September Diary

Sunday September 2


The Melbourne Musicians

St. John’s Southgate at 3 pm

This is what I call putting your guests to work.   Frank Pam and his chamber orchestra play hosts to violinists Miki Tsunoda and Anne Harvey-Nagl in a wealth of concertos, and not just the famous double ones from Vivaldi and Bach, welcome though these are.   The Bach coupling is the famous D minor BWV 1043 – to my generation, coloured by the Olympian security of the 1962 recording by Oistrakh father and son.   The Vivaldi double in A minor Op 3 No. 8 will be familiar to organists as that transcribed by Bach for their instrument as BWV 593.   Also being aired is Bach’s Overture in A minor, possibly taken from an earlier version of the Orchestral Suite No. 2 in B minor, only with solo violin rather than solo flute.   The Vivaldi fest continues with the Concerto for two violins and cello in D minor.  And there’s more: a Concerto ripieno in C (possible RV 115), a sinfonia in G (RV 146? 147? 149?) and individual concertos (presumably for violin and strings) in E minor (take your pick of 10 possibles) and A Major (18 potentials here).


Sunday September 2


Mimir Chamber Music Festival

Faculty of Music, University of Melbourne at 3 pm

The last in this fine if brief series of masterclasses and concerts begins with the Schubert Quartet in E flat; yes, I don’t know it, either.  A student work, this quartet has been referred to as ‘No. 10’, which infers a preceding job-lot that remain pretty well unplayed these days.  As for Brahms, Mimir presents the Piano Quintet in F minor, a masterpiece of the form and one of the composer’s towering chamber music achievements.   As well, Mimir fleshes out our knowledge of American music with the String Quartet No. 1 by George Walker, a composer/pianist/academic of high distinction with a sackful of ‘firsts’ to his name, including being the first African-American to receive a Pulitzer Prize and various professorships at several US universities.  This quartet’s second movement has enjoyed the same fate as Barber’s Adagio in being arranged for strings and thereby gaining considerable popularity and performances.


Thursday September 6


Melbourne Chamber Orchestra

Deakin Edge, Federation Square at 7:30 pm

Five big names in Spanish music feature in this program, which is conducted by Michael Dahlenburg.   The group begins with Turina’s La oracion del torero; originally written for four lutes, it enjoyed a transcription for string quartet before expansion to string orchestra costume.   Then the afternoon’s soloist, guitarist Christoph Denoth, will emerge to perform two standards of his repertoire: Albeniz’s Leyenda (Asturias to you and me) and Torre Bermeja.  He follows up with Joaquin Malats’ perky Serenata which Denoth has arranged for himself and string orchestra.  The MCO’s go-to man for custom-made material, Nicholas Buc, is enriching the occasion with some arrangements for the group: another Albeniz in Espana, originally for piano and here its six movements have all been treated except for the fourth, another Serenata; and then come three of Granados’ twelve Danzas espanolas – No 3 (Fandango), No 5 (Andaluza/Playera) and No. 6 (Rondalla aragonesa).  Finally, Denoth takes the central role in Rodrigo’s Concierto de Aranjuez which will give us a through-composed entity in an evening of Iberian scraps.

This program will be repeated on Sunday September 9 in the Melbourne Recital Centre at 2:30 pm.


Saturday September 8


Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

For this review of the British composer’s output, the Australian String Quartet is joined by some ANAM musicians.   On the preceding evening, the ASQ plays the first of the quartets, as well as the Phantasy Quartet for oboe (ANAM director Nick Deutsch) and string trio, as well as the rarely-aired Three Divertimenti for string quartet (10 minutes’ worth of March, Waltz, Burleske), with a filler of a Movement (Moderato con molto moto) for wind sextet – your basic four woodwind plus horn and bass clarinet.  This second night holds the two later quartets and the composer’s first international calling card: Variations on a Theme of Frank Bridge, which shows what an extraordinary command of both utterance and technique had been developed by the 23-year-old composer.  Frankly, I’ve never been that keen on the final quartet’s Death in Venice debts, probably because the opera is obsessed with its own sounds, but its C major predecessor, in particular the Chacony finale, stands at the core of English compositional character.


