August Diary

Friday August 3


Melbourne Symphony Orchestra

Melbourne Town Hall at 7:30 pm

It’s never been the same since Nigel Westlake appropriated it as a sonorous backdrop to the 1995 Babe film.  Whenever this symphony’s fourth movement’s rippling main theme flows out, people automatically recall James Cromwell and Magda Szubanski putting their bucolic best feet forward for farce.   Anyway, as this concert is sold out, there’s not much point in singing the praises of anything or anyone connected with it.   But, for the sake of completeness, here goes.  To begin, Benjamin Northey conducts Kodaly’s Dances of Galanta, a collection that enjoyed much airing in the 1950/60s.  Piers Lane holds centre-stage as soloist in the Liszt Piano Concerto No. 1, which will be interesting as this populist sort of thing is not Lane’s bag at all.   The evening winds up with the big symphony, Calvin Bowman doing the honours yet again on our Town Hall’s colossal instrument; here’s hoping he blasts a satiated full house out onto Swanston St at night’s end.


Saturday August 4


Australian Brandenburg Orchestra

Melbourne Recital Centre at 7 pm

You can never be sure with these cross-fertilizations.  Jordi Savall can carry them off, although half the time I think it’s reputation that does a lot of the work for our acceptance of these hybrids from him.  This program is based on the travels and findings of William of Rubruck, who was ordered to travel to the court of Mongke Khan, which he did in 1253-4 and subsequently wrote a celebrated account of his experiences in Mongolia and his attempt at converting the kingdom to Christianity.  The medieval world-music group La Camera delle Lacrime – a sextet, as far as I can tell –  combines with the Brandenburg Choir and Orchestra, actor David Wenham serving as narrator for this musical journey, one that takes in ‘Mongolian melodies, Buddhist hymns, Sufi chants and more.’   It’s a 90-minute feast that runs without an interval.

This program will be repeated on Sunday August 5 at 5 pm.


Saturday August 4


Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

Carmel is oboist with the Israel Philharmonic Orchestra and is here to take some of the ANAM musicians through an unusual program that starts and finishes with Mozart.  He kicks off with the Quintet in C minor K 406a, a score that began life as a wind serenade which Mozart rearranged for strings.  Somewhere along the line, oboists have taken to playing the top violin line; God knows why.   Jolivet’s Serenade for wind quintet was originally an oboe/piano composition that the French composer reconstituted for an ensemble while still maintaining the oboe’s primacy.  Carmel then leads a reading of Berio’s Chemins IV, a re-examination of the composer’s Sequenza VII for solo oboe with the supporting power of 11 strings.   Finally, we hear the Nannerl Divertimento in D, K. 251 for oboe, two horns and string quartet/orchestra (no cello/s).


Sunday August 5


Australian Chamber Orchestra

Hamer Hall at 2:30 pm

Bach’s monument in the keyboard repertoire is being re-created with increasing free-handedness in this piping time of pusillanimity.  Latest in a long line of revisionists, the ACO’s Richard Tognetti commences his re-conception with Canons on a Goldberg Ground, ascribed to Bach so you can only assume that the canons referred to are the nine that occur regularly throughout the original work.  Stravinsky’s Three Pieces for String Quartet follow, presumably in an un-orchestrated form; their presence is a welcome deviation from the afternoon’s Baroque framework.  British composer Thomas Ades is represented by Nightfalls, the first and major movement of The Four Quarters, a work that was heard in its original form twice during the recent Melbourne International Chamber Music Competition; here, it has been arranged for string orchestra but by whom is not apparent. Finally, we reach the Variations, in a string orchestra version by Canadian-born Baroque expert Bernard Labadie.   But you have to ask yourself: the whole thing?  With repeats?

This program will be repeated on Monday August 6 at 7:30 pm


Thursday August 9


Ensemble Gombert

Melbourne Recital Centre at 6 pm

Continuing its MRC series, the Gomberts are again coping with the non-existent echo of the Salon through music that is better suited to a high-ceilinged un-carpeted church.  The Bach comprises three motets.  Two of these are authenticated: Komm, Jesu, komm and Singet dem Herrn; the middle one, Ich lasse dich nicht, is now thought to be an early work.  All three are for double choir which, in terms of the Gomberts’ personnel distribution, means about 2 singers per line.  The Brahms works are the three Fest- und Gedenkspruche and the brief Three Motets.  These also require a double choir, the latter set being the composer’s final essays in the form and somewhat difficult for singers to pitch; not that you’d expect this singular body of musicians to have too much trouble.


