February Diary

Sunday February 3

THE FLYING DUTCHMAN

Melbourne Opera

Regent Theatre at 5 pm

Continuing its underlying program of Wagner promulgation, the city’s opera company is heading for the first so-called masterpiece, the doorway in the received canon.  We have seen this opera recently – three years ago, almost to the day, down at St. Kilda’s Palais  presented by Victorian Opera with 3D scenery.   A good way further back, I seem to recall the Victorian State Opera mounting the work at the State Theatre in 1987, following an earlier season at the Princess Theatre in 1978.   The only controversy that hit any of these preceding interpretations was at the 1987 season when an attempt to present the opera in its original form – in one continuous three-act swoop – came up against union demands for consideration of the musicians on OH&S grounds, so that an enforced interval came just at the point where Senta and the Dutchman confront each other for the first time. Anyway, this production finds the company in the Regent Theatre and the enterprise will be conducted by Anthony Negus who directed last year’s Tristan from Melbourne Opera.  British bass-baritone Darren Jeffrey has the most significant role of his career so far as the doomed hero.   Lee Abrahmsen sings Senta,  Rosario La Spina will probably take on Erik;  Roxane Hislop brings years of experience to Mary, Senta’s nurse; and Steven Gallop takes up the challenge of Daland.   For all its youthful status in the canon, this work is unforgettable for its brisk simplicity of action, mighty marine suggestiveness and intensely sympathetic vocal writing.

 

Tuesday February 5

THE ITALIAN GROUND: MUSIC FOR DANCING

Ludovico’s Band

Melbourne Recital Centre at 6:30 pm

As far as I can tell, the content of this recital comprises much of the CD that this ensemble produced for the ABC in 2007:  suites by Sanz, Kapsberger and Gianoncelli; a set of three compositions by Ruiz de Ribayaz; Mudarra’s Fantasia in the Ludovico manner; Castladi’s Quagliotta Canzone; Alessandro Piccinini’s Chiaconna; Murcia’s Gaitas y Cumbees; and the anonymous work that gives this night its title.   Still, it’s been 12 years or thereabouts since the recording was issued and ,although some of these pieces have emerged in Band outings across the intervening years, it’s always worth hearing the ensemble work through pieces that they have relished enough to endow with a sort of permanence.

 

Friday February 8

GERSHWIN & FRIENDS

Melbourne Symphony Orchestra

Sidney Myer Music Bowl at 7:30 pm

Back we come for the annual trilogy of free concerts under the stars, complete with picnics and light-hearted revelry on the lawn, while the senior citizenry takes its entertainment more seriously in the seating under the Bowl canopy.   Tonight, Gershwin is the presiding genius with the effervescent raucousness of the Cuban Overture, that jazz-civilizing tone-poem An American in Paris, and Australian-based-in-New-York pianist Daniel Le taking the spotlight in Rhapsody in Blue, one of music’s great ad hoc amalgams that still jolts you with the arrival of each episode on the underlying train journey it depicts.  The friends, apart from conductor Benjamin Northey and Le, also number Olivia Chindamo who will take part in her father Joe’s Fantaskatto, written for the singer and showcasing her talents at scat singing.   Chindamo premiered this work two years ago at the Brisbane Powerhouse; it has been described as ‘a concertante work with jazz, contemporary and operatic flavours.’   A sort of thematic mix-up, then – which is a fair description of these go-with-the-flow nights that are usually packed out.

 

Wednesday February 13

TREBLE HELIX UNLOCKED

The Song Company

Melbourne Recital Centre at 7 pm

The Sydney vocal ensemble which seemed to hold its members intact for many years, is tonight singing parts of the Eton Choirbook, a collection of Catholic liturgical music that survived the excessive destructive penchant of the longer-lived Tudor monarchs.  The Song Company will position itself around a focal point and sing at each other; we are invited to watch and marvel.   Of the 64 compositions available (well, 62: a couple are incomplete), we are promised a Magnificat (one of the 9 available),  Richard Davy’s Passio Domini, a swag of motets and the Jesus autem transiens/Credo in Deum 13-part canon by Robert Wylkynson who was Master of the Choristers at Eton from 1500 onward.   The personnel of the Company appears to have altered radically since I last heard them, but that was back in the Roland Peelman days; this ensemble has acquired a new director in Antony Pitts since Peelman hung up his non-existent baton in 2015.  The night’s title is bound to be meaningful but all it suggests to me is the three-strands of English composition that the Choirbook contains.

 

Wednesday February 13

CHINESE NEW YEAR

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

The MSO has ventured its arm in many ventures over the years but this night promises an exceptional welcome to the Year of the Pig.   The Mongolian group Hanggai is advertised as a ‘traditional-meets-rock band’, one which adapts folk tunes for a modern format.   Now, even with no knowledge of the music of the steppes, I’m prepared to guess that numbers like Swan Geese and Horse of Colours could be traditional songs; about The Transistor Made in Shanghai, doubt rears its none-too-credulous head.   But, as usual, what do I know?   It’s probably been sung for decades across Ulaanbaatar and in trend-setting yurts for miles around.   Tan Dun conducts, of course, and introduces us to his Double Bass Concerto, The Wolf Totem, with MSO principal Steve Reeves the soloist, and the composer’s Cellphone Symphony Passacaglia (Secret of Winds and Birds) which involves the audience playing an app of birdsong which we have all downloaded prior to the concert and which turn on at a specific point in the work.  Audience participation indeed, and a neat turning of the tables on those morons who cannot conceive of existing socially, even in mid-concert, without the assistance of their own audio-visual life-support systems.

 

Wednesday February 13

Grigoryan Brothers and Wolfgang Muthspiel

Melbourne Recital Centre at 7:30 pm

This recital was to have involved Muthspiel, Slava Grigoryan and Ralph Towner, but the last-named master-guitarist has had to cancel – hence, the substitution of the other Grigoryan guitarist, Leonard.   Not much detail has been published about what the trio will play; nothing as dreary as a set program.   But we are assured of a variety of guitars and lots of improvisation, which is all to the good.  Still, Cassandra-like, I predict that the extempore stuff will be very predictable and you can forget any experimentation of a challenging nature.   Don’t believe me, then.   But Muthspiel is a fine jazz musician and he works within that genre’s limitations, which have become more and more obvious since the 1960s.

 

Saturday February 16

SATURDAY NIGHT SYMPHONY

Melbourne Symphony Orchestra

Sidney Myer Music Bowl at 7:30 pm

The second of the free Myer Bowl concerts from the MSO features the organization’s assistant conductor, Tianyi Lu, and violinist Leon Fei who is, I think, 14 years old.   This program has no symphony on its bill of fare, but a bewildering sequence of the popular and the unknown.  The menu, that originally was to open with Berlioz’s Le corsaire overture, now starts with Saint-Saens’ Samson and Delilah (no, it can’t be the whole thing – I suspect we will hear the Act 3 Bacchanale only).  Faure’s Pelleas et Melisande Suite is the solitary French work of the night, which originally included Debussy’s Prelude a l’apres-midi d’in faune and his orchestration of one of Satie’s Gymnopedies.  The rarely heard Pohjola’s Daughter tone poem by Sibelius enjoys an airing; complementing this Lapland vision is Iain Grandage’s Deep: A Silent Poem for Sir Douglas Mawson that memorializes the explorer’s 1912 solo Antarctic trek.   Tchaikovsky’s Romeo and Juliet Fantasy Overture enjoys yet another Myer Bowl performance and the night centres on The Butterfly Lovers Violin Concerto by He Zhanhao and Chen Gang, with Fei as the soloist.

 

Saturday February 16

PURCELL’S KING ARTHUR

Gabrieli Consort & Players

Melbourne Recital Centre at 7:30 pm

For this tour, the ensemble comprises nine singers and seventeen instrumentalists under director Paul McCreesh who co-edited the edition used of Purcell’s opera-of-sorts.   I can only recall one performance of King Arthur from the distant past; I believe it was at the National Theatre in St. Kilda and vague memories also stir of Richard Divall directing the pit operations.   Regardless of the reliability or otherwise to these memories, here we are with a concert performance which may approach the superlative quality of Les Arts Florissants working through Dido and Aeneas; or it may be very authentic and as interesting as an exegesis on Pascal from Barnaby Joyce.   This will be the Gabrielis’ first Australian tour and, for all one’s reservations about getting tangled up in the scholarship, you can hardly imagine a body better placed to illuminate this score which holds the effective Act 3 Frost Scene as well as the aria Fairest Isle towards the end.   The original has a considerable amount of dialogue from Dryden which you’d expect to be excised here.

This program will be repeated on Sunday February 17 at 2 pm.

 

Wednesday February 20

PARSIFAL

Victorian Opera

Palais Theatre, St. Kilda at 4:30 pm

Hard to imagine, isn’t it?  The month begins with the earliest of Wagner’s works that is part of every opera house’s repertoire and, a few weeks later, we can experience the last product from the composer’s pen.   This slow-moving interpretation at several removes of Wolfram von Eschenbach’s poem has rarely been played in Melbourne and should be an unmissable undertaking for those dedicated to the Wagner myth.  If it weren’t for the venue, I’d be happy to pay my way but parking is impossible, the locals inspire no confidence, and you can’t be enthusiastic about walking along Marine Parade to get your car after 10:30 pm.  The title role is taken by German tenor Burkhard Fritz, who sang the first Parsifal in China and goes from here to sing the same role in Munich.   Incidentally, he looks nothing like any of the figures shown in the VO publicity.   Katarina Dalayman (Kundry) has recorded her role and has a veteran’s experience in it.   British bass Peter Rose also brings a wealth of experience to one of opera’s masters of tedium, Gurnemanz. Amfortas, the endlessly complaining, will be sung by Australian-born baritone Peter Roser.   Derek Welton, who has sung the part at Bayreuth, is Klingsor and Teddy Tahu Rhodes makes a welcome appearance as old Titurel, presiding over the whole welter. Company artistic eminence Richard Mills conducts to Roger Hodgman’s direction and the Australian Youth Orchestra will welter around the slow-moving, sonorous edifices that delineate the work’s geography.

This opera will be repeated on Friday February 22 at 4:30 pm and on Sunday February 24 at 3 pm.

 

Wednesday February 20

A SYMPHONIC CELEBRATION

Melbourne Symphony Orchestra

Sidney Myer Music Bowl at 7:30 pm

The MSO administration is once again wielding the symphony label, and tonight’s program gives justification for this.   It all concludes with the Saint-Saens Symphony No. 3 which requires an organ.   I don’t think that they’re going to ship in a true instrument with actual pipes for Calvin Bowman to use for those big blazoning chords that open this work’s finale, used to devastatingly mundane effect in Chris Noonan’s 1995 film Babe.  What’s the betting on an electronic sound-source?   Before this grand finale,  Benjamin Northey takes the p[layers through Dvorak’s Carnival Overture, Dukas’ The Sorcerer’s Apprentice, and A Hero’s Journey by the MSO’s Cybec Young Composer in Residence, Mark Holdsworth; oddly enough, this last work is listed on the composer’s own website as Fanfare, although the two titles aren’t mutually exclusive even if the latter points to a short career.   The night’s soloist is violinist Veriko Chumburidze, a 22-year-old Turkey-born musician from Georgia who won the Wieniawski Competition in 2016.  She is taking the brilliant and fun-filled leading line in Bruch’s Scottish Fantasy.

 

Wednesday February 20

Satu Vanska and Kristian Chong

Melbourne Recital Centre at 7:30 pm

This is the opening gambit in the Recital Centre’s Great Performers series, the specific Great being applied to Vanska, one of the Australian Chamber Orchestra’s leading violinists.   She’s enjoyed a couple of solos with the ACO and they’ve been worthy enough but you’d be hard pressed to put her up there with Ehnes and Vengerov.   The collaborating artist, Chong, is apparently not great; nevertheless, he’s more than capable of dealing with this program.   Lutoslawski’s 5-minute Subito was written for an American violin competition and lives up to its title by swerving from one episode to another.   Vanska then performs the first half of the Bach G minor solo Violin Sonata and fleshes out her night with the complete Beethoven A Major Sonata Op. 30 No. 1 and Ravel’s sprightly G Major.   Before the rousing, sophisticated crudity of the Tzigane finale,  Vanska performs another solo: Kaija Saariaho’s . . . de la Terre which involves atmospheric electronics.

