ye faithful, and the like. There was an Aussie carol that just didn't do it for me. The falling line in Ding dong merrily on high was a tongue twister with its vowel form. The finale of Handel's Hallelujah chorus was an invitation if you wished to join in, but it was more complex that I'd carelessly remembered. As for the performers, Trumpet club were fun and enlivening as always, with their clear, bell-like tones. They were a immensely joyous on fanfares and a blast when they entered on the final choruses of the carols. I particularly noted Byrd's Exultation. There were two choirs, Resonants and "Toby's choir" (I only have the running notes, not the program). I ticked Eatneman vuelie by the Resonants but there was more, including a take on David Yardley's Letabundus exaltet. Everyone loved Louise Page and Tobias Cole singing Twelve days after Christmas, a mirror to the days before with various damages done, cartidges to blasted partridges and the rest. Meriel Owen's harp was lovely but to largely lost to my ears in this big space with lots of audience to sop up the tones. I'd expected a smaller attendance - Canberra can get quiet at Christmas - but this was huge in every way. Just a measure of the success of these free concerts in the High Court foyer.

Helen Moore presented Trumpet Club, Louise Page (soprano), Tobias Cole (counter-tenor), The Resonants, "Toby's choir", Phillipa Candy (piano), Meriel Owen (harp) for a Christmas concert in the High Court foyer.

Clubbing trumpets ... what could possibly go wrong

The High Court was a hit during the C100 festivities with its acoustics, modernist magnificence and its Sunday afternoon concerts. All manner of performers performed there - plenty of choirs and smaller classical and world music ensembles. They will continue with fortnightly concerts in 2014 and Trumpet Club presented the first of this series. Trumpet Club are just that: trumpets (although a timpani and some occasional percussion sneaked into this concert). They play classical and jazz.
This was mostly classical, from Verdi fanfares through concerti and Lauridsen's O Magnum Magisteria to a few modern pieces, by Marlat and Lopresti. Then just a touch of jazz in one of two encores. The numbers varied for different pieces, but at most there were about a dozen trumpets, including one bass trumpet. They played form balconies high above the audience and I heard full, echoed sound of mediaeval halls. They on steps above, clear, and best right in front of the audience for the brazen blasts that are the nature of trumpets. It was a first concert after the Christmas break and Zach talked of embouchures needing a run-in. This is a factor of brass playing that others don't appreciate. But a satisfying concert that ranged from royal splendour to mystical and threatening and plain groovy with that jazz piece. I can't help but like this band. What could go wrong?

Trumpet Club varies in members, but on the day they were: Louisa Batts, Cameron Smith, Kate Walker, Matt Nichols, Brooke Zotti, Corey Booth, Kate Thompson, Alex Ross, Kevin Knapp, Zach Raffan, Farzana Choudhury, (trumpets), Michael Bailey (bass trumpet), Christina Hopgood (timpani)

Not just nobility

The Trumpet Club had me thinking of fanfares. Everyone loves a fanfare. I can’t help but think of Errol Flynn and Robin Hood and jousts when I think of massed brass. It’s such a wonderfully majestic and noble sound: big and brassy and celebratory and with such pure tonality. When I process recordings of brass, I notice a clear, simple image of the sound which must indicate a relatively simple sine curve and uncomplicated harmonic structure. Remember the long, straight trumpets of the mediaeval sagas?

The Trumpet Club are just that - trumpets - although they use modern, bent, piston models. They’ve got sick of waiting and counting at rehearsals and performances, so they’ve formed a trumpet-only group to play classical, jazz, blues, originals, whatever. Members are from the CSO and jazz school and local teachers and experienced students. These are capable players and they speak with billowy low notes and clear high notes and sharp harmonies. Trumpets can be luscious with good chops behind them, and especially with a good acoustic. They were. TC started at the top of the High Court ramp, as have several other performers, with the most fanfarish piece of the repertoire, by American Eric Ewazen, but then arranged themselves downstairs to play a lively Telemann and a heart-on-sleve Percy Grainger Bonnie Doone. Then two modern pieces. Firstly, Mike D’Ambrosio’s Ice Town, all spikey and dissonant, telling the story of a town caught in a severe ice storm. Then Suite for six trumpets by Dennis Horton. This is a work in three movements with a nicely modern vibrancy: firstly news themish, then soft and golden with rich harmonies forming from moving lines, then film action or thriller. These two pieces were my favourites. The music was mostly scored, but Cam did solo on the following piece, Bourbon Street breakdown, with bass-like ostinato and chordal accompaniment from the others. Then, to finish, a bit of chop-challenging corn, Rakes of mallow, all cute melody and unrelenting accellerando. I’m not sure why, but it always seems to me that brass players have a good sense of humour, although maybe more in the classical scene. There’s a certain desperation in counting bars.

This was their first concert and they were building their chops (no sitting back here). It was wonderfully well received and surprisingly more quiet than I’d expected. There were some noble sounds, but also just plain vibrant. I think the Club can be bigger, but on the day Trumpet Club were Zach Raffan, Cameron Smith, Corey Booth, Kevin Knapp, Louisa Batts, Kate Walker and Greg Stenning (trumpets)