Thursday August 9


Melbourne Symphony Orchestra

Melbourne Recital Centre at 7:30 pm

Concertmaster Barltrop (where is his one-time co-principal Eoin Anderson these days?  Haven’t sighted him all year and Sophie Rowell is now credited in the MSO programs as the alternate concertmaster) is directing and leading a mainly-strings program.  The night begins with Bach’s Brandenburg Concerto No. 3, always welcome as long as the approach avoids the hefty.  Carl Vine’s Smith’s Alchemy follows: the Australian composer’s String Quartet No. 3, written for London’s Smith Quartet and re-configured for Richard Tognetti’s Australian Chamber Orchestra.   Latvian writer Peteris Vask’s Vox amoris, the composer’s second violin concerto, continues the all-strings format with Barltrop the soloist.  The concluding Brandenburg No. 1 breaks new ground as it asks for a concertino group comprising two hunting/natural horns, three oboes, a bassoon and a piccolo violin; you’d assume that Barltrop would take the string solo but the other six supernumeraries will have had a lot of waiting around before they get to show their wares.

This program will be repeated in Robert Blackwood Hall on Friday August 10, and in the Mary Mount Centre, Loreto College, Ballarat on Saturday August 11.


Saturday August 11


Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

Visiting virtuoso Richard Osborne, the pride of Scotland, is visiting our ANAM corridors for a brief tutelary stint and finishes this recital with the afore-mentioned volume, its three constituents not as well-known as the Book 1 gems.  Indeed, it’s hard to recall a live performance of Cloches a travers les feuilles, let alone one of Et la lune descend sur le temple qui fut;  but Poissons d’or has tempted quite a few executants.  Filling out the night with more Debussy, Osborne has an as-yet-unknown associate for the piano 4-hands 6 Epigraphes antiques, entrusts the G minor String Quartet to some ANAM musicians, then returns for the two-piano Lindaraja, a five-minute bagatelle whose title comes from a room in the Alhambra rather than having any Far Oriental reference.  Back to the cosy piano 4-hands format for Printemps, a product of Debussy’s Prix de Rome experience, and then the four-movement Petite suite which reaches its peak in the opening En bateau – one of those lyrics that never ceases to give delight.


Sunday August 12


Melbourne Chamber Orchestra

Melbourne Recital Centre at 2:30 pm

Something you automatically associate with the Venetian master is a violin; all those lucky girls in the Ospedale della Pieta would have played the composer’s extraordinary chain of concertos for strings, one hopes, with delight at the changes that their Mr. Music would have rung for them.   Sophie Rowell, the MSO’s co-concertmaster, is heading four Vivaldi works: the four-violin solos special in E minor, the B flat Major RV 368 (one of the 26 or so in this key), the double violin concerto RV 514 in D minor (the only one in that key), and an old friend in the Grosso Mogul RV 208.  That’s a lot of Vivaldi, but wait: there’s more.  William Hennessy and his players open with a Geminiani scrap: the final 3-minute Allegro from the Concerto Grosso Op. 3 No. 3,  pops in Respighi’s simple-looking but taxing Ancient Airs and Dances Suite No. 3, and prefaces the Grosso Mogul with Verdi’s Andantissimo, co-opted for string orchestra from the composer’s solitary string quartet and somehow re-christened up to a superlative from Andantino along the way.

This program will be repeated on Thursday August 16 in the Deakin Edge, Federation Square at 7:30 pm.


Tuesday August 14

Ray Chen with Julien Quentin

Melbourne Recital Centre at 7 pm

29-year-old Chen is an Australian favourite and we have the nerve to lay a kind of claim to him, in the same way that some of us profess that Russell Crowe and John Clarke are our own.   He was schooled in Brisbane before taking off at about the age of 17 for an achievement-packed career in America and Europe.  He is appearing for Musica Viva, along with regular collaborator, pianist Julien Quentin who is about 15 years his senior.  In the first of two programs, the pair work through the rarely-heard Beethoven’s Violin Sonata No. 1, followed by Grieg’s Sonata No. 2, the middle one in G Major.  Before resorting to the flamboyant with Monti’s Czardas and Falla’s Popular Spanish Suite in Paul Kochanski’s famous (and approved) arrangement from the original Seven Popular Spanish Songs, Chen and Quentin will perform a new Matthew Hindson work commissioned for Musica Viva: Violin Sonata No. 1, Dark Matter.

On Saturday August 15, Chen and Quentin will perform a second program:  Vitali’s Chaconne in G minor, the exhilarating Franck A Major Sonata, Ysaye’s Sonata No. 3 for solo violin (Georges Enescu), Ravel’s Tzigane showpiece, and the new Matthew Hindson new score from Program 1.