 

Sunday February 24

3MBS DVORAK MARATHON

Royal Melbourne Philharmonic Choir and Orchestra et al

Melbourne Recital Centre at 10 am, 12 pm, 2 pm, 4 pm, 6 pm, 8 pm

This appears to be following the same pattern as last year’s Bach orgy sponsored by the radio station.   Along with these six major concerts, some others are occupying younger patrons in the Primrose Potter Salon space.   For an opening comes the Stabat Mater from the RMP forces under Andrew Wailes.   Mid-day has the Streeton Trio in the Dumky, Calvin Bowman performing the 8 Preludes and Fugues for organ (on what instrument?), three of the Slavonic Dances in two-piano format, and the delectably nationalistic Op. 100 Violin Sonatina.   At 2 pm, the Sutherland Trio with violist Christopher Moore play the Piano Quartet No. 1, Dindin Wang and Rhodri Clarke outline the Op. 11 violin/piano Romance Op. 11, Benjamin Martin gives us the Eclogues, and the Orava Quartet play the American in F Major.   Next, an all-star cast takes on the Piano Quintet No. 1 – pianist Stephen McIntyre, violinists Wilma Smith and Elizabeth Sellars, violist Caroline Henbest and cellist Christopher Howlett; the Australian Children’s Choir sing five brief melodies; then ANAM musicians and Arcadia Winds will bound through the Serenade Op. 44.   At dusk, Stefan Cassomenos plays the hour-long Poetic Tone Pictures for piano, members of the Australian Octet following up with the A Major String Sextet.   Finally, Elyana Laussade airs the twelve short Op. 8 Silhouettes, soprano Zara Barrett sings Rusalka’s Song to the Moon with the Corpus Medicorum under Keith Crellin, orchestra and conductor bringing the marathon to a close with the E minor Symphony.

In the Potter Salon, a youth program is also on offer; introductions to Dvorak at 11 am and 12:30 pm, followed up by masterclasses at 2 pm, 3 pm, and 4 pm.

 

Monday January 25

ORAWA

Orava Quartet

Melbourne Recital Centre at 6 pm

The boys from Brisbane form part of the 2019 Southbank Series and aim for an exemplary purity in Haydn’s Op. 33 No. 1, the first and less well-known of the composer’s two quartets in B minor.   Later, in this hour-long Salon event, we hear Mendelssohn In F minor. an elegy for his recently deceased sister Fanny and his last major composition.  In the centre the group plays Orawa, Woljchiech Kilar’s string orchestra work of 2001 reduced for quartet and from which the group took inspiration for its name.   Kilar was best known as a film composer and you can discern the travelogue elements in this tri-partite vision of the Tatra Mountains and River.

 

Tuesday February 26

NATALIE CLEIN & KATYA APEKISHEVA

Melbourne Recital Centre at 7 pm

To start Musica Viva’s subscription series this year, the combination of cellist Natalie Clein and pianist Katya Apekisheva offers two programs that teeter on the brink of over-familiarity.   I don’t know Clein and wonder if she has played here previously; a superficial bit of research revealed that she has played in Perth as a member of the Belcea Quartet but is not listed on their bio as a former member.   She has certainly performed in New Zealand but, for the most part, her activities are pretty home-grown and English.   Moscow-born Apekisheva is a close contemporary but also a novice to Melbourne; neither artist seems to have had close connections with the other in the past.  Whatever, they start tonight with Kodaly’s Sonatina, then a new work by Natalie Williams for these artists commissioned by Musica Viva, which is followed by the last Beethoven sonata in D Major and Rachmaninov’s G minor Sonata

Clein and Apekisheva will play a second program on Saturday March 16 at 7 pm. Natalie Williams’ new score will be repeated; the Beethoven is the D Major Sonata’s Op. 102 companion in C Major; another novelty comes in the vignette-length Six Studies in English Folk-Song by Vaughan Williams. Bloch looms large with the 1956 Suite No. 1 for solo cello and the inevitable From Jewish Life, written over 30 years prior.  And patrons will also hear British composer Rebecca Clarke’s Sonata for Viola or Cello and Piano of 1919.

 

Wednesday February 27

HAYDN WINKELMAN SIBELIUS

Australian String Quartet

Melbourne Recital Centre at 7 pm

Cellist Sharon Grigoryan is still away on parental leave and her place is being taken tonight by the Australian Chamber Orchestra’s principal Timo-Veikko Valve.   As with the Orava Quartet’s program from two days ago, the ASQ is beginning with Haydn Op. 33; in this case, No. 3 yclept The Bird.   To end, the players take on Sibelius in the Voces intimae score, the solitary product in this form from the composer’s mature years.  As is becoming the practice with chamber music recitals, the ensemble deviates from the norm in the program’s centre.  Here, they will play Papa Haydn’s Parrot by Helena Winkelman, a Swiss-Dutch violinist who has composed a paraphrase in 8 movements on the Haydn work that precedes it in this night’s offerings.   For a violinist, Winkelman has an impressive catalogue of compositions; my loss, probably, but I’ve heard none of them.  You’d anticipate a paraphrase in the style of Liszt on Rigoletto.  But can you carry it on for so many movements?   Here’s hoping for something more substantial than simple-minded frivolities.

 

Thursday February 28

QUARTET FRIENDS

Flinders Quartet

Melbourne Recital Centre at 7 pm

Here’s yet another example of what I just referred to in the previous entry.   The Flinders group starts with Haydn, Op. 64 No. 3 in B flat – one of the Tost group in the process of being composed as the composer finally left Esterhaza.   The night’ conclusion comes in Schumann’s last in A, by which the composer ended his brief (month-long!) labours in the string quartet form – all three of them.   Between these solid poles comes a new work by Matthew Laing, commissioned by the Flinders players.   Speaking of which, the personnel appear to have changed yet again.   Helen Ireland and Zoe Knighton continue in viola and cello spots respectively; first violin is Thibaud Pavlovic-Hobba who was for a time to be seen among the Australian Chamber Orchestra desks; second violin, Nicholas Waters, is a recent ANAM habitue but has been integrating into the Flinders sound for a few years now.

Part of this program will be played in the Collins St. Baptist Church at 1 pm on Tuesday February 26.   Laing and Schumann remain; Haydn disappears.

 

Thursday February 28

JAZZ AT LINCOLN CENTRE ORCHESTRA WITH WYNTON MARSALIS

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Another of the talented Marsalis brood comes to town, not hiding out in a subterranean bar in authentic 1950s fashion but taking to the concert hall and using the services of the MSO.   Trumpeter Wynton has not been here for 20 years, so his return is big news; on top of which, he is bringing his JLCO musicians with him.   As usual, I’m unsure who is playing what.   We are scheduled to hear some Duke Ellington selections – from both bodies or only one is unclear.   More definitely, we will enjoy Bernstein’s 1949 Prelude, Fugue and Riffs which will feature the JLCO and some guests from the MSO.   But the focal point of the night is Marsalis’ own Symphony No. 4, The Jungle, which is a portrait of New York, has six movements, and is of Mahlerian length.   Yet another fusion of jazz and classical, the symphony has generated generally amiable reactions from American audiences and writers.   Given its predecessors on this night, it faces a huge amount of competition.

This program will be repeated on Friday March 1 at 7:30 pm and on Saturday March 2 at 7:30 pm.

 

Thursday February 28

JOVIAN WORLDS

Melbourne Chamber Orchestra

Melbourne Recital Centre at 7:30 pm

As for Jove, the MCO is going for the pantheonic jugular with Mozart’s Symphony No. 41, the Classical period’s main justification for the key of C Major.   Conductor Michael Dahlenburg, a young man set on an ultra-demanding task, has charge of this interpretation.   As well, the concert begins with a Tchaikovsky scrap: the Moderato e semplice first movement from the String Quartet No. 1 with its  rocking first subject syncopations.   We’ll hear it in a string orchestra arrangement (don’t know whose).   In this conservatively shaped program, the centre-piece concerto is Tchaikovsky in D with soloist Andrew Haveron, concertmaster of the Sydney Symphony Orchestra; seen here at least once a year in Kathryn Selby’s chamber music recital series at MLC in Hawthorn.  It’s a large work for the MCO to take on, asking for a woodwind octet, a brass sextet and timpani as well as a solid soloist-competitive string corps.   There’s a touch of the Jovian about the concerto, particularly in those brave polonaise-suggestive tutti outbursts during the first Allegro; also more than a suspicion of the Mercurial in the finale, with a few shadings of Saturnine grumpiness, not to mention an ongoing Venerian languor in the melting, muted outer stretches of the central Canzonetta.  Sorry: can’t find the Martial, Tellurian, Uranic or Neptunian . . . obviously not looking hard enough.

This program will be repeated on Sunday March 5 at 2:30 pm in the Melbourne Recital Centre.

 

 

2018 in review

January

As usual, this month was dominated by two festivals that marginally overlap: the Peninsula Summer Music and Organs of the Ballarat Goldfields.  Unlike previous years, where you are tempted to speed across the Mornington wastelands a few times during the week-plus stretch of recitals and concerts that artistic director Julie Fredersdorff assembles for the delectation of the district’s well-heeled conservatives, this year I found little tempting, apart from a single day at St. John the Evangelist Church in Flinders.  This small church has been a regular venue of the festival for many years, larger events transferred to the grass outside where, often enough, a large marquee is erected for audience-attracting programs.  This year’s three-recitals-in-one day exercise saw Fredersdorff and harpsichordist Aline Zylberajch powering through half of Bach’s violin sonatas, pianist Stefan Cassomenos mixing Scarlatti  with Australian writers Katy Abbott and Andrew Aronowicz, then violinist Lucinda Moon bringing up the rear with two of the Bach unaccompanied works for her instrument.

Ballarat’s hectic round kicked off with the Missa Criolla, that over-praised sample of contemporary religious composition, given an unexpectedly dour colouring from the Gloriana ensemble with additional percussion, the Mass partnered with Joby Talbot’s The Path of Miracles  –   well, some of it as the Glorianas sang only the final two movements,. but without the persuasive elation that the work’s commissioners, English choir Tenebrae, brought to it a few months before during the Melbourne International Arts Festival of 2017.   The Ballarat festivities ended with a mass from the other end of the historical spectrum in Biber’s massive Missa Salisburgensis, performed by the Newman College and Queen’s College choirs and a multitude of instruments that fleshed out the 53 lines required.   A fair attempt but the physical hurdles presented in getting all participants organized and inter-related sometimes proved too big an ask.

By some organizational holiday accident at The Age, I was asked to review Terence McNally’s Master Class, the play about Maria Callas teaching at the Juilliard School in 1971-2, its engrossing central role reprised yet again by Amanda Muggleton.   Like several similar dramatic essays that make it their business to position musical performance as their raison d’etre (including another Master Class by David Pownall about an imagined  Shostakovich-Prokofiev-Stalin confrontation), the personalities take over and the works heard assume a subsidiary importance.   I got mail after this review, assuring me that the dramatised content of Callas’ classes was based on actual recordings; which merely helped to reinforce my opinion that the diva over-charged the hosting organization for her services..   Of course, it’s hard to get the right balance but every dramatization I’ve seen of serious musicians grappling with their craft has veered towards the ludicrously over-drawn.  Examples are too numerous to detail, but you only have to remember Song of Norway, Song Without End, Magic Fire, Shine Immortal Beloved, and Rhapsody in Blue to see that sentiment wins out over fact time after time.   A great compensation is that most films about musicians these days are to do with rock performers or country-and-western people; here, the musical content is close to non-existent from the outset.

 

February

The Melbourne Symphony Orchestra is making a big success of its live soundtrack concerts, with a fair number of them held in the huge Plenary space.   In 2018, the organization struck out in a new direction: the Star Wars enterprise, presenting the first-made film in the series,  A New Hope.   A simple tale, before the story-line became too fraught with incestuous and Oedipal detours, the musicians gave a suitably straightforward account of John Williams’ atmospherically brilliant score.   In quick order, the MSO moved to the Myer Music Bowl for its annual series of three free concerts.   Of the two I heard, the first brought co-concertmaster Sophie Rowell to even more central centre-stage than usual for the Bruch Violin Concerto No. 1, which was followed by a vital Tchaikovsky Symphony No. 4  directed by Dutch guest Antony Hermus; for the second, the novel programming of Berio’s Folk Songs, sung by Luciana Mancini, proved a welcome breath of fresh air on a night that began with Ravel’s Alborada del gracioso and concluded with the same composer’s stupefyingly predictable Bolero.

A burst of Brahms generated my enthusiasm in the opening Australian Chamber Orchestra program for the year, a beefing-up of the String Sextet No. 2 that brought into the string orchestra mix some players from the Australian National Academy of Music.  Following a more prescribed path numerically, the Australian String Quartet gave a welcome re-airing to Brett Dean’s First Quartet, Eclipse, which memorializes a national shame in the Tampa crisis yet does so with remarkable restraint.   jordi Savall, his Hesperion XXI players and the Tembembe Ensemble Continuo musicians from Mexico attempted an amalgam of Spanish Baroque compositions and Latin American songs and dances, which experiment didn’t really come off with unquestionable success.

As for reviews in this blog, radio Station 3MBS mounted its annual marathon at the Melbourne Recital Centre, this year featuring J. S. Bach – including music by his sons and works by other composers inspired by, or borrowing from, the master.   C. P. E. Bach’s St. Matthew Passion made an interesting novelty, well-achieved by the Bach Choir under Rick Prakhoff and graced by a fine assembly of soloists.    A trio of pianists gave good value: Tristan Lee accounted brilliantly for Liszt’s Praeludium on Weinen, Klagen, Sorgen, Zagen, Elyane Laussade outlined the French Suite in G with some panache; Kathryn Selby showed no fear in a muscular Italian Concerto.