Saturday September 8


Melbourne Bach Choir

Melbourne Recital Centre at 8 pm

While the Mozart torso stands as the fulcrum of this concert, the in memoriam theme comes through more clearly in two works by that name: Stravinsky’s short twelve-tone In memoriam Dylan Thomas for tenor, string quartet and four trombones, and Part’s equally brief Cantus in memoriam Benjamin Britten for strings and bell.  The choir will also sing Bach’s Weinen, Klagen, Sorgen, Zagen cantata for three soloists (alto, tenor, bass), choir and small orchestra including three wind.  To compensate the soprano soloist for missing out on a role in the cantata, conductor/artistic director Rick Prakhoff has programmed Mozart’s early aria in B flat, Kommet her, ihr frechen Sunder, the composer’s last piece connected with the Passion but, sadly, not particularly memorable.   Oh, the actual singers taking on principal roles throughout this melange are soprano Jacqueline Porter, mezzo Sally-Anne Russell, tenor Andrew Goodwin, and baritone Andrew Jones.


Monday September 10


Australian Chamber Orchestra

Melbourne Recital Centre at 7:30 pm

Well, you can predict the transformed Strauss:  Metamorphosen for 23 strings that laments World War II, arranged from the composer’s short score for string septet by Rudolf Leopold.   The new-and-strange Mozart is the warm-hearted violin/viola Sinfonia Concertate reshaped by the composer into a string sextet: the Grande Sestetto Concertante.  Around these come some odd bedfellows: Dowland’s Lachrimae antiquae (first of the Lachrimae pavans collection) for five lines, the Ricercar a 6 from Bach’s A Musical Offering (the one that Webern arranged so astonishingly) and the Tristan Prelude arranged by Sebastian Gurtler – presumably the one for string sextet, not the ones he did for string orchestra or 23 solo strings.  As for participants, the scheduled violins are Helena Rathbone and Aiko Goto, viola Nicole Divall, cellos Timo-Veikko Valve and Melissa Barnard, with Maxime Bibeau on double bass.  This body can handle all the above scores except the Strauss, which needs another viola.  You can’t say the recital won’t live up to its title’s first word.


Wednesday September 12


Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

In the middle of a very active month for ANAM, the administration has assembled a quintet of notable wind players for this taxing night’s operations.   Director Nick Deutsch, contributes his oboe to the mix; the flautist is Wally Hase, from next month Professor of Flute at the University of Music and Performing Arts, Vienna; Icelandic citizen Dimitri Ashkenazy, son of Vladimir, is on clarinet; Australian-born Lyndon Watts, principal bassoonist with the Munich Philharmonic, takes the bass line; Marie-Luise Neunecker, notable academic and soloist, is the group’s horn and an expert in contemporary music.  The night opens with Harald Genzmer’s Wind Quintet of 1957, moves to Hindemith’s three-movement Sonata for 4 horns of five years earlier, then takes an up-to-the-mark challenge with a new work by Israeli-Australian composer Yitzhak Yedid.   A more senior element emerges with Frank Bridge’s late Divertimenti for woodwind quartet – Prelude, Nocturne, Scherzetto, Bagatelle – and, finally, Strauss’s B flat Major Suite for 13 winds – pairs of woodwind, four horns, and a tuba or contrabassoon working away at the bottom of it all.   We’ve had the ANAM strings labouring away at Britten over the weekend; here come the wind.