Wednesday August 15


Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Bramwell Tovey has form as a Bernstein authority.   In 1986, he filled in at short notice to direct a London Symphony Orchestra Bernstein Festival opening night, with Bernstein present.   Back in Melbourne to help celebrate the American master musician’s birth centenary, Tovey is at the MSO helm for a night better called Bernstein and His Influences.  We start with Copland’s 1957 Orchestral Variations, a re-working of the composer’s Piano Variations which Bernstein admired immensely.  Another favourite composer was Mahler, so we’re hearing the five Ruckert Lieder with contralto soloist Liane Keegan.  As for original works, one is the three-movement Symphony No. 1, Jeremiah, which the composer recorded three times but was untouched by anybody else until he died; Keegan is also the soloist for this 1942 score.  To finish, Tovey conducts the Chichester Psalms with Tasmanian Nicholas Tolputt the countertenor soloist – and that’s a voice you don’t want to miss.  Bernstein calls for four other vocal soloists for this work but I can’t find any details about them.  The MSO Chorus will be hard-pressed in this psalm sequence but the work’s timbre-scale is extraordinary: 6 brass, 6 percussion, 2 harps and strings.   And the vocal forces are required to sing in Hebrew.


Saturday August 18


Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Another one-night stand in honour of Lenny, this will be also be directed by Bramwell Tovey, a pianist/conductor with an affinity for music more commonly known as ‘light’.  He will probably be conducting the MSO as well as offering some piano accompaniments.  Just like a performance of Messiah, there will be four soloists: British soprano Sarah Fox making what I think is her first appearance here, mezzo Liane Keegan, tenor Brenton Spiteri and Canadian-born baritone Brett Polegato.  As far as I can learn, none of these has made any name for himself/herself in Bernstein’s output, but we are promised excerpts from Wonderful Town, On the Town, Candide, Peter Pan, Fancy Free and West Side Story.  In other words, a collection of material we don’t know at all, and other lyrics that we know all too well.


Sunday August 19


The Melbourne Musicians

St John’s Southgate at 3 pm

Director Frank Pam’s beloved Mozart features at this concert through soprano Elena Xanthoudakis who will sing three of the composer’s most well-known operatic arias: the Countess’s Dove sono from Act 3 of The Marriage of Figaro, Susanna’s Deh vieni from the opera’s last garden act of the same work, and Pamina’s Ach, ich fuhl’s from Act 2 of The Magic Flute.  The singer also takes on some Donizetti with one of Adina’s arias from L’elisir d’amoreDella crudele Isotta or Prendi, per me sei libero although the first requires a chorus and the second doesn’t really end convincingly.   As a built-in encore, Xanthoudakis will also contribute a reading of Schubert’s Ave Maria to the afternoon’s progress.  The other Donizetti comprises the Concertino for cor anglais, an Allegro in C and the Introduction for strings.  Celebrating a senior Australian composer who died in February this year, the Musicians are also performing Colin Brumby’s 1988 Scena for cor anglais and strings; as with the Donizetti Concertino, Anne Gilby is the soloist.  Despite all this string-heavy content, suitable for the Musicians’ personnel make-up, the Mozart and Donizetti arias call for extra instruments – flute, oboe(s), bassoon, horns; added expense but in a good cause.


Sunday August 19


Australian National Academy of Music

Melbourne Recital Centre at 5 pm

Following her success with the MSO in realizing Bruckner’s Symphony No. 6 last month, Young makes what has become an annual visit to the National Academy to take that body’s young players into the bowels of the European repertoire.  Tonight, it’s the turn of Brahms’ Symphony No. 3, the most free-ranging and dynamically turbulent of the four, although it has a marvellously consolatory final page or two.  This is paired with Strauss’s Metamorphosen for 23 strings which, for this usually ebullient composer, constitutes barely relieved depression at the state of the composer’s country in 1944/6.  To open, Young presents Wolfgang Rihm’s flute-less, trumpet-less, violin-less Ernster Gesang of 1996 with some obvious throwback to Brahms except that Rihm employs no singer.


Sunday August 19


Team of Pianists

Rippon Lea Ballroom at 6:30 pm

In its penultimate recital at the National Trust home, the Team is represented by Robert Chamberlain, who partners local cellist Robert Ekselman.  The French strain comes from two historical spectrum ends: Couperin’s Five (Cinq?) Pieces en ConcertPrelude, Sicilienne, La Tromba, Plainte, Air de Diable – and Debussy’s Cello Sonata which tests every duo’s dynamic balance.  The Russian flavour comes through Rachmaninov’s Cello Sonata which is just as much a piano sonata and was the composer’s last chamber work.  And from Spain will come Falla’s Suite populaire espagnole, presumably in Maurice Marechal’s arrangement; nice to hear this again, so soon after Ray Chen and Julien Quentin’s reading five days previous.   There’s a nice symmetry to this program with little scraps set alongside major works, although the Debussy flies past all too rapidly.


