Normality

Ah, things start to go back to normal. This was my first gig after returning from Europe. Tilt played at Pialligo Estate for a private function. I was working through my bass that sounds great after recent work but feels distinctly different. James couldn't make it but old mate Ross Buchanan filled in and it went a treat. A few people came up in the last break to thank us. That's nice. Musicians? Yes, conductor. Conduct what orchestra? London Phil. London Philharmonic Orchestra?!? Yes ... and various other Euro orchestras. And you play too? Yes, flute, and involved with management of Sydney Youth Orch. This was Matthew Wood and Roslyn Perry, now in Sydney after some time in Europe and a cousin of the celebrating family. Lovely couple with serious skills. So the last set of a long night was a little more testing, being the last of a four hour gig and playing for such illustrious guests, but not for anything Matthew and Roslyn said or did. They were great listeners and eminently supportive of fellow musos. A pleasure to play for them and host Mycaila and her very lovely extended family. And to play it with Ross.

Tilt Trio were Ross Buchanan (piano), Dave McDade (drums) and Eric Pozza (bass) and our muso guests were Matthew Wood (conductor) and Roslyn Perry (flute).

The biggie

The Louvre is a genuine biggie amongst museums. We started with a few hassles related to tickets, then had to buy new tickets, then got lost in the masses of rooms and overwhelmed with the crowds and the sheer size of this collection. It’s not our first time here, so that first thrill is gone, assisted ably by masses of tourists. And mobiles. And selfies. And poses. Strange that you’d pose with a thumbs up in front of a painting of massive proportions that dwarfs you. But you do. I have a pic (not selfie) problem, too, but I blame it on my CJ journalistic responsibilities! (Yeah, well…) Mona Lisa is now moved so there are lines for that. We had tix for that, just in case, but decided against it. It has been unsatisfying for years now given the distance and numbers trying for their peeks. Luckily, Leonardo’s other three works are still in place rather than moved with ML. That was a pleasure. So were Greek statuary and North European paintings and always Raphael and Botticelli. Botticelli had some glorious frescoes at the entrance to that incredible Italian corridor. I enjoyed the French, too, and they can paint big, Delacroix and David. And some lovely Cronachs and Metsys’s, both favourites. And the standards, Venus de Milo and Victory of Samothrace. Not sure I understand quite the fame of that Venus. And the wings that were closed, because it’s Friday or the renovations or whatever; those we missed. As with the Mesopotamians and the Code of Hammurabi which we discovered last time here, it’s the first legal code known and it's stunning. But so many people and so much genius to pass by. Next time, we plan Louvre as a mid-winter pleasure.

The Louvre is in Paris and it’s busy.

Another fave

The Orchestre de Chambre de Paris was playing Brahms 4 at the Théâtre de Champs-Élysée and we were there. Not just Brahms, but that’s a favourite. Again, it’s one I’ve played and so it has that special awareness. Megan just knows it as a favourite from ages ago. Also Mozart 25 and Mendelssohn Piano concerto. The Mozart is a pleasure, of course, the theme from Amadeus, and done with ease by all though the quick passages and nicely balanced otherwise. Nice. The Mendelssohn solo was played by Lars Vogt, otherwise the conductor, and he led from the keyboard for various passages here, at least when not otherwise engaged. It’s a busy piece, played with intensity and nicely responded to by the orchestra with limited conducting. But the biggie was the Brahms I had swapped to front row seat so heard and watched as a orchestra member does. I knew the lines, so followed the basses, but also could take in violins and others that are otherwise less in conscious awareness while playing. So the appreciation is different. The pleasure, perhaps, is too. Great joy in hearing the snappy bass, following the bowing, enjoying principal Eckhard’s physical immersion in the music. Another bassist Fabian later mentioned that Brahms’ father was a bassist, so Brahms knew how to write for bass. I didn’t know that and it got me thinking. The orchestra is called Chamber, but it’s a decent size: 3 basses; ~50 performers, including winds and percussion. The sound is different in an old acoustic like this theatre. The upper strings were softer, the sharpness was reduced and the sound more muffled, but not at all unpleasant. And that Brahms was magic. Tight playing, fascinations with the changing passages, exhilaration with the interplays. We enjoyed it immensely. Paris looks to be a great city for music, classical of jazz.

The Orchestre de Chambre de Paris played Brahms, Mozart and Mendelssohn at the Théâtre de Champs-Élysée under Lars Vogt (conductor, piano). The bottom end comprised Eckhard Rudolph, Fabian Dahlkvist and Charlotte Henry (basses).

Little biggie

The biggie comes up soon: the Louvre. Not like it used to be. I remember yonks back seeing the Mona Lisa from a few feet with just a few people. Recently, it’s been from a distance with multitudes and selfies. Now it requires a Leonardo ticket. Presumably you need that for the others, too, so we have it. But that’s tomorrow. Today it was the Musée d’Orsay, the modern art museum, ~1850-1940? Much better than I expected and quite a buzz. Some of the most renowned impressionists which are not usually my favourites, but I got a buzz here. Sculpture, visuals, decorative arts. Recent days have been Musée de Cluny (mediaeval) and Pantheon and the c. The Pantheon was disappointing; a secular mausoleum with the graves of Rousseau, Votaire and others. Not unexpected. I had high hopes for the Musée de Cluny but it was tiny (although what little was on display was excellent), the Roman ruins were not open for inspection and the major work, and we’d already seen the Lady and the Unicorn Tapestries in Sydney. The Musée des Arts et Métiers is a Scitech museum, worthy given the importance of some French science over recent centuries and Foucault’s (virtually original) pendulum.

One for my mates

This was one for my mates in Maruki and NCO. We went to the RadioFrance Auditiorium to hear the Orchestra National de France playing Rach 2. It was blissful. The theatre is a gem, obviously with great acoustics, this being the main space for a national radio broadcaster that regularly records concerts, but also intimate and comfy and close and with a large workable stage centrally located. The orchestra is full sized (8 basses, 14 first violins scaling down), the sound was clear and the basses prominent. But it was the performance, the rich dynamics that didn’t hit but puff and billow gently around you, the tempos that laid up like a rolling ball slowing to the top of a hill and falling, speeding on the other side, all with a softness and gentility that spoke romantic. Such a lovely rendition. Of course, we’ve played it twice and that is the best preparation for insinuating every line and twist. That helped. I certainly didn’t have the same pleasure from the first half, Puccini Symphonic prelude and Samuel Barber violin concerto. The playing seemed as capable, sweet, clear, neat on the most challenging passages on the Barber, and the violinist up front, quick with flashing bow and neat rising lines into the harmonics. Megan knew these and was impressed. He encored with something we didn’t recognise, more modern, more subdued and with interesting harmonic twists. But acquaintance lends love and the Rach 2 was my huge pleasure of the night. To play like that!

The Orchestre National de France under Juraj Vulčuha (conductor) and soloist Valeriy Sokolov (violin) and Sarah Nemtanu (concertmaster) performed Puccini, Barber and Rachmaninov Sumphony no.2 at the RadioFrance Auditorium in Paris.