Saturday July 24
This duo was scheduled to perform on Sunday July 25 at the Old Museum in Bowen Hills where I first made the acquaintance of Alex Ranieri and his Brisbane Music Festival. Because of lockdowns, both projected and actual, the recital could not take place here, so Musica Viva set up a video for us outlanders of one of the Melbourne performances – either Saturday July 10 or Tuesday July 13. The music came under a general heading/title that could have referred to the Australian/Papua New Guinean passerine that we celebrate for its catholicity of theft, or it might have been intended to summon up images of the leafy structure found in all the best gardens and wildernesses.
In fact, the name deliberately suggested both. In their little-over-an-hour of music, Lacey and McGuire raised an atmosphere of beguiling calm right from the start, walking on to a suggestive pseudo-set disposed decorously on the Melbourne Recital Centre stage. A scene of circumambient penumbra was focused on a lighting grid in which operated the two musicians, around whom spotlights shone diagonally to the roof with dry ice adding to the aura of being nowhere specific, although that soon faded with the opening work. Lou Bennett‘s Baiyan Woka, a Yorta Yorta song, was arranged for the recorder/harp combination by Erkki Veltheim; as well as giving Lacey the tune and several repetitions of it, the arranger provided an electronic backdrop incorporating relevant instrumental sounds, assorted percussion, and the hum that surrounds you in the deep bush.
What I enjoyed with this piece was the tight intersection of recorded and live strands which were not allowed to meander on their own sweet ways but kept together as a complex. Lacey used two recorders to outline Bennett’s melody and McGuire sounded at his best with low register output. The only questionable aspect were a rash of harp glissandi; no matter how much you try to turn these gestures into something old and strange, the suggestions of France are inescapable.
Moving back about 350 years, we jumped to John Playford’s The Dancing Master and a suite from that commodious collection that alternated sprightly with leisurely; nothing exceptional here but the playing which brought to the fore Lacey’s sterling talents in rapid-fire negotiations and lilting sweetness. As a pendant came Jacob van Eyck’s Bravade, with some paper interwoven with the harp’s lower strings (by Lacey, during the Playford cluster) to produce a light tambour effect, supporting the recorder’s brilliant elaborations in the Dutch piece, here handled with more metrical determination than you hear in many another version that feels drawn to rhythmic waywardness in works from the country’s musically dominant years.
Andrea Keller, whom I’ve only come across before as a jazz pianist, composed I Surrender during last year’s lockdown. It mirrors the nervous repetition of those days – nothing changes in lockdown, but you’re on edge – and moves into slowly administered additions to the melody line. I suppose the main difficulty with a pretty straightforward piece like this one is that it loses you in its own pattern-making, and that involved both players. At its heart I Surrender is unsurprising – normal and not over-ambitious – but you could relish the bird sounds inserted for Lacey (the first obvious ones I’d heard so far this night), and a suggestive, moody recession that rounded off the work.
As if to make up for avian absence, John Rodgers‘ Birds for Genevieve gave the recorder plenty of suggestive sounds in a cascade that included breathy over-blowing and passages of sparkling pointillism as the movement ranged across bird-calls with a lavishness that mirrored the male bower-bird’s taste for whatever falls in its path. Rodgers expertly fabricated a real atmosphere of controlled activity; not that any part of the Australian bush would have yielded the chain of calls that Lacey produced. But that’s hardly the point, as Messiaen could have told you. More impressive was the composer’s sustained contemporaneity: his piece sounded freshly minted, thanks to its novel material, and its language connected to a post-1950 creative world.
Lachlan Skipworth‘s Cavern was set against a sound-track of what could have been dripping water and clap-sticks. This set up a quiet but expectant aura which I found was disrupted by a reappearance of those salonesque glissandi from McGuire. Here, Lacey used a bass recorder, generating sounds that came close to a dijeridu, but much more clearly pitched and mobile. As a piece of suggestive music, it succeeded ideally in suggesting the composer’s experiences of a Margaret River area cave, the piece actually a cannibalisation of the first movement from his own Quintet for Bass Recorder and Strings.