Beginning with a mind-boggling miscellany, the Australian Brandenburg Orchestra’s Thomas Tallis’ England proved to be a good deal more than its title proposed, taking in works by the Elizabethan master but adding music by Orlando Gibbons, Matthew Locke, Purcell, Handel and ending with an overblown account of Vaughan Williams Fantasia on a Theme by Thomas Tallis.   Still, it gave us a chance to re-evaluate the merits of countertenor Maximilian Riebl.

 

March

Sir Andrew Davis, drawing near to the end of his reign as the Melbourne Symphony Orchestra’s chief conductor, put in time with his players this month.   The season opening gala featured Nelson Freire in an orthodox reading of the Beethoven E flat Piano Concerto,  tenor Stuart Skelton later surging through arias from Fidelio, Die Walkure and Otello.    Sir Andrew determined that we needed to hear The Dream of Gerontius under his tutelage, using Skelton again for the exercise, although  I thought mezzo Catherine Wyn-Rogers the Elgar oratorio’s outstanding contributor.   Closing out – almost – his Mahler cycle, Davis produced a sonorous if woozy version of the Symphony No. 9 and we all wait with optimism for the staging of No. 8, although I can’t see it on the schedule for 2019.

The Australian Chamber Orchestra gave way to tragedy in minimal form with the Barber Adagio, went simply serious for Mozart’s C minor Adagio and Fugue, pursued a vein of  sombre lament with Hartmann’s Concerto funebre, and wound up its joyless afternoon in Death and the Maiden, as usual arranged for string orchestra, and very effectively, too, by Tognetti.

For those essential Good Friday goosebumps, the Bach Choir and Orchestra sounded at their best in Szymanowski’s Stabat Mater; not the forces’ usual stamping ground but clear-edged with only a nagging pitch problem from the upper line.   In Brahms’ A German Requiem, the choral forces under Rick Prakhoff worked diligently but Lorina Gore’s Ihr habt nun Traurigkeit shone out for its calm fluency.

Other smaller-scale events covered in this blog include the Wilma & Friends recital at Scotch College featuring James Bakirtzis’ excellent wind line in the Mozart Horn Quintet and Brahms’ Horn Trio, with another Scotch graduate, Tian Tian Lan, making a highly competent keyboard in the Shostakovich Piano Quintet.   A packed house heard Kathryn Selby and friends violinist Grace Clifford and cellist Clancy Newman presenting Beethoven: the Spring Sonata, the A Major Cello Sonata, and the Archduke Trio – all programmed by popular vote.   Victorian Opera remounted Calvin Bowman’s setting of Norman Lindsay’s The Magic Pudding which often made unexpected sense and enjoyed handling by a fired-up young cast.

 

April

Below, you can find coverage of Avi Avital and the Giocoso String Quartet appearing for Musica Viva and collaborating in a Kats-Chernin piece and British writer David Bruce’s remarkable Cymbeline; the Arcadia Winds giving a new dress to Ravel’s Le tombeau de Couperin and expanding to a sextet for Janacek’s ardent Mladi;  Opera Australia’s recycling of La Traviata with a leading soprano and conductor unable to decide who’s in charge; and the Australian Octet playing Schubert, bouncing through the score with William Hennessy not concerned to apply the brakes on his youthful collaborators.

The Melbourne Symphony Orchestra under Jun Markl juxtaposed Debussy’s Nocturnes with the Brahms Symphony No. 4, the MSO Chorale ladies carrying out their work with distinction in the French work’s Sirenes finale, and the players giving a compelling majesty to the symphony’s Chaconne conclusion.   For the first of the organization’s Metropolis series, the Korean composer Unsuk Chin enjoyed a prominent position, her sheng concerto Su refraining from giving the soloist total dynamic control, and the Australian String Quartet performed ParaMetaString, written for the Kronos Quartet and mining a rich seam of aural novelties that the local musicians clearly enjoyed articulating.

Celebrating Bernstein’s centenary, the Australian National Academy of Music engaged the services of Jose Luis Gomez to direct their forays into the 1980 Divertimento and the Candide Overture, before attention turned to the American musician’s friends and colleagues – Ginastera, Copland, Barber.

My five-star event for the year came in James Ehnes’ solo Bach recital in which the Canadian violinist swept through the E Major and D minor Partitas and the C Major Sonata No. 3.   This came about as part of the Recital Centre’s Great Performers series and Ehnes fitted into that grouping with an extraordinary demonstration of technical craft and interpretative empathy of the first order.   Here was the kind of night that compensates for a hundred others spent on a lower level of engagement.

 

May

On its third Musica Viva tour, the Canadian early music ensemble Tafelmusik focused on Bach, both the grandiose statements of the Orchestral Suite No 1’s Overture and the refined tortuousness of the Goldberg Variations.   Nevertheless, the organization’s trademark illustrative backdrops proved uncomfortably variable in nature.   Over in South Melbourne, the National Academy musicians did without any visual support but invoked a more recherche Baroque: not in the Handel excerpts but in the rest of a leap-around night that took in some of the Terpsichore dances by Praetorius, a remarkable C. P. E. Bach symphony, and true rarities by Zelenka and Vejvanovsky.

At the venerable Town Hall where the acoustic that we all grew up with continues to exert its sonorous boom, the Melbourne Symphony Orchestra worked through an evening of Johann Strauss et al Viennese classics, although the standard moved up and down, both players and soloist soprano Emma Matthews feeling their way through the Emperor Waltz, Lehar’s Vilja and occasionally striking a gold seam as in Meine Lippen, sie kussen and the showy Voices of Spring Waltz.   Further down the track, Sir Andrew Davis took his charges through some content being ventilated on their tour of China: Carl Vine’s Concerto for Orchestra which proved happily to be just that and scintillating to boot; the Liszt E flat Concerto with pianist Moye Chen displaying a confident assurance; and more E flat in Beethoven’s Eroica Symphony No. 3, an unflustered account but with every revolutionary point underlined in red.

In the relevant month on this site, you will find coverage of the Selby & Friends (cellist Timo-Veikko Valve from the Australian Chamber Orchestra, Vesa-Matti Lepannen holidaying from the New Zealand Symphony Orchestra’s concertmaster chair)  recital on May 2 that featured the Brahms Sextet No.1 in a texture-opening arrangement for piano trio format, and the Arensky Trio No. 2, which is a true rarity in live performance.   Adam Simmons and his Creative Music Ensemble were up to a subcontinental exercise on May 6 infiltrated by the Afrolankan Drumming Ensemble, both groups combining for a musical travelogue around Sri Lanka.   Mother and son duo Oksana and Markiyan Melnychenko enjoyed mainly successes in their May 7 night of Heifetz arrangements of Gershwin (Porgy and Bess, Three Preludes), Ravel’s Violin Sonata and some of Korngold’s delicious incidental music for Much Ado About Nothing.   And the Australian Brandenburg Orchestra hosted harpist Xavier de Maistre on May 12, the program culminating in the soloist’s arrangement for himself alone of Smetana’s The Moldau, which rather fell between the two stools of sticking to the original or making a new creature from the Bohemian composer’s raw materials.

 

June

Being even-handed with his oratorios, Sir Andrew Davis balanced his The Dream of Gerontius in March with L’enfance du Christ three months later.   Not that the score from a master-orchestrator presented the Melbourne Symphony Orchestra with taxing problems and Davis was fortunate in that his soloists settled quickly into their parts, Andrew Staples’ tenor a fine linking presence as the work’s Narrator.

Australian expatriate pianist Leslie Howard, a formidable authority on Liszt, played a selection of the composer’s opera arrangements/transcriptions/reminiscences/fantasies. The Recital Centre witnessed a fine exhibition of memory and technique, even if the results impressed as uneven.   Mind you, that would have had a good deal to do with the various works presented ranging from a so-so transcription of two dances from Handel’s Almira to the melting treatment of some love music from Gounod’s Romeo et Juliette.

In a Mozart fest, the Melbourne Chamber Orchestra offered light, tripping versions of the Symphony No. 30, the Piano Concerto No. 6 in B flat with Anna Goldsworthy taking on the solo part,  and the String Quartet No. 7 in string orchestra garb.   Alongside this arcana, director William Hennessy set the popular Haydn Piano Concerto in D Major, a pleasant doddle for Goldsworthy.

 

July

Compensating for a June holiday in Cairns with grandchildren, I heard a fair number of concerts in this month.   What scene we have in this city was dominated by the Melbourne International Chamber Music Competition, now being controlled by Musica Viva.   As usual, the heats took place at the Australian National Academy of Music in South Melbourne – awkward to get to during the day and taxing to find long-term parking that doesn’t cost an uncomfortable amount.   Several of the Round 1 ensembles roused enthusiasm, but they must have dashed their chances in the next hurdle because they disappeared from the finals lists.   Still, it was pleasing to find that the jury at the grand final agreed with me by saluting the Marvin Trio’s reading of Mieczyslaw Weinberg’s  Op. 24 Trio.   Just as fortunately, the panel got it right again with the string quartets, rewarding the Goldmund group from Germany for their committed Brahms A minor performance which spoke the right language throughout.

Simone Young conducted the Melbourne Symphony Orchestra in Bruckner’s Symphony No. 6, in which the brass impressed for their fortitude and avoidance of error.   It’s a large canvas and Young gave us the full perspective, even if the strings sounded less assured than their exposed wind colleagues.   Kolja Blacher gave excellent service as soloist in Britten’s Violin Concerto which is rejoicing in some favour after years of dismissal and neglect; improbable though this seems, given the convincing stature and maturity of its concluding Passacaglia.

Later, Joshua Weilerstein led two Brahms transcriptions: the late Op. 117 Intermezzo in E flat in Paul Klengel’s orchestration, and Schoenberg’s superlative re-shaping of the F minor Piano Quartet which enjoyed driving treatment from the large forces involved.  Australian pianist Jayson Gillham accounted for the Beethoven C minor Concerto with  enunciative coherence and a dynamic restraint that proved as refreshing as the rest of this remarkably well-coordinated program.

Finally, another Bernstein homage for the composer’s birth centenary year emerged with the live soundtrack performance of the 1961 West Side Story film.  Here is some of the best Bernstein and the MSO came to the party with ferocity and a crisp delivery, best heard in the more frenetic dance sequences; the whole exercise a credit to conductor Benjamin Northey, each of the MSO’s sections, and a painstaking reproduction of the original score and parts after the originals were lost.

As for this blog, I went to four differing recitals.   Joerg Widmann’s Third String Quartet took central position in the Australian String Quartet’s Recital Centre appearance, bracketed by Beethoven:  Op. 135 and  No. 3 of the Op. 18 set.   The modern piece wore out its welcome but gave a refresher course in sound-manufacture techniques of several decades ago.   The Melbourne Festival of Lieder and Art Song at Melba Hall climaxed in an exhibition on July 13 which turned into a lecture with musical illustrations, so tedious that I left at interval.   Pianist Joyce Yang, sponsored by Musica Viva, played a hurtling version of Schumann’s Carnaval, preceded by a subtle, informed Chopin Andante spianato et Grande polonaise brillante.   And Adam Simmons and his Creative Music Ensemble moved their attentions for the last chapter of their peregrinations to China in The Kites of Tianjin with Wang Zheng-Ting once again displaying his command of the sheng.

 

August

You can read in these pages an appreciation of one of the least successful programs from the Brandenburg Chamber Orchestra in recent times.   Blame can hardly be sheeted home to the ABO itself but more to its guests, La Camera delle Lacrime, who attempted an East/West fusion that managed to be both trying and tiring.   Karakorum: A Medieval Musical Odyssey failed to satisfy on most fronts.   Melbourne Opera put aside its Wagner fixation for a while, presenting Der Rosenkavalier in the tight Athenaeum space.   At the final performance, everyone went home happy if tired – both performers and audience.

Richard Tognetti and his Australian Chamber Orchestra gave us Bach’s Goldberg Variations in orchestral guise, thanks to an arrangement by Bernard Labadie.   Although pretty much all of the performers enjoyed some solo exposure, the main brunt of the labour fell on director Richard Tognetti himself.    In a program rich in transcriptions – the recently-discovered 14 Goldberg Canons, Stravinsky’s Three Pieces for String Quartet, part of Thomas Ades’ The Four Quarters – the main work enjoyed a bold, informed interpretation.

One of the Melbourne Symphony Orchestra’s chamber-size nights in the Recital Centre enjoyed the direction and participation of concertmaster Dale Barltrop.   Despite the central numbers of the night being near-contemporary – Carl Vine’s Smith’s Alchemy and the Vox amoris of Peteris Vasks – the really convincing music-making came at the start and end: first, in a clean-speaking Brandenburg Concerto No. 3; later, a sure-footed Brandenburg No. 1 with excellent contributions from horns and oboes that allowed you to forget the dangers and just relish the majesty and  warmth of this all too rarely heard Baroque glory.