Wednesday August 22


Selby & Friends

Tatoulis Auditorium, MLC at 7:30 pm

Kathy Selby enlists the company of violinist Natalie Chee and cellist Julian Smiles for the piano trio parts of this night’s work, both musicians she has brought into this series several times in previous years.  They begin with Beethoven’s  G Major Trio, the one subtitled Kakadu Variations because that’s all there is to it, all twelve of them on a theme that obviously tickled the composer’s adaptation bone.  You’ll find more of the promised torment in Schumann’s last Piano Trio, that in G minor, although the passion is negligible in a happy finale.  Lloyd Van’t Hoff brings his clarinet to the mix for Messiaen’s Quartet for the end of time which assaults the listener with an overwhelming mix of stasis and plunging energy.  This is music that is totally individual, brilliantly organized and emotionally draining;  in the right hands, it can be a transformative experience, in particular the aspiring last violin/piano duet.


Saturday August 25


Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

I recall that Markus Stenz programmed this Ring lump in 2012, but did he partner it with something else?  Yes: it was Beethoven’s Pastoral and I still don’t understand why.  In any case, here we go again, thanks to the insatiable desire of Sir Andrew Davis to give us opera without theatrical constraints.  He builds up to one of opera’s great storms and most ardent love-through-nature duets with that tender trifle, the Siegfried Idyll .  .  .  after which 20 minutes, we go out for interval, returning for the opera excerpt’s 65 minutes.  Eva-Maria Westbroek takes on Sieglinde, a role she has sung in Bayreuth, London’s Royal Opera House, and the Metropolitan Opera.   Her husband, Frank van Aken, partners her as Siegmund which he has presented in Dusseldorf, Frankfurt, La Scala, the Metropolitan Opera and Teatro del Liceu.   The killjoy husband, Hunding, will be Australian bass Daniel Sumegi, who sang the part in 2012 and was seen here last year in Davis’s concert performance of Massenet’s Thais.   Doubtless, the MSO will enjoy the opportunity to play a good stretch of Wagner; my major reservation is that we have to eschew the delights of Acts 2 and 3.


Wednesday August 29


Mimir Chamber Music Festival

Conservatorium of Music, University of Melbourne at 7:30 pm

Returning once again to show us how it’s done  –  and they really do  –  eminences from the Fort Worth original festival conduct classes in and hold recitals of chamber music while collaborating with Conservatorium of Music Faculty in three central exercises.  Participants include some familiar US friends in violinists Stephen Rose and Jun Iwasaki, violist Joan DerHovsepian and cellist Brant Taylor.  Locals include mezzo Victoria Lambourn, the Conservatorium’s Head of Strings, Curt Thompson, and pianist Caroline Almonte.   Along the way, patrons will hear two imported pianists: Italian Alessio Bax and American John Novacek.   This first recital offers the Brahms Two Songs for Alto, Viola and Piano – one of the composer’s shorter glories – then Amy Beach’s F sharp minor Piano Quintet of 1908, followed by Mendelssohn’s early and Beethoven-struck  A Minor String Quartet.  This is a repeat, with two personnel changes, of  Concert No. 2 at this year’s Texas Mimir Festival, given on July 5.


Thursday August 30


Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Sir Andrew brings us yet another great British masterpiece in Holst’s seven-movement suite, presumably in its original form without the addition of Colin Matthews’ Pluto the Renewer or the Rattle-commissioned Asteroids quartet.  No: Neptune will take us into the void – well, actually, the ladies of the MSO Chorus will have that pleasure.  Preceding this orchestral show-piece,  Davis conducts the premiere of Carl Vine’s new Symphony No. 8; this is the major product so far of the composer’s residency with the orchestra.  Its title The Enchanted Loom, refers to a metaphor coined by British neuroscientist Sir Charles Sherrington to describe the brain awakening from sleep.  Vine’s five movements are: the loom awakens, the social fabric, sheer invention, euphoria, and imagining infinity; the score has a duration of about 25 minutes.

This program will be repeated at 7:30 pm in Costa Hall, Geelong on Friday August 31, and again in Hamer Hall at 2 pm on Saturday September 1.


Friday August 31


Mimir Chamber Music Festival

Conservatorium of Music, University of Melbourne at 7:30 pm

For the second of these masterly exercises, the night begins with the slight G minor String Trio by Sibelius, followed by Rachmaninov’s Suite No. 2 for Two Pianos – one of those products of the composer’s recovery and return to composition after three years’ silence and hypnotherapeutic and psychotherapeutic treatments – while the evening takes on an appreciable if lightly-administered gravitas after interval with Beethoven’s String Quartet in E flat Major Op. 127 – the first of the great chain of five that engrossed the composer in his final, intensely unhappy years.  The Sibelius and Beethoven are repeats of the content for Fort Worth’s Mimir July 7 Concert No. 3 where, instead of the Rachmaninov, patrons heard a four-hand piano version of Stravinsky’s Petrushka – presumably the unpublished arrangement that the composer used during rehearsals prior to the ballet’s first staging in 1911.