Friday September 14


Melbourne Symphony Orchestra

Melbourne Town Hall at 7:30 pm

It’s hard to know what to make of this grab-bag.   The MSO under luckless Benjamin Northey starts with Stravinsky: the Pulcinella Suite which makes a virtue out of just avoiding grating dissonances and which probably works better in the theatre where it came from.   As well, Stravinsky also features later in his arrangement of the Bluebird pas de deux from Act III of Tchaikovsky’s The Sleeping Beauty; 1941 wartime restrictions-determined that this re-scoring is for flute, oboe, two clarinets, bassoon, pairs of trumpets and trombones, a horn, timpani, piano, violin, viola, cello and double bass.  That’s a lot of chair-moving for 5 minutes’ worth of music.   Guest artist, pianist Andrea Lam, fronts the Mendelssohn Concerto No. 1 in G minor which is full of notes.  And the night ends with Mozart’s Symphony No. 41, teetering on the last legs of Classicism but ebullient and intellectually invigorating from first note to last.   How it fits in with what’s gone before is anyone’s guess.


Friday September 14


Victorian Opera

Hamer Hall at 7:30 pm

The company is very proud of its forays into the Bellini oeuvre: Norma in 2014, I Puritani in 2015 and last year’s La Sonnambula.  All have been concert versions and tonight is no exception.   The company’s artistic director, Richard Mills, will conduct and the main roles feature familiar faces.   The trousers part of Romeo is entrusted to mezzo Caitlin Hulcup; the company is fortunate to attract a singer with her high reputation.  Giulietta will be taken by Jessica Pratt, who had considerable success with last year’s Bellini effort, I’m told.  Teddy Tahu Rhodes has the senior’s role of Lorenzo, the Capulet family doctor (stepping in for Friar Laurence) who concocts the idiotic sleeping potion plan.   Capellio, Juliet’s father, will be sung by David Parkin, most well-known for his 2006 triumph in Operatunity Oz, while Carlos E. Barcenas has the task of playing Tebaldo (substituting for Shakespeare’s Paris).


Saturday September 15


Australian Brandenburg Orchestra

Melbourne Recital Centre at 7 pm

Baroque violinist Daniel Pinteno is the central artist on this program which has  geographical and temporal limits, most welcome after the ABO’s disappointing trans-Asian ramble of Karakorum.   Much of the music being performed is completely new to me but it comes from the Brandenburgers’ home territory, so high hopes are flapping in the breeze.   Pinteno will direct two Australian premieres and one world premiere, this last a sinfonia by Felix Maximo Lopez, born before Mozart but living well into the 19th century and best known as a court organist.   As for the other premieres, Vicente Basset’s eminently forgettable 5-minute Overture a piu stromenti gives the players a useful tune-up; Italian-born Caetano Brunetti’s Sinfonia in C minor is subtitled Il Maniatico, and the designated maniac is a solo cello that suffers from a musical monomania, an idee fixe from which the other orchestra members try to distract him/her.   There are two concertos from that well-known Spaniard, Vivaldi: La Notte for flute – in this instance, Sydney musician Melissa Farrow – and the Op. 3 No. 9 in D Major (one of the several that Bach transcribed), with Pinteno as soloist.   Another Italian-born musician who, like Brunetti, wound up in Spain, Giacomo Facco wrote his own L’estro armonico called Pensieri Adriarmonici from which Pinteno will perform the Concerto No. 3, notable for its 25-bar central Adagio.   And, for a further cosmopolitan touch, the ensemble plays two movements from Englishman Charles Avison’s Concerto grosso Op. 6 No. 6.   How much of this was played at the Spanish court?   I don’t know, but the aristocracy were very keen on their music, home-grown or not, and it was probably impossible in the 18th century to avoid Vivaldi the Prolific.

This program will be repeated on Sunday September 16 at 5 pm.