Intending to give us yet another British gem to savour, Sir Andrew took the MSO on an unsatisfying journey through Holst’s The Planets suite.   It might have been much intrusive heftiness and gratuitous ritardandi; it could have been a lack of interest in the slower movements’ woodwind solos; or it might possibly have arisen from some pitch problems that emerged without reason.  Whatever, an underlying malaise detracted from the score’s friendly splendour.   At all events, I much preferred the night’s only other constituent: Carl Vine’s new Symphony No. 8, The Enchanted Loom.   This is a reversion to top form from the orchestra’s 2018 Composer in Residence – a sterling exercise in novel sonorities with its five movements following a narrative that could be assimilated without much trouble but which seemed of secondary importance to the composer’s manipulation of solo instruments and unusual group matchings.

For Musica Viva, violinist Ray Chen and pianist Julien Quentin showed at their best in Grieg’s Sonata No. 2 which I believe I was hearing for the first time in live performance.  Even if it employed nationalistic tropes, this score gave both executants plenty of room for rich collaboration, at ease with each other’s musicianship.  An especially-commissioned violin sonata by Matthew Hindson left little impact but it didn’t try that hard to mark out new territory.   An obliging audience relished Falla’s Suite populaire espagnole, even more so the violin virtuosity of Monti’s Csardas.

I was able to hear only two of the three major Mimir Chamber Music Festival events at Melba Hall; the second, which engaged the services of local pianist Caroline Almonte, is reviewed in these pages.   Over the last few years, these recitals have been immensely enjoyable, the teaching staff from the American source-festival in Fort Worth putting together programs of well-known repertoire and unusual novelties.   Curt Thompson, the University of Melbourne’s head of strings, co-founded the enterprise and brought it here after his appointment to the Conservatorium of Music.   This year, the festival’s opening recital began with the moving Two Songs Op. 91 by Brahms, Australian mezzo Victoria Lambourn a fine interpreter of these modest, moving lyrics.   Ringing some home-country chimes, violinists Stephen Rose, Jun Iwasaki, viola Joan DerHovsepian and cello  Brant Taylor presented Amy Beach’s F sharp minor Quintet with pianist John Novacek supporting the string players’ enthusiastic proclamatory approach.   Mendelssohn’s A minor String Quartet came over with more firmness than usual, these performers happy to give full voice to the composer’s purple patches of post-Beethovenian aspiration.

 

September

Om the latter half of the year, I failed in an aim to visit one concert a week for this blog, thanks to another  retreat to Queensland.  In fact, I heard only two concerts, and they were in many ways a disjunct reflection of each other.   At Deakin Edge, the Melbourne Chamber Orchestra presented an Espana! night, with a guitar soloist who was indisposed but went on anyway, the exercise culminating in a wretched reading of Rodrigo’s Concierto de Aranjuez.   In any case, the plethora of arrangements that preceded this effort sounded remarkably tame, hardly justifying the exclamation mark of the program’s title.

But the Australian Brandenburg Orchestra returned to form with a remarkable series of Baroque scores, replacement guest violinist Daniel Pinteno heading a Mediterraneo! program with impressive panache, heard at its finest in Vivaldi’s D Major Violin Concerto from L’estro armonico – a blinder among a happy chain of finely accomplished pieces, only one or two of them familiar.

Rich Prakhoff’s Melbourne Bach Choir Sang Mozart’s Requiem with unsurprising stolidity, the four soloists serving as welcome intruders for their athletic pliancy in phrasing and dynamic changes.   Tenor Andrew Goodwin added yet another sterling accomplishment to our experience of his work with a reflective, unfussed account of Stravinsky’s In memoriam Dylan Thomas; allied with mezzo Sally-Anne Russell and baritone Andrew Jones, he brought animation and light to a chorally bland version of Bach’s Weinen, Klagen, Sorgen, Zagen cantata.

Back for the umpteenth time, the Borodin Quartet played Haydn Op. 33 No. 1, Shostakovich No. 9, and Beethoven Op. 130.    I didn’t know it at the time but first violin Ruben Aharonian was performing in spite of his being in poor health.   Still, the Haydn came across with an unexpected equable balance of weight and the Russian construct worked best in its two adagio movements where the viola and cello bear the most significant emotional load.   But the group excelled, I thought, in its Beethoven: a reading such as only experience, hard work and collegial insight can yield and one of my top performances of the year.

British pianist Paul Lewis worked for the cognoscenti on this visit, playing an eclectic program of Beethoven, Haydn and Brahms, most of it late period and not the sort of music you hear these days when performers generally ride safely on the confined merry-go-round where the familiar breeds assent.   Beethoven’s 11 Bagatelles Op. 119 proved confronting thanks to the pianist’s unveiling of contrapuntal complexity which most other interpreters ignore.   You couldn’t brush these pages aside as a collection of oddities written over 20 years, the later ones marking  incongruous deviations from the path to illumination of the final sonatas.   Lewis presented them as a broad sweep, sometimes complex, sometimes simple but each emotionally consistent with its surroundings.  Haydn’s late E flat Sonata and his solitary B minor Sonata stripped away any polite salon patina and revealed a rarely heard gruffness and candour.   Then the Four Pieces Op. 119 by Brahms gave us more thickly-blended harmonic progressions in the three intermezzi and an insistent triumphalism in the final Rhapsody that brought to mind the composer’s great sponsor Schumann in its driving, near-manic insistence.

Another impressive visitor was violinist Ilya Gringolts, the youngest winner 20 years ago of the Premio Paganini Prize, who took on the dual roles of director and soloist with the Australian Chamber Orchestra.   Most interest fell on the visitor’s reading of the Paganini Concerto No. 1, given here in its original E flat key.   Gringolts carried all before him with a scintillating, brilliant outline of the work in which the ornamentation was welded into the concerto’s construction.    He’s one of those performers who appears to have absolute control; yes, the work has dangerous moments but this musician works through them without demonstrative effort.   He has insights as a conductor, too,  leading his forces in a C. P. E. Bach symphony packed with dramatic incident and a dissonance-highlighting version of an ACO favourite: Bartok’s Divertimento of 1939.

 

October

Only one recital features on this blog for October.  It’s the final Selby & Friends program for the year at which the well-known Sydney pianist collaborated with WAAPA violinist Alexandre Da Costa-Graveline and Sydney Symphony Orchestra cellist Umberto Clerici.  As is her wont, Selby partnered each of her guests in a duo – the Falla Suite populaire espagnole and Debussy’s Cello Sonata – before a general team-up for Piazzolla’s useless Four Seasons of Buenos Aires and the stalwart Mendelssohn in D minor.

Otherwise, the month’s serious music-making was dominated by the Melbourne International Festival of the Arts.   Before this began, the Australian String Quartet finished its 2018 Melbourne appearances with cellist Blair Harris stepping in for maternity-leave member, Sharon Grigoryan.    The Schubert Rosamunde enjoyed a reading just the right side of sentimental and the Shostakovich No. 10 reflected this pureness of heart at night’s end, here making a welcome appearance following other ensembles’ concentration on earlier works in the genre by this composer.   In the middle, James Ledger’s new String Quartet No. 2, The Distortion Mirror, fed real-time sounds into a computer for manipulation.   Not too complicated, the score enjoyed a pleasing reception, although you’d be hard pressed to find much that was confrontational in its passages of play.

Also off the Festival grid, Jukka-Pekka Saraste directed the Melbourne Symphony Orchestra in the complete Firebird ballet, which tended to show how little we miss when subjected to the several versions Stravinsky extracted for his money-spinning suites.  Saraste also aired the newly-discovered Funeral Song, Stravinsky’s in memoriam for his teacher, Rimsky-Korsakov.   Several pundits claim this brief score opens a new window on the composer’s early thinking; they may be right but you’d be hard pressed to predict what was coming from the composer’s pen in the coming four years.   In between, Dejan Lasic played a well-considered solo part for Bartok’s Piano Concerto No. 3, the reactionary virtuosity of its finale coming across with telling artistry.

As for the Festival content that I heard, Van Diemen’s Band offered live performances of excerpts from their 2017 CD, including three cello concertos by Nicola Fiorenza treated with convincing dedication by soloist Catherine Jones.  Not restricted by their recital’s title, Cello Napoletano, the ensemble wandered around with affable ease from both Scarlattis to Boccherini with a Geminiani and a Corelli as make-weights.  The Los Angeles Master Chorale attempted a theatrical splicing-up of Orlando di Lasso’s Lagrime di San Pietro cycle, investing their performance (sung from memory) with stylized choreographic moves and staged groupings to give a visual realization of the verbal content.   When the physical movement died down and the group stood in a semi-circle and just sang, the results proved very moving indeed, especially as the over-blown dynamic contrasts were given a rest and the work’s emotional context shifted from angry self-recrimination to a wrenching despair.

Chinese conductor/composer Tan Dun has built up a firm relationship with the Melbourne Symphony Orchestra, largely through an annual Chinese New Year event in which he places his own music and/or that of his countrymen alongside well-known gems of Western music.   His Buddha Passion offers an individual take on the Bach Passions with the Indian spiritual leader as its operating fulcrum.   Where Western composers concentrate on the last night and day of Christ’s life, Tan Dun follows a loose path of parables and events from the Bodhi tree enlightenment to the translation to Nirvana.   It made for a remarkable confection of simplicity and explosive bursts of powerful commentary, the MSO Chorus working with indefatigable deliberation through Chinese and Sanskrit texts.

Sir Andras Schiff, playing here for the first time in many years, gave us the Festival highlight, even if his performance was part of Musica Viva’s season.   The pianist foraged through Mendelssohn’s Fantasy in F sharp before a brilliant, curt-and-warm reading of Beethoven’s Sonata No. 24 and an equally revelatory interpretation of Bach’s last English Suite.   Yet the core of this lavish recital came in two Brahms brackets: the Op. 78  Eight Pieces and the Op. 116 Seven Fantasias that I can’t remember hearing complete before.   This was an extraordinarily clean-scoured double sequence, the mutually dependent artistry of technique and consistent intellectual content a clear justification for this pianist’s significant stature among that small band of modern musicians with an open-handed generosity to his audience (some massive Bach encores) and interpretative insights of a high order .

 

November

Finishing its year in solid form, the Melbourne Symphony Orchestra presented some well-worn French masterworks – Debussy’s Prelude a l’apres-midi d’un faune, Ravel’s Daphnis et Chloe Suite No. 2 – and Brett Dean’s orchestrations of the Debussy Ariettes oubliees, sung by mezzo Fiona Campbell.    Soloist Beatrice Rana fronted the only nationalistic odd man out  with Prokofiev’s Piano Concerto No. 3, a piece you used to hear all over the place but which has suffered a decline in interest across recent decades.    This was a blazing, confident exhibition from a gifted young artist, well-assisted by the MSO under conductor Fabien Gabel who dropped in for the occasion from Quebec but brought not much individuality along with him.

William Hennessy finished his Melbourne Chamber Orchestra’s annual operations in a Bach-dominated program.   Refraining from burying the material under a thick string blanket, he directed his charges through the Orchestral Suites 3 and 4 without any period-style enervation.   The D minor Double Violin Concerto made a welcome if predictable appearance, matching the premiere of Richard Mills’ Double Violin Concerto which impressed for two-thirds of its length in the sympathetic hands of soloists Markiyan Melnychenko and Aidan Filshie.

One of the more commanding Mahler readings we’ve heard this year came from the Australian National Academy of Music whose staff and some distinguished guests from interstate and overseas played Klaus Simon’s arrangement for 16 players of the Symphony No. 9.    Their disclosure of inner workings and an absence of over-the-top theatricality made the experience elevating and packed with suspense – a far cry from the bombast that many conductors attempt to impose on this wrenching farewell to arms, in this instance discreetly conducted by expatriate Matthew Corey who had the pleasure of dealing with a band of fearless competence.

The only concert covered on this blog was an Armistice Day salute from the Arcko Symphony Ensemble at the Carlton Church of All Nations.  In a series of works written and performed by people, most of whom seemed to have family connections to World War I, we heard music by Rohan Phillips and Andrew Harrison, whose cantata gave this enterprise its title and made a moving impression, despite the meagre written source material on which it was constructed.   And it was an unalloyed delight to hear Helen Gifford’s piano solo Menin Gate given an airing by Joy Lee.

I also heard, thanks to a friend, Opera Australia’s production of Die Meistersinger which was worth sitting through for Daniel Sumegi’s firmly-articulated Pogner and some pleasurable passages from Michael Kupfer-Radecky as Sachs and the Beckmesser of Warwick Fyfe.  As for the situational ambience being translated to a gentlemen’s club, you could understand why it appealed as an idea – the guild is nothing if not as hidebound as any 19th century London establishment like White’s or the Athenaeum – but you also had to wonder at a dereliction of duty during the later acts where the venue became increasingly inchoate and irrelevant.