Another contributor to this hour of patchwork came with Cipriani de Rore’s Io canterei d’amor, with Girolamo dalla Casa’s divisions on it, the whole a Lacey/McGuire arrangement, I know only the original madrigal and you could find plenty of familiar melodic fragments in this construct which gave some splendid extended ornamented flights for Lacey above McGuire’s functional chord work.
The next work was divided into five parts and I think I was able to pick them all out. Bree van Reyk‘s threaded in amongst the infinite threading began with Lacey taking up a contrabass recorder which looks rather like an organ flue pipe and interweaving (as you’d expect) with McGuire in a mildly tortuous manner, before moving to a new section with percussive work in the harp’s bass, eventually featuring some snatches of Bartok pizzicato, the recorder also showing itself a tappable, snappable sound source. The piece’s middle gave us bird sounds on a regular recorder, above harp ostinati and what can only be called scrubbing. Then, a shift to a sopranino (?) instrument operating in its top range, the harp also occupied in its highest strings, before a final section used the contrabass as a melody source while the harp produced telling isolated notes and further scrubbing.
Most of my notes concerned themselves with the accidents of this piece rather than what actually went on. And it seemed that appearance-in-performance constituted a large part of its effectiveness. Van Reyk’s musical language is based on the tonal system, but with digressions, sections apparently linked by harp bridging, but its philosophical underpinnings went way over my head. Unlike Froberger’s Lamentation on the death of Emperor Ferdinand III, here a solo from McGuire which enjoyed a free-wheeling attitude to rhythm but proved to be affecting in its use of almost predictable tropes, capped by a remarkable ascending scale in the final bars.
Veltheim’s own Nocturne over blue ruins involved a prominent tape contribution as it attempted to take on the bower-bird concept, here realised by single harp notes alternating with dyads repeated mercilessly. For some time, I had no idea what the recorder (bass) was doing, finding its timbre almost indistinguishable from the electronic sounds; possibly single notes were emitted but they did a successful job of attracting absolutely no attention. Veltheim has based his work on the bandwidth of the colour blue – the bower bird likes blue – as well as the bower-as-shelter concept. Of all the pieces in this program, this was most reminiscent of a ‘happening’ piece, in the old 1960s sense; but then, from its content, it was also close to the most non-happening work we heard, packed as it was with white noise and mind-numbing repetitions. In fact, there was no need for the work to end; we could be listening to it still.
Last of the modern works in this aural scenario that leapt whole centuries at a single bound was a collaboration between Madeleine Flynn and Tim Humphrey: A mutual support for precarious times. This would seem to be an improvised work, in that it takes a different form every time it is played, according to the creators. This piece also had a scene-setting soundscape, across which Lacey contrived some telling wobbles on her contrabass while McGuire did the contemporary thing by slapping his strings. The work’s background included some good old-fashioned sine wave sounds, with all sources indulging in sudden flickers that sounded like neurasthenia given physical form.
To end, we were given two luminous splendours, serving as memorable branches in the shape of this shelter. First, a version of Purcell’s Evening Hymn in which Lacey gave a brilliantly shaped vocal line to McGuire’s just-rich-enough continuo support; to a sensibility as time-warped as mine, that advent in bar 69 of the composer’s light but strong Hallelujah chain is one of the most wrenching passages in music, carried out here with near-flawless beauty. Then, arranged by Rodgers, Biber’s Passacaglia for solo violin, which closes his Mystery Sonatas, found the players sharing the load by swapping bass and treble, as between bars 73 and 92. Despite this even-handedness, the piece gave us a chance to revel in Lacey’s brilliance of timbre and agility, especially when the hemi-demi-semiquavers started flying at bar 41, not to mention the rapid-fire same-note triple explosions across bars 115 to 120. This light-filled sequence of brilliant effects made the happiest of conclusions to a remarkable – and deliberately miscellaneous – program.