Sunday September 16


Team of Pianists

Rippon Lea at 6:30 pm

Team senior Darryl Coote is in for a long night as he accompanies soprano Rebecca Rashleigh and mezzo Victoria Lambourn in a series of 16 operatic excerpts.   Some of them are more than familiar: Rusalka’s Song to the Moon, Liu’s Tu che di gel sei cinta, the Offenbach Barcarolle, the Madama Butterfly Flower Duet, Humperdinck’s Evening Prayer, Tchaikovsky’s None but the lonely heart (not opera, but let it ride), and the Seguidilla from Carmen.   A few are on the cusp of arcane: Zeffiretti lusinghieri, Ilia’s aria from Mozart’s Idomeneo; Susannah’s Act 1 aria Ain’t it a pretty night from Carlisle Floyd’s popular work; Olga’s Akh, Tanya, Tanya from  Act 1 of Eugene Onegin, and the Uzh Veder duet for Lisa and Polina from the same composer’s The Queen of Spades.  But you will also hear some true rarities: Come ti piace, imponi – the duet at the opening of La clemenza di Tito; and four Rossini pieces including a duet from Bianca e Falliero, Cruda sorte marking the title character’s entry into L’Italiana in Algeri, and two non-operatic songs in Canzonetta spagnuola and its contemporary, Belta crudele.  It all adds up to four soprano solos, six for the mezzo and the same number of duets; lots of fun for everyone   –  except the hard-worked artists.


Friday September 21


Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

The Debussy celebrations continue at ANAM, if nowhere else.   An expert in the composer’s piano music, Roy Howat, is sharing the labours on this night with Timothy Young and some other ANAM musicians, although I don’t know how many others will need to be involved unless the Academy pianists have been invited to take part alongside their two seniors.   But more of that below.   The program begins with the Violin Sonata, and two other duets have been scheduled: Marche ecossaise sur un theme populaire in the original piano 4-hands version, and the two-piano three-movement suite, En blanc et noir.  The rest of the content is a collection of well-known solos: the eponymous suite, the catchy Danse, as well as the Valse romantique, Ballade, Mazurka, and the musical picture-postcard triptych of Estampes.   Now, speaking of extra ANAM instrumentalists, what sticks out from this sequence is the Sonata No. 3 (after Debussy) by Lyle Chan, who is engaged in writing those three sonatas that Debussy didn’t live long enough to compose, although he projected their instrumentation.   According to the authorities, ‘Sonata No. 3’ is, in fact, Debussy’s own Violin Sonata; the Australian Music Centre cites this recital as premiering Chan’s Sonata No. 4, which follows the French composer’s projected plan by being written for oboe, horn and harpsichord.


Friday September 21


Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

No surprises here: a good old-fashioned overture-concerto-symphony format of works in the central Romantic tradition, all written within 50 years of each other.  The MSO’s Cybec Assistant Conductor Tianyu Lu gets to handle the overture, that to Smetana’s The Bartered Bride; when are we going to hear that mellifluously melodious opera again?  Then Xian Zhang takes over the podium: a triumphant night for female conductors.   As well as taking the orchestra through Dvorak’s sterling final symphony, she also will assist Benjamin Grosvenor work his way through the Schumann Piano Concerto.   Here’s hoping he has as much success with this work as he did here three years ago with that even more hard-worn warhorse, the Grieg which, like the Schumann, is a gift to young performers.

This program will be repeated on Saturday September 22 at 7:30 pm and on Monday September 24 at 6:30 pm.


Saturday September 22

Borodin Quartet

Melbourne Recital Centre at 7 pm

Path-setters for many works and a representing a formidable chamber music tradition, this body’s personnel have changed but the style remains.   Appearing once again for Musica Viva, this superbly honed ensemble is presenting a Shostakovich work in each of its two programs: No. 9 tonight and No. 15 – the last in the series – a week later.  Program 1 also holds Haydn in B minor Op. 33 No. 1 and Beethoven No. 13 in B flat for that essential infusion of gravitas.   The second night audience is treated to Tchaikovsky No. 1 with its melting Andante cantabile slow movement, while Wolf’s Italian Serenade serves as brilliant comic relief.   These are red-letter nights for enthusiasts of quartet playing and I’d expect a venue as small as the Murdoch Hall to be packed to the gills.

The Quartet will present its Program No. 2 on Saturday September 25 at 7 pm.