 

December

The only concert I heard in this month, thanks to renewed bouts of poor health, was the Australian Brandenburg Orchestra’s Noel! Noel! collation which, this year, was pretty free of inanities.   In fact, Paul Dyer and his players did excellent service in the earlier parts of the program with a Hildegard meditation, two Gregorian chants, a Cruger chorale and a quaint seasonal motet-of-sorts by Johannes Eccard, a Tye carol and a Monteverdi hymn.  The ABO Choir was hard pressed but responded with only a handful of stressful moments and soprano Bonnie de la Hunty should have been given an award for her manifold contributions to the entertainment.   Coverage of this event concludes this blog’s live music activity for the year.

 

 

 

 

January Diary

The first weeks of January are dominated, as usual, by the Peninsula Summer Music Festival – Mornington Peninsula, that is.   A change in artistic director finds oboist Ben Opie in charge of proceedings and he has widened the programmatic net to include events that have little attraction for me – Bach from an ad hoc string quartet while bathing at the Peninsula Hot Springs, Fingal; solo violin music from Jessica Oddie as you follow her around the Hot Springs estate; another peripatetic experience led by Opie on the Festival’s last night starting at the Pelican Statues in Hastings; a scattering of jazz and children’s entertainments, alongside some indigenous recitals, as well as a rock guitarist playing solo and an electronic musician providing sounds to go along with yet another Fingal bathing experience.

Slightly running into the Peninsula festival’s time space comes the Organs of the Ballarat Goldfields Festival with a plethora of recitals and a few social events for the solid core of regulars.

 

Wednesday January 2

SUITE PERSANE

Peninsula Chamber Musicians and Guests

St. Mark’s Anglican Church, Balnarring at 2 pm

The numbers are pretty equal here: five regular Peninsularians and five guests.   Some of the latter are familiar names:  festival director Ben Opie, flautist Melissa Doecke, bassoonist Adam Mikulicz, while the original group is an unknown quantity to me.  Their offerings are decets by Andre Caplet, the formidable orchestrator of Debussy pieces, and Enescu.  Presumably, the French work is the three-movement Suite persane of 1900, and the Enescu will be its near-contemporary D Major Decet, written in 1906.  Here is real festival fare: unknown scores for an unusual combination.  And it’s in a venue that I haven’t experienced, although it might have featured in previous years and I’ve been too lazy to drive to a resort in high season.

 

Wednesday January 2

SWEETER THAN ROSES

Janet Todd and Nicholas Pollock

Hurley Vineyard, Balnarring at 6 pm

Like the preceding recital – and a good many others – this is a 60-minutes/no-interval program.   It presents the talents of Victorian-born soprano Todd, nowadays making her home in Los Angeles,  and lutenist Pollock.  Their recital’s title refers (I hope) to the song that Purcell wrote for his semi-opera Pausanias.  In any case, we are promised music that moves from Dowland, through Purcell, and then to the French Baroque.  Pollock is listed as a ‘Peninsula favourite’, although his name is not one that I recall.

 

Thursday January 3

RAVEL’S BLUES

Sophie Rowell & Kristian Chong

Moorooduc Estate at 4 pm

Sort of self-explanatory.   The Melbourne Symphony Orchestra’s concertmaster Rowell collaborates with expert pianist Chong in three sonatas, ending with Ravel’s No.2 with its central Blues in A flat movement: a sprightly construct and highly effective as long as the players don’t oversell the jazz, thinking that they have a wider scope for interpretative flamboyance than the composer intended.   Preceding this come Mozart in B flat K. 454 with its stately introduction and Beethoven No. 4 in A minor which doesn’t have a slow movement.   This duo is one of the program’s more certain pairings, involving two musicians of exceptional and established quality.

This program will be repeated at 6:30 pm.

 

Friday January 4

GODFATHER, FATHER & SON

Duo Foster-Browne

Main Ridge Estate, Red Hill at 4 pm

A neat set of relationships are enshrined in this recital’s title.  The godfather is Telemann, who sponsored C. P. E. Bach at his christening.   So the players are presenting music by the godfather, his godson and the proud birth father, Johann Sebastian.  The duo itself comprises baroque flautist Georgia Browne and harpsichordist Tom Foster who are no strangers to each other, having presented an all-French program at the University of Edinburgh two months ago.   For the senior Bach, the pickings for duets number about 8, even if some of these are disputed territory with Carl Philip Emmanuel.  As for the godson, the catalogue lists 12 works for flute and continuo, as well as 5 for harpsichord and flute.   Looking at Telemann’s output, the mind boggles, grappling with its variety and manifold applications and arrangements.

The program will be repeated at 7 pm.

 

Saturday January 5

Australian Haydn Ensemble

St. John’s Church, Flinders at 12 pm

On its website, most of the selective encomia for this group, established in 2011, come from the Sydney Morning Herald.   Which might be a partial explanation for my lack of experience with them.   The ensemble – or part of it – played at a Melbourne International Arts Festival, possibly during the years of Josephine Ridge’s Haydn-fixated directorship.  Anyway, here they are now  .  .  .  well, a few of them: director/violinist Skye McIntosh, second violin Simone Slattery, viola James Eccles, cello James Bush, with flautist Melissa Farrow a welcome woodwind voice.   The program has only two works, both by Mozart: the first Flute Quartet in D K. 285 – all 14 minutes of it – and the String Quartet in G K. 387, which is the first of the set of six that the composer dedicated to Haydn.   Seems to be a short-change program if you’re after time value for money.

 

Saturday January 5

OF LOVE

Songmakers Australia

St. John’s Church, Flinders at 3 pm

Another duo recital, again involving well-known artists.   Soprano Merlyn Quaife collaborates with Songmakers Australia director-pianist Andrea Katz.  The range offered moves from Schubert to Selleck but then also promises ‘music by acclaimed Australian composers’ – to which group one hopes that the talented Johanna has by this stage been admitted.   For all the vagueness, this should be an engrossing business, especially given Quaife’s career-long dedication to performing home-grown material.

 

Saturday January 5

AN EVENING WITH SARA MACLIVER AND THE AUSTRALIAN HAYDN ENSEMBLE

St. John’s Church, Flinders at 7 pm

This program revolves around Boccherini’s Stabat mater, the original version of 1781 which requires a soprano soloist and a supporting string quintet.   As well as this substantial score, Macliver will work through arias by Handel from Apollo e Dafne, Theodora and Agrippina, while the Haydn people present Corelli’s Christmas Concerto and an arrangement for chamber ensemble by that formidable impresario Johann Peter Salomon of Haydn’s last symphony, the London (I assume this version is the one for string quartet and flute).   Macliver also offers a Mozart bracket in Zerlina’s two arias  –  Batti, batti and Vedrai, carino  –  as well as Pamina’s Ach, ich fuhl’s, and Laetari, locari from the early Apollo et Hyacinthus opera by the then-11-year-old composer; his first essay in the form, actually, although this seems to be the only scrap that has moved into public awareness and, even then, I’ve never heard it live.   The ensemble will probably consist of a string quintet as all the Mozart has been arranged by one ‘Lim’ – gifted local veteran composer Liza?  Probably not.

 

Sunday January 6

MELBOURNE RECITAL CENTRE GREAT ROMANTICS WINNER

Miles Johnston

St. John’s Church, Flinders at 11:30 am

Johnston is a guitarist who won this year’s MRC competition – obviously.   He’s proposing some Bach, which is par for the course and has been ever since Segovia mined the extensive archive for material, some of which worked superbly.   Alongside this, we are to hear works by Australian Richard Charlton  –  a large catalogue to pick from  –  and Nikita Koshkin, a big guitar name in and from Russia.   It’s an excellent festival initiative, to give a venue to this competition’s winner – especially fortunate when the lucky player is entering a field that is already packed, some of it quite talented.

 

Sunday January 6

SCHUBERT SONGS

Australian Haydn Ensemble and David Greco

St. John’s Church, Flinders at 2 pm

The program is all arrangements, but not all-Schubert.   Greco, an assertive young baritone, is accompanied by the Haydn quintet in Die Gotter Griechenlands, Der Jungling und der Tod (the second version, I think), Gute Nacht, Frulingstraum, Der Leiermann, Der Tod und das Madchen and Der Erlkonig.  And we have an identity for that unnamed arranger ‘Lim’ from yesterday’s Sara Macliver/Haydn Ensemble event.  It’s Vi King Lim, who works as librarian for Symphony Services Australia and has done a good deal of work for the Haydn people.   Interspersed with the lieder are some extracts from Felicien David’s Les quatre saisons, a lengthy collection of pieces for string quintet concerned with memorialising the evenings of the four seasons.   For this occasion, the Haydns are playing two of the Summer and two of the Spring soirees.   From what I’ve heard of them, any relationship with Schubert will be hard to sustain.

 

Thursday January 10

REALMS OF LIGHT

Blair Harris

Elgee Park, Dromana at 6 pm

This well-known cellist will spend much of his hour or so playing Australian music.   All the works are solos and Harris starts and ends with Peter Sculthorpe: the short Sonata of 1959 and the twice-as-long Requiem written 20 years later.   Stuart Greenbaum’s Lunar Orbit offers a meditation on the Apollo 11 mission; Kate Moore’s brief Whoever you are come forth takes its genesis from a Whitman line.   Some deviations from the local come with Osvaldo Golijov’s Omaramor, written in memory of Argentinian tango singer Carlos Gardel who died in a 1935 plane crash; and Japanese Karen Tanaka’s  The Song of Songs which calls for electronics to support the live instrument as it attempts to summon up the erotic invitation that opens King Solomon’s love-poem.

 

Friday January 11

MOZART’S CHURCH SONATAS

Inventi Ensemble

St. Mark’s Anglican Church, Balnarring at 2 pm

He wrote 17 works with this title, to be played between the Epistle and Gospel readings during the first part of the Mass, where the mumbled Alleluia versicle now stands.  This ensemble intends to precede their selection from the sonata set with improvisations in the style of whatever follows.   Flautist Melissa Doecke and oboist Ben Opie lead a sextet which includes violinists Peter Clark and Jessica Oddie, cellist William Hewer and Peter de Jager playing this church’s Laurie organ, originally built for Whitley College and moved to Balnarring last year.   On this instrument, de Jager will also play ‘Wagenseil’s brilliant Concerto for Organ’, according to the promotional material; what is not hinted at is which of the 12 possibles is intended.   As for the Mozart sonatas, the Inventi could play any of them, except Nos. 12, 14 and the last which all require extra woodwind/brass, including two trumpets.  An intriguing program, even if those improvisations leave you wondering.

 

Friday January 11

ARVO PART: THE PASSION OF ST. JOHN

Schola Cantorum

St. Patrick’s Cathedral, Ballarat at 8 pm

Gary Ekkel and his choir are taking on this Passio, an hour-long setting of the Johannine Gospel’s Chapters 18 and 19 by the Estonian composer.  The requisite forces are a baritone soloist for Jesus, a tenor for Pilate, an SATB quartet to handle the Evengelist’s lines, a larger force for the turba, and modest instrumental resources – violin, cello, oboe, bassoon, and organ.  Using Part’s tintinnabuli style – chanting till the cows come home, harmonic and rhythmic stasis, monochrome textures – the work’s intent is to invite meditation rather than express the narrative’s drama.   I’ve always found it hard to find sympathy with the Baltic modern musical mystics, which is a personal fault of major proportions, yet, even if you concentrate on this work’s constructional procedures, there’s no getting around Part’s insistent abnegation of flourish.  A dour start to this packed festival.

 

Saturday January 12

RECITAL FOR ORGAN AND SOLO CELLO

Anthony Halliday and Alvin Wong

Carngham Uniting Church, Snake Valley at 10 am

Not much news available about this recital, except that Wong will perform the Bach Suite No. 6 in D, the one that seems to require a five-stringed instrument unless you’re prepared to negotiate a fair amount of stretching and positional awkwardness.  What music is there for this cello/organ combination?   You’d be surprised, even if the mind automatically turns to thoughts of arrangements.   Still, there’s plenty of room for Halliday to play carefully on this church’s Fincham & Hobday instrument.   He is a true Festival favourite, taking his place in several variegated events year after year.  Wong, a Melbourne University eminence, has operated under my radar since his appointment four years ago.

The program will be repeated at mid-day.

 

Saturday January 12

A PENINSULA SALON

Linda Barcan

Beleura Estate at 12:35 pm

For this event, patrons are asked to meet in the foyer of the Mornington Golf Club, from which point transport will be arranged to wherever on the estate this scheduled entertainment is to take place.   Mezzo Barcan is the initiator but details are thin – well, non-existent – as to what will be performed and by whom.  The aim is to mimic the 1870s-to-1880s Boulevard Saint-Germain salon of Pauline Viardot, the famous mezzo who knew and worked with most of the great musical names in Europe before and after her retirement from the stage in 1863.   You’d have to assume that this afternoon’s program will comprise works that would have been heard in Viardot’s salon; from the only illustration I’ve seen, the room contained an organ which, for all I know, has a counterpart somewhere on the Beleura estate.   Or things might take an unexpected turn and it could be all contemporary material, as it was in Viardot’s day.   You pays your money and you takes your chances.

 

Saturday January 12

ORGAN RECITAL

Nello Catarcia

Ballarat Central Uniting Church at 3 pm

This musician comes from Orvieto where he is cathedral organist.  The program for today mentions works by Bach, Franck and Liszt; curiously, those same three featured in the recital that Catarcia gave on May 31 in his hometown’s Duomo.  However, the options available to Catarcia should ensure an enjoyable recital of the old school, and here’s hoping for something we never hear, like Liszt’s Evocation a la Chapelle Sixtine or Franck’s Grande Piece Symphonique.

 

Saturday January 12

IL DIAVOLO

Davide Monti, Josephine Vains, Jacqueline Ogeil

Mary’s Mount Centre, Loreto College Ballarat at 8 pm

Another giveaway title as violinist Monti sets us up for Tartini’s Devil’s Trill with support from well-known Accademia Arcadia personnel in cellist Vains and harpsichordist Ogeil.  But after that, we’re in no man’s land, although the projected path is towards contemporaries of Tartini, with the additional foreshadowing that this was a period when composition often amounted to little more than sketches, thereby offering a basis for improvisation from performers.   In any other hands, you’d have to be cautious but this is a well-experienced trio with a concert-giving history, so we should be happy with where they take us.

 

Sunday January 13

J.S.BACH – THE MUSICAL OFFERING

John O’Donnell

Ballarat Mechanics’ Institute at 3 pm

After introducing this superb work, John O’Donnell, from a Christofori piano, heads a quintet to perform the two ricercars, ten canons and four-movement trio sonata that constitute Bach’s answer to Frederick II’s challenge.  Violinists Davide Monti and Simone Slattery, cellist Josephine Vains and flautist Greg Dikmans share in the labours of this gripping 45-minute-long collection of contrapuntal craft amounting to genius, much of which can be entrusted to a solo keyboard; let’s hope O’Donnell is generous in sharing  the various lines, unavoidable in the sonata which requires flute and violin as well as continuo.

 

Sunday January 13

JAMES MACMILLAN – ‘SINCE IT WAS THE DAY OF PREPARATION

Schola Cantorum

St. Patrick’s Cathedral, Ballarat at 8 pm

Back to the city’s Catholic cathedral for another impressive choral work, this one written by a Part disciple and well-known Scottish composer.   Gary Ekkel and his Schola re-emerge to present this extension of MacMillan’s own St. John Passion, musically animating the Burial and Resurrection, the appearance to the disciples, and the final scene on the shore of the Sea of Tiberias – all of it sourced mainly from Chapters 20 and 21 of the Gospel text.   As well, the composer uses some extra matter – a bit of St. Matthew, Tisserand’s setting of O filii et filiae,  Salva festa dies in the composer’s own setting, probably.   MacMillan requires, like Part, a small, sober orchestral group – clarinet, cello, horn, harp and theorbo, with occasional bells – and a vocal quintet which can be either a small choir or five soloists.  The bass member sings the words of Christ.  I’ve heard only scraps, which sound appropriately sombre but the composer has always had a fine ear for what travels clearly.

 

Monday January 14

BACH, MAHLER, WAGNER AND STRAVINSKY

Dorthe Zielke and Soren Johannsen

St. John’s Anglican Church, Creswick at 10 am

Zielke is the trumpeter, Johannsen the organist in this Danish duo.  The pair have been in an established musical (and personal, I believe) relationship for 20 years and have released four CDs: one of music from Bach’s St. Matthew Passion, another dealing with Handel’s Messiah, an intriguing one of Carl Nielsen’s music for the two instruments (there isn’t any, to be specific, but the disc features a multitude of arrangements, its longest track the Danish master’s famous organ solo, Commotio), and a general one packed with arrangements of Wagner, Mussorgsky, Bellini, Mascagni, Mozart, Dvorak and several others.  The last of these probably indicates what’s heading to Creswick: the Liebstod and Air on the G String, for starters.  No idea about the Mahler – one of the Wayfarer songs? – and the Stravinsky could be the finale to the Firebird or just a scrap from The Soldier’s Tale.  Whatever the music, it will be accompanied by ‘electronically projected motifs’ provided by Arne Sorensen.

The program will be repeated at 12 noon.

 

Monday January 14

LES ANGELUS

Louisa Hunter-Bradley and David Macfarlane

St. Patrick’s Cathedral, Ballarat at 4 pm

Yet another one of this festival’s referential titles that doesn’t carry you very far.   Louis Vierne wrote a piece by this name: a triptych – morning, noon, evening – to apply to those times of day when the Marian prayer is said.  The title is used on a CD featuring soprano Margaret Roest and organist Ben van Oosten.  Whether Hunter-Bradley and Macfarlane follow their Dutch colleagues down a path that includes Widor’s Ave Maria, Franck’s Panis Angelicus, Chausson’s Pater noster and Poulenc’s Priez pour paix remains to be seen.   All we can be sure of is that the afternoon is dedicated to Romantic era music for this combination and it is bound to be a popular event, hearing these Festival stalwarts back in their respective saddles again.

 

Monday January 14

SCHUBERT SONGS PART 1

David Greco and the Australian Haydn Ensemble

Ballarat Mechanics’ Institute at 8 pm

This is pretty much a re-run of the event that appears on the Peninsula Festival program on January 6 where the young baritone sings lieder interlarded with some salonesque string quintet pieces by Berlioz’s mate, Felicien David.   The Haydn Ensemble participants seem to be the same, although double bass Jacqueline Dooser was not specified in the Mornington events.   It’s hard to know what we will hear because in Ballarat the musicians are presenting two different programs on consecutive days, each of them coming in at close to an hour’s duration.   Wait and see, I guess

Tuesday January 15

SCHUBERT SONGS PART 2

David Greco and the Australian Haydn Ensemble

Beaufort Uniting Church at 11 am.

The only difference expressly noted for this program is that Dylan Quinlan-Basquet, choirmaster and organist at St. Paul’s Anglican Church, Canterbury is coming up the highway to play an organ voluntary.   Nothing specific yet but, just as I was puzzled to see how David would fit in with Schubert, I’m even more intrigued as to how a voluntary lends itself to the same lieder-heavy atmosphere – unless Greco leads off with Die junge Nonne and Quinlan-Basquet finds an appropriately menacing piece to complement it.  Hard to think of one when you consider all those optimistic English composers – Gibbons, Arne, Stanley, Purcell.   But then, the young man may play something of his own on the 1959 Fincham instrument.   Or he may treat ‘voluntary’ in its broadest sense, which then embraces anything and everything.

The program will be repeated at 3 pm.

 

Tuesday January 15

SO SWEET A TOUCH

Daniel Thomson and Rosemary Hodgson

St. John the Baptist Catholic Church, Beaufort at 11 am

This tenor/lute program takes its title from the last words of  Samuel Daniel’s Sonnet 47, Like as the lute delights, most famously set by John Danyel, a contemporary of Dowland. You’d be pretty safe in assuming that both composers will score heavily in this recital which brings tenor Thomson back to the festival after a break of some years spent honing his craft in Canada, Switzerland and England.   Hodgson is Melbourne’s go-to lutenist, a familiar presence at early music happenings, particularly in the Melbourne Recital Centre.   There’s not an organ work in sight but the combination would be worth the 50-kilometre trip west of Ballarat.

The recital will be repeated at 3 pm.

 

Wednesday January 16

MORRICONE  –   SCATTOLIN  –  PAGANINI

Massimo Scattolin, Erica Kennedy, Josephine Vains

Neil St. Uniting Church, Ballarat at 11 am

Along with Orchestra Victoria violinist Kennedy and cellist Vains, the popular guitarist will work through an all-Italian program.   Scattolin has worked before with both string players in Ballarat and Melbourne recitals and he spreads his solo talents around, appearing all over this state in post-Festival events.   The Morricone elements will probably be arrangements since I can’t find any original works that involve the instrument, apart from chamber scores that involve multiple guitars or guitar with instruments other than violin and/or cello.  Scattolin has played his own music here in previous years; I know I’ve heard it but no memories remain.   As for Paganini, there is an astounding wealth of material for guitar and violin, three duets for violin and cello, but nothing that fits this trio combination.

 

Wednesday January 16

FAIR IS THE ROSE

Camerata Antica

St. Joseph’s Church, Blampied at 5 pm

The Camerata has as its fulcrum the cornetto of Matthew Manchester and the soprano of Anna Sandstrom.   Naturally, these two flesh out their company for specific occasions; on this evening, viola da gamba Laura Moore and Sydney organist David Drury lend their hands to some English music from the 16th and 17th centuries.   Mention is made of Byrd, Tallis, William Child (a plethora of religious works, next to nothing secular) ‘and others’.  Among these last, you’d expect to find Orlando Gibbons as one of his madrigals gives the recital its title.   Manchester and Sandstrom have appeared in the festival before; Drury has been a regular participant; Moore has appeared with several early and not-so-early ensembles.  Their combination, in the abstract, sounds delectable.

 

Thursday January 17

VENETIAN OBOE CONCERTI

Gianfranco Bortolato and Festival Chamber Orchestra

Former Wesley Church, Clunes at 11 am

Oboist at the Rome Opera, Bortolato is partnered by violinist Claudia Lopes and Anthony Halliday on the organ.   The composers cited are Marcello, Vivaldi, Albinoni and a new name to me: Giovanni Benedetti Platti, a Paduan oboist/composer who produced a sizeable amount of music for his instrument, in particular a G minor concerto that will probably be heard this morning.   Vivaldi wrote about 20 concertos for oboe; plenty of choice, then.  Albinoni produced none, so Lopes might get exposure playing one of his five (possible) violin concertos.  Halliday will work with the building’s small instrument: one manual with seven stops and pedal pulldowns.  Here’s hoping the chamber orchestra can handle these breezy, unsheltering Baroque scores.

 

Thursday January 17

MOZART, HANDEL, VIVALDI AND BACH

Gianfranco Bortolato, Claudia Lopes, Anthony Halliday

St. Paul’s Anglican Church, Clunes at 2:15 pm

Following the morning concert at the Clunes  Former Wesleyan Church, the three soloists present a recital in the town’s Anglican church which holds a rare Hamlin organ, recently restored although I can’t find out how or by whom.  The door is wide open as to what is on the program.  You could hope for the Bach Oboe and Violin Concerto or a Vivaldi sonata.  As for Handel, everything is up for grabs and any Mozart would have to be an arrangement.

 

Thursday January 17

A CHOICE COLLECTION

Daniel Thomson and Michele Benuzzi

Loreto Chapel, Loreto College Ballarat at 8 pm

Once again, we can enjoy Thomson’s eloquent tenor, this time allied with Benuzzi’s harpsichord.   The program moves from Purcell and Handel to Johann Wilhelm Hassler, who once faced off against Mozart in an organ competition.  But the meagre promotional material refers to the participating musicians’ recordings as sources for the evening’s progress.  Well, Thomson has only one CD and the Purcells on that are I Attempt from Love’s Sickness to Fly, If Music be the Food of Love, Fairest Isle, Not All My Torments and What a Sad Fate is Mine; there’s no Handel or Hassler.   Benuzzi, on the other hand, has produced five recordings of Hassler’s keyboard music.

 

Friday January 18

THE MUSIC OF MARAIS

Laura Vaughan, Laura Moore, Donald Nicholson, Nicholas Pollock

Loreto Chapel, Loreto College Ballarat at 11 am

It’s never been the same since Alain Corneau’s film Tous les matins du monde came out in 1991/2.   Subsequently, Marin Marais and the viola da gamba enjoyed a resurgence of interest, the envy of most other Baroque instrument specialists.   Both Vaughan and Moore are gamba experts, while Nicholson is a well-known harpsichord presence and Pollock a theorbo exponent who I believe was here recently with Van Diemen’s Band for the Melbourne International Arts Festival.   Part of the offerings are the Improvisation sue les Folies d’Espagne and the Chaconne in A Major from Le Labyrinthe.  Further, I’d be surprised – nay, shocked – if the Sonnerie de Sainte Genevieve did not enjoy an airing.

 

Friday January 18

BACH – TELEMANN: TWO GIANTS OF BAROQUE

Trio Sine Nomine

Mary’s Mount Centre, Loreto College Ballarat at 3 pm

This group — violin Claudia Lopez, oboe Gianfranco Bortolato, harpsichord Michele Benuzzi  –  toured Australia three years ago and this afternoon gather together from their various festival exercises so far to play some music by two Baroque contemporaries and friends.   You’d be scrabbling to find pieces by Bach for all three of these instruments, so I’m anticipating duos rather than trios.  Telemann produced a wealth of trio sonatas for these forces.  But it’s hard to pin down exactly what the In Nomine specialty area is. Complicating matters is the existence of another group of the same name, formed in Perugia in 2015: all-female and comprising two violins and piano.

 

Saturday January 19

AVEC CHARME

Gianfranco Bortolato and Anthony Halliday

Wendouree Centre for the Performing Arts at 11 am

Two of the more hard-working musicians in this year’s festival will appear in this morning matinee with a program that is, as yet, completely unknown.  What do you make of the title?   It’s the sort of meaningless phrase you come across in French real estate advertising.   Translated to music, it suggests the salon.   Still, the oboe/piano combination can boast original works by C. P. E. Bach, Nielsen, Donizetti, Schumann, Franck and Saint-Saens, so there’s room for substantial music-making – as well as the inevitable encore-level dross.

 

Saturday January 19

CANTO LATINO

Stefania Bellamio and Massimo Scattolin

Hilltop Christian Fellowship Church, Ballarat at 3 pm

Scattolin is a known quantity, soprano Bellamio not so much although she has sung here with the guitarist in 2016.  Tonight’s program comes from ‘the Spanish-speaking world.’ Which takes in a helluva lot – Central and South America, the Philippines, the Caribbean, and odd enclaves all over the place.   All right: the recital will probably centre on the home country’s products but there’s no harm in wishing for something more novel than all-too-familiar Falla and Granados.   I wouldn’t mind hearing some refreshing Renaissance canciones, or even reworkings like the Rodrigo Cuatro madrigales amatorios.

 

Saturday January 19

Orava Quartet

Wendouree Centre for the Performing Arts at 8 pm

Great to have you in Ballarat, Oravas.   It’s been a while since I last saw you; in  fact, it might have been at that Asia-Pacific Chamber Music Competition in 2013 where you won two of the prizes on offer.  Or your 2015 Melbourne International Arts Festival recital at the Collins St. Baptist Church.   Sadly, I missed your two Melbourne Recital Centre appearances this year.  Whatever the case, it’s hard to face the fact that you’ve been around for 11 years.  Anyway, here you are in Wendouree and there’s no indication what you’re going to play.  It could be some recycling from your Tchaikovsky/Shostakovich/Rachmaninov CD or some local material like Ross Edwards.   Or a Haydn Op. 33.   Or Debussy.   We’ll have to see what comes out in the wash.

 

Sunday January 20

A TRIBUTE TO JOHN CURRO

Monica Curro, Sarah Curro, Daniel Curro

Ballarat Mechanics’ Institute at 3 pm

It’s all in the family.   The renowned founder of the Queensland Youth Orchestra turned 86 this month and three of his four children – violinists Monica and Sarah from the Melbourne Symphony Orchestra, cellist Daniel from the Australian Brandenbyrg Orchestra – have put together a program of music by Mozart, Schubert, Paganini, Massenet and Delibes.  You can find plenty of Mozart trios for this combination but nothing specific by the other four names listed.   You can be sure that the occasion will work on the merits of its contributors and serve its chief purpose as a tribute to this formidable, effective educator.

 

Sunday January 20

A SPIRITUAL FOREST – THE SACRED MUSIC OF MONTEVERDI

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St Patrick’s Cathedral, Ballarat at 8 pm

Stephen Grant brings his vocal ensemble to St. Patrick’s to finish off the festival with soloists soprano Helen Thomson and tenors Daniel Thomson and Tom Buckmaster.  The concert’s title appears to come from the composer’s 1640 collection, Selve morale e spirituale.   As self-prepared anthologies go, it doesn’t have as much concert hall cachet as the 1610 Vespers.   But, as forests go, the foliage and tree-trunks are impressive and Grant has a vast space to log: moral madrigals, a complete Mass and some separate fragments like a Gloria and concluding sentences from the Creed, a mass of motets and psalm settings, a brace of Magnificats and a trio of Salve Reginae – all for varying numbers of vocal lines – from one to eight – the forces ranging from purely vocal to vocal with instruments.  There’s a nice symmetry in play between the opening and closing concerts in this year’s festival: from a modern-day writer who reduces his expressivity to spartan levels, to a Renaissance master who, even in the smallest pieces, startles you with his sense of theatre and bounding vitality.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

December Diary

Saturday December 1

SEASON FINALE GALA

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

So how will we bring this year’s operations to a smashing close?   Let’s invite Markus Stenz back.   That’s all right; he left us with goodwill on both sides, has visited at least once since his term as MSO Chief Conductor ended in 2004, and his reappearance will put a spring into the pistons and slides of the MSO brass – those precious few that have not departed the orchestra’s ranks over the last 14 years.  Tonight opens with Wagner: the Prelude and Transformation Scene (one of them) from Parsifal – a deft reminder that the Victorian Opera is presenting this turgid opera next February in the unholy ambience of St. Kilda’s Palais Theatre.   Stenz ends with that ever-challenging ballet, Stravinsky’s The Rite of Spring; always entertaining to see what the players make of the composer’s demands on them.  Guest violinist Maxim Vengerov will present a concerto written for him by  Qigang Chen and which he premiered a little over a year ago.   I know nothing of this composer, although he did direct music for the Olympic Games Opening Ceremony in 2008 and has enjoyed much acclaim both in his homeland and in France where he has been resident for 34 of his 67 years.   This work is subtitled La joie de la souffrance which is promisingly masochistic, and it takes its impetus from a Chinese melody.   In other words, you’ll get the best (possibly) of both (well, at least two) worlds.

This program is also being presented on Friday November 30 in Robert Blackwood Hall, Monash University at 7:30 pm.

 

Saturday December 1

CHRISTMAS TO CANDLEMAS

Ensemble Gombert

Our Lady of Victories, Camberwell at 8 pm

Yet again, John O’Donnell and his excellent choir take patrons on a much-anticipated exceptional tour of Renaissance sacred music that covers the Christmas story from the stable at Bethlehem to Simeon’s prophecies in the Temple.  Proceedings open with two Lassus motets: Quem viditis, pastores? for the shepherds’ take on the whole business, and In principio erat Verbum, the first 14 verses of St John’s Gospel which used to conclude the Tridentine Mass ritual and which still give a stunningly visionary theological context for Christ’s birth.   Jacob Handl’s Mirabile mysterium also offers an appraisal of the birth’s significance, while his Omnes de Saba makes a jubilant welcome for the Three Kings’ arrival on the scene.   Lassus then contributes his Videntes stellam which gives more physical detail concerning the royal visitors and their gifts.   O’Donnell & Co. move to the Tudors with a Byrd brace: Hodie beata virgo Maria which comes from the Candlemas Vespers and depicts Mary giving Jesus to Simeon for his blessing; the antiphon Senex puerum portabat deals with a series of paradoxes in lucid polyphony that lasts about two minutes.   Videte miraculum by Tallis concentrates heavily on Mary’s virginity with ethereal detachment.  The program’s main work is the 7-voice Puer natus est nobis Mass by Tallis which has no Kyrie or Credo and is based on a plainchant, with which the Gomberts will kindly preface their performance.   This chant’s text derives from Isaiah and most of it will be familiar to Handel’s Messiah lovers who, at this event, will be transported far beyond the German/British composer’s visions of worldly pomp and circumstance.

 

Tuesday December 4

Ksenija Sidorova

Melbourne Recital Centre at 7:30 pm

Bringing the MRC’s Great Performers series to a reedy conclusion, the Latvian accordion player presents a solo recital that comprises mainly music that I’ve never heard by people who are strangers, although there’s a bit of Bach on offer in three parts of the solo keyboard Overture in the French Style.   Sidorova opens with Danish writer Bent Lorentzen’s Tears, an original accordion solo from 1992.   Then follow three Russian offerings: Anatoly Kusyakov’s six Autumnal Sceneries, Alexei Arkhipovsky’s melancholy Cinderella (originally for balalaika), and Sergei Voytenko’s moody Revelation.  All of these are exactly what you think of when considering accordion music: harmonically orthodox and, despite their provenance, full of 1950s Parisian atmosphere.   Sidorova moves into the world of Piazzolla with a group including SVP (S’il vous plait), Sentido Unico and Tanti Anni Prima, all arranged by the performer; while the first two are tangos, the last, originally called Ave Maria, is a quiet, plangent lyric that shows a less abrasive side to the pugilistic Argentinian composer and bandoneon virtuoso.   Finally, we delve into the catalogue of Schnittke for Revis Fairy Tale, a quartet of pieces originally composed for a staging of Gogol’s satire Dead Souls and then transcribed for accordion by Sidikova and two other experts.   James Crabb taught us not to undervalue the instrument as a by-product of Young Talent Time and, in the right hands, it can exercise considerable appeal; but a lot of this program looks (and may sound) pretty one-dimensional.

 

Wednesday December 5

SONATAS FOR STRINGS

Australian Chamber Orchestra

Melbourne Recital Centre at 7:30 pm

Finishing its Melbourne operations for 2018 in the Recital Centre, the ACO will be heard to excellent advantage, its zesty enthusiasm more immediate here than in the gloomy cavern of Hamer Hall.   Richard Tognetti has assembled a rag-bag program that takes in some welcome novelties as well as several familiars.   The ACO opens with Sculthorpe’s Sonata for Strings No. 1, a work that this ensemble commissioned back in 1983 and which is an orchestration of the composer’s own String Quartet No. 10 – well, according to the catalogue, it ‘succeeds/complements’ that particular quartet.   Mind you, it all gets a tad confusing: is this No. 1 identical with the same year’s Sonata for Strings?  Will we ever know?   Will we ever care?   After this whiff of Australiana, the group moves to some Debussy arrangements: The Girl with the Flaxen Hair and The Interrupted Serenade, two companion pieces from Book I of the Preludes.   Another Tognetti arrangement follows with Ravel’s Two Hebrew Melodies, originally for voice and piano/orchestra but I’m guessing the vocal line will here be taken by a violin, especially in the Kaddisch which the ACO has recorded.    Elgar’s E minor Serenade for Strings tests the ACO’s richness of warm timbre rather than its scintillating virtuosity.   Finally, we hear Walton’s Sonata for Strings, the composer’s arrangement (with Malcolm Arnold’s help in the finale) of his own String Quartet in A minor, written 25 years previously.

 

Friday December 7

VIVICA GENAUX IN CONCERT

Opera Australia

Melbourne Recital Centre at 7 pm

In recent times, some of these one-off recitals/concerts by famous imports have been either sad or ludicrous.   This one features an American mezzo, presented by Pinchgut Opera, not the national company, so there are grounds for optimism.   Pinchgut artistic director Erin Helyard is directing an all-Baroque program that also features ’21 of Australia’s best early music instrumentalists’  –  no details available so far.   As for the music, the night offers a sinfonia (Op. 6 No. 1 .  .  . but isn’t this Op. 6 a set of flute concertos?) and two overtures (Cleofide, Demofoonte) by Hasse as well as an aria from Cleofide (the heroine’s Son qual misera colomba); two arias (one from Semiramide, the other from Polifemo) by Haydn’s teacher Porpora; one aria only by Broschi from his IdaspeOmbra fedele anchio which featured in that prodigious waste of money, the film Farinelli; a Vivaldi sinfonia and three opera (L’OlimpiadeGriselda, Catone in Utica) arias; and there’s a Handel pair for good measure – Ho perso il caro ben from Il Parnasso in festa, and Sta nell’Ircana pietrosa tana that I vaguely remember from Opera Australia’s Alcina production.   Apart from this last, the rest represent unknown territory, except for those happy souls who revel in this arcane field.   And jolly good luck to you; here’s hoping the night proves both satisfying and rewarding.   What you can be sure of is music-making of authority from all concerned.

 

Saturday December 8

CHRISTMAS WITH THE MSO

Melbourne Symphony Orchestra

Hamer Hall at 1 pm and 5 pm

This program is a few levels above Carols by Candelight, one of this city’s aesthetic abominations, but it isn’t much to boast about.   What you get is entertainment but it all comes in short squirts.    Benjamin Northey, the MSO’s go-to conductor with personality, leads the festive round.    Guest soprano Greta Bradman has the unalloyed joy of belting out Adam’s O Holy Night, Irving Berlin’s White Christmas, the carol Silent Night (possibly the others on the program as well  –  Oh come, all ye faithful, Hark! the herald angels sing, We Three Kings).    As well as the Berlin hit, you will find a solid swathe of Americana on offer: indeed, the program opens and ends with Leroy Anderson – A Christmas Festival to begin, Sleigh Ride to close.   You’ve also got James Pierpont’s Jingle Bells, Johnny Marks’ Rudolph the Red-Nosed Reindeer, and a suite from Alan Silvestri’s score for Robert Zemeckis’ The Polar Express film.   By way of cutting cross-cultural commentary, Northey and his forces will play bleeding chunks from Tchaikovsky’s Nutcracker ballet Suite No. 1 (which holds most of the work’s attractive character pieces) and the Troika on loan from Prokofiev’s Lieutenant Kije film music suite, uncomfortably situated close to Anderson’s trite musical sleigh excursion.   The odd one out in all this is Howard Blake’s Walking in the Air from the 1982 The Snowman soundtrack.   In short, the MSO is playing a set of bon-bons, nearly all of which have connections to the season.

 

Friday December 14

THE EMPIRE STRIKES BACK

Melbourne Symphony Orchestra

Plenary at 7:30 pm

This second instalment in the first Star Wars trilogy – for us true believers, the only films in George Lucas’ series worth serious attention –  is being given several airings in this vast auditorium; here’s hoping the organization is able to pack out all four sessions.   John Williams reinforces motifs and tropes from the first film, A New Hope, but a large amount of extra material had to be produced for new sites like the ice planet Hoth as well as suitable aural underpinning for Luke Skywalker’s clumsy efforts both there and on the swamp planet Dagobah, not to mention the atmospherics needed for the first sighting of Cloud City and the eventual duel between Luke and Darth Vader.   Much of this is rousing stuff but the MSO will be hard put to bring freshness to a score that is all too well-known.  What takes me aback in these declining years is that the film is now 38 years old and still manages to surprise you with musical details that slipped by the first twenty times you saw it.

This screening will be repeated on Saturday December 15 at 1 pm and 7:30 pm, and on Sunday December 16 at 1 pm.

 

Friday December 14

THE SOUND OF SHADOWS: SUGAR COATED

Bianca Gannon, Luqmanul Chakim, Peni Candra Rini, Jumaadi, Jean Poole. Robert Jarvis

Melbourne Recital Centre at 7:30 pm

Here is a one-off production, presented by Bianca Gannon and Mapping Melbourne, which is ‘a platform for strengthening arts networks between contemporary independent artists across the Asian region, building connections and establishing collaborative ongoing relationships, and presenting challenging work’  –  an offshoot of Multicultural Arts Victoria.    This particular recital features Indonesian instruments whose use revolves around food.    Central performer Chakim plays a bundengan (zither), a rantok (a blade, but I’m guessing), and a set of gule gending (steel pans)  –  all instruments of the people, to be contrasted with Javanese court music sung by Candra Rini.    Gannon, artistic director for this enterprise, contributes gamelan and post-minimalist piano (at last, I’ll get to find out just what that terminology means), and Jumaadi offers his own digitally enhanced take on Indonesian shadow puppetry to flesh out the occasion.    My only regret is that the food relevant to Chakim’s instruments – duck, rice, fairy floss – is not being served; you can never have too much sensory overload.

 

Saturday December 15

HANDEL’S MESSIAH

Melbourne Symphony Orchestra

Hamer Hall at 7 pm

Something of a clash here as a good number of the MSO players will be involved with a session of The Empire Strikes Back soundtrack across at the Plenary.    An expert in early music practice, Jan Willem de Vriend, is directing and may well do so from the concertmaster’s desk.    If you’ve not heard of de Vriend, join the club, although most of his activity appears to be centred on mainland Europe.    His soloists are soprano Jeanine De Bique  from Trinidad, Australian countertenor Nicholas Tolputt, that sterling locally-grown tenor Andrew Goodwin, and Dresden-born bass-baritone Stephan Loges.   Of course, the MSO Chorus has the enviable task of handling those great choral tapestries that pepper this oratorio, although the body’s numbers may be cut down in proportion to what I assume will be a spartan chamber orchestra.    Prior to these Melbourne performances, the work will be heard in Ballarat on Saturday December 8 (Mary’s Mount Centre, Loreto College at 5 pm), and in Bendigo (Ulumbarra Theatre at 5 pm) on Sunday December 9.

This program will be repeated in Hamer Hall on Sunday December 16 at 5 pm

 

Sunday December 16

A GLORIOUS CHRISTMAS

Australian Boys Choir

Melbourne Recital Centre at 3 pm

This is the last entry on the Recital Centre’s calendar for the year; thankfully, the Murdoch Hall will hear some decent music-making to terminate 2018, rather than tacky aural crud from easily forgotten pseudo-musicians exhibiting a woeful lack of mastery and talent.    What the Choir’s administrators mean by ‘glorious’ isn’t just hyperbole, a non-specific wish that everybody will have the best of times over the coming fortnight.  The emphasis falls on the liturgical specificity of the word and its importance for Christmas as the jubilant song of the angels, expertly reported to St. Luke by those terrifically literate shepherds keeping watch over their flocks in the hills around Bethlehem.    At the heart of this occasion is Vivaldi’s Gloria  –  RV 589. you’d assume  –  which asks for soprano or contralto soloists in four of its twelve movements.   As usual, audience participation will be expected and encouraged in some of those carols  essential to this event, even if most of them don’t qualify for the glorious label.   But the Choir, its senior Vocal Consort and the large bank of tyros are all managed carefully enough so that they rarely wear out their welcome.    Of great interest for some of us will be to observe how new artistic director Nicholas Dinopoulos copes with filling the shoes of recently departed ABC veteran, Noel Ancell.

November Diary

Saturday November 3

Benedetti, Elschenbroich, Grynyuk Trio

Melbourne Recital Centre at 7 pm

Here is the final Musica Viva series for this year: a piano trio comprising Nicola Benedetti, cellist Leonard Elschenbroich, and pianist Alexei Grynyuk.   The Scots violinist does not seem to have made much of an impression outside her home country and England, and most of her reputation rests on concerto work.   Elschenbroich has been here previously as a member of the Sitkovetsky Trio and proved to be a fine contributor; like Benedetti, Grynyuk is an unknown quantity to me, occupying as he does that genealogical half-way position somewhere between Ukraine and England.   For this night’s program, the musicians perform two early Richard Strauss sonatas: one for cello, the other for violin.  Before they reach into the glories of the Brahms C Major Trio, the group will give an airing to another second piano trio, that by Gordon Kerry subtitled Im Winde, which was last heard here 8 1/2 years ago from the Trio Dali.

The BEG combination will present its second program on Tuesday November 20 at 7 pm.  As well as Kerry’s Im Winde, the fare changes from Strauss to Prokofiev sonatas and the affair ends with the Ravel Trio.

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Saturday November 3

LORELEI

Victorian Opera

Merlyn Theatre, The Coopers Malthouse at 7:30 pm.

It’s hard to know what to expect here.   Three divas are involved: Ali McGregor, Dimity Shepherd and Antoinette Halloran, each taking a turn at playing Lorelei or, more properly, a version of the eternal temptress.   As for the music, this has been written by Melbourne screen-composer Julian Langdon, writer and broadcaster Casey Bennetto (Keating!), and musical comedian Gillian Cosgriff; the latter two also have supplied the librettos.  The promotional spiel claims this will be ‘an intoxicating encounter with love and death: part cabaret, part opera, all seduction.’   Be still, my beating heart.   Further, the sopranos’ ‘hypnotic music is to die for.’   No, it’s not: at best, it’s to enjoy; at worst, to endure.

The performance will be repeated at 7:30 pm on Wednesday November 7, Thursday November 8, Friday November 9 and Saturday November 10, with a matinée performance on Saturday November 10 at 1 pm.

 

Monday November 5

BACH & BARBER

Ensemble Gombert

Melbourne Recital Centre at 6 pm

Why this pairing?   It could be a demonstration of old and new counterpoint or an exploration of the contrast between masculinity and flaccidity.   However you read it, the night will test the Gomberts’ pitching and interpretative skills in the confined Salon space of the MRC.   For the Bach, we are confronted by three of the mighty motets: Der Geist hilft, Lobet den Herrn, and Furchte dich nicht.   Taking a bit longer to work through, the American composer’s group comprises the choral madrigal in three movements, Reincarnations; a setting of Laurie Lee’s Christmas poem Twelfth Night; its companion piece, To Be Sung on the Water; and the almost inevitable Agnus Dei arrangement of the Adagio for Strings which will probably make up the longest piece on the program.   The outer Bach pieces are for double choir, and they sound magnificently mobile in a fair-sized church but I think that here the dubious Lobet in 4 lines will come off best.

 

Wednesday November 7

LA BOHEME

Opera Australia

State Theatre, Arts Centre Melbourne at 7:30 pm

And, just for a laugh, let’s move the whole shebang to Weimar Republic Berlin.  That way, we can weave in suggestions of depravity and physical grime, potentially providing a refresher course in George Grosz, I don’t think.   Have we seen this Gale Edwards vision here before?   It could be so – in which case any memories went straight through to the keeper.   In charge of the pit is Pietro Rizzo who conducted the score almost two years ago in Sydney and is forging an onward-and-upward career in second-class European houses.  Mimi is Latvian soprano Maija Kovalevska who sang the role earlier this year on Sydney Harbour; her Rodolfo will be Yosep Kang, back after his impressive Alfredo Germont in April.   The remainder of the cast is native-born.   Jane Ede enjoys Musetta; Christopher Tonkin is her matching Marcello.   The other Bohemians are Richard Anderson (Colline) and Christopher Hillier (Schaunard), with Graeme Macfarlane, Adrian Tamburini, Clifford Plumpton, Anthony Mackey and Benjamin Rasheed handling the minor parts.   In the end, though, you’re asked to exercise that unnecessary suspension of disbelief and read in Weill’s world for Puccini’s.

The opera will be repeated at 7:30 pm on Friday November 9, Monday November 12, Wednesday November 14, Friday November 16 and Tuesday November 20 with a concluding matinee at 1 pm on Saturday November 24.

 

Thursday November 8

HARRY POTTER AND THE PRISONER OF AZKABAN IN CONCERT

Melbourne Symphony Orchestra

Plenary, Melbourne Convention and Exhibition Centre at 7:30 pm.

From here on, the whimsy leaches out of this famous series while the sense of menace increases markedly.   This is the final film for which John Williams wrote the score and conducted the results, although the leitmotives persisted in later films.   Above all, the ambience has become monumental, illustrated by director Alfonso Cuaron’s insistence on massive clocks and their workings while Hermione and her two doofus mates negotiate the ins and outs of turning back time.   A moment that appeals to the repressed English chorister in some of us comes with the choral treatment of Double, double toil and trouble which gives the whole witchcraft/sorcery meme an unexpected layer of cultural references – or am I falling into the pit of becoming a Potter nerd?   Whatever, this will doubtless prove to be a winner for the MSO with determined patrons turning up dressed in their house robes and – with the benefit of hindsight – restraining their boos for Severus Snape.

The concert will be repeated on Friday November 9 (sold out, apparently) and at 1 pm on Saturday November 10.

 

Friday November 9

CELEBRATING BRETT DEAN

Australian National Academy of Music

Melbourne Recital Centre at 7:30 pm

A celebration on two layers as the Australian National Academy of Music has Dean come ‘home’ to lead its orchestra in music of his own as well as ventilating some other compositions that have been of  significance to the Australian composer.   Meale’s Clouds now and then, one of the Sydney writer’s haiku-inspired pieces, leads off – a real 1969 blast from the past for some of us, recalling a time when Australian music seemed to be coming of age, at last.   Georges Lentz is also a Sydney name that enjoyed a few brief exposures during Markus Stenz’s time as chief conductor of the Melbourne Symphony Orchestra; Jerusalem (after Blake) of 2016 has not been performed here.   Sydney composer and London resident Lisa Illean contributes her 2015 Land’s End, written for the Sydney Symphony Orchestra and conducted a year later by Dean with the BBC Symphony Orchestra.   His own music is also pretty much up-to-date: From Melodious Lay (A Hamlet Diffraction) springs out of the composer’s well-received 2016 opera for Glyndebourne on Shakespeare’s play, with Lorina Gore semi-reprising her role as Ophelia in this year’s Adelaide Festival performances. and Brisbane-born Finnish tenor Topi Lehtipuu singing Hamlet.   This is a welcome tribute to the Academy’s former director and an opportunity to hear one of his more recent major products.

 

Saturday November 10

LIXSANIA AND THE LABYRINTH

Australian Brandenburg Orchestra

Melbourne Recital Centre at 7 pm

Lixsania Fernandez is a Cuban gamba player and the ABO’s final guest artist for this year.  Under Paul Dyer’s direction, the orchestra will partner her in Vivaldi’s Concerto for Two Violins and Viola da gamba, a plain concerto for gamba by Graun and a contemporary work by Rene Duchiffre (Schiffer) – the Tango barocco finale from his Concerto for Two Violas da gamba.   We can be fairly sure that Fernandez will be playing one of these, but the other?   On top of this, concertmaster Shaun Lee-Chen will take the leading role in Locatelli’s D Major Violin Concerto, The Harmonic Labyrinth, and a tad more Vivaldi fleshes out the night in the 5-minute Sinfonia al