Saturday September 22


Ensemble Gombert

Our Lady of Victories Basilica, Camberwell at 8 pm

Concert No.2 out of three being given this year at the imposing Catholic church in Camberwell,  this endeavour by the Gomberts explores a rich mine of polyphony composed in the years before things got over-complicated.  The four composers programmed are Josquin, Pierre de la Rue, Verdelot and Compere – all contemporaries, imposing presences in the French and Franco-Flemish compositional worlds.   Josquin is represented by one work, the motet Absalon fili mi, which has been attributed to de la Rue – but never mind: it’s all in together for  this night’s family.   Verdelot also features with only one work: another six-voice motet, Ave sanctissima Maria which has also been attributed to that gadabout, de la Rue.   The real de la Rue compositions are the six-voice Pater de caelis Deus and the canon-crazy Missa Ave sanctissima Maria.   Compere’s Galeazescha, written for Duke Galeazzo Maria Sforza of Milan, is another form of mass, but one comprising Marian motets rather than following the usual Ordinary format.   Here is the sort of music-making in which this exemplary ensemble shines: scholarly and transporting.


Thursday September 27


Paul Lewis

Melbourne Recital Centre at 7:30 pm

Taking his place in the Recital Centre’s series of Great Performers, British pianist Lewis is giving us yet another of his highly individual recitals which, although featuring great composers, head towards the more arcane stretches of their output.  The Bagatelles are not problematic in the same fashion as Beethoven’s late sonatas are; for one thing, they’re comparatively pithy.   But that’s part of the reason why most pianists ignore them – no long melodic spread in which to bathe your listeners and not enough amplitude of brusqueness to keep them satisfied.   As for the Brahms Four Piano Pieces Op. 119, most of us would find it hard to remember when last we heard the first three of them, all intermezzi, while the concluding Rhapsody is a tremendous challenge in distributing the weight between the fingers, let alone the hands; most interpreters are happy enough to belt the pages, making a single-minded virtue out of their risoluto direction.   In between these, Lewis plays two Haydn sonatas: Hob XVI. 49 and Hob XVI. 32, both of which he has recently recorded for Harmonia Mundi as part of a project to set down the composer’s total sonata output.  Still, this all adds up to a bit over an hour’s worth of performance time.

There’s another similar recital on October 1, of which more details later.


Friday September 28

MOZART 39, 40 & 41

Australian National Academy of Music Orchestra

Melbourne Recital Centre at 7:30 pm

They don’t come more focused than this.   Guest conductor Douglas Boyd led the Melbourne Symphony Orchestra through the complete Beethoven symphonic cycle at the Town Hall six years ago in a memorable series, and he has been a pretty regular visitor since that time.   Here, he takes the ANAM forces through the final three symphonies of Mozart, all from 1788 and foundation stones of the Western musical tradition.  Yes, of course the musicians can play the scores but it will be a burning question as to how far Boyd can take his (mainly) young charges in produndity of interpretation, especially considering the brief period that he has to work with them, although he won’t have to be concerned with imparting broad technical details.   A feast for the intellect, being confronted by works that set off sparks from first bar to last.   As well, the dedicated can compare this reading of No. 41 with the MSO’s version on Friday September 14.


Sunday September 30


Australian Chamber Orchestra

Hamer Hall at 2:30 pm

In 1998, the 16-year-old Ilya Gringolts won first prize at the Genoa Paganini Competition.  Naturally, we’ll all be more than a little interested to hear what he makes of the Italian master-violinists’s Concerto No. 1, even if it comes in an arrangement by Bernard Rofe which will probably reduce the score to fit the ACO string personnel, leaving out the original’s six woodwind and five brass.   As well, Gringolts will participate in Vivaldi’s Concerto for violin and 2 cellos in C with ACO principal Timo-Veikko Valve and his long-time second, Julian Thompson, as co-sharers of the work’s limelight.   Gringolts begins his afternoon/evening with a C.P.E. Bach String Symphony in C, presumably the third of the Wq. 182 series of six    The program ends with Bartok’s Divertimento of 1939, which was part of the first ACO concert in 1975; will be interesting to see what the guest director/soloist makes of it.

This program is repeated on Monday October 1 at 7:30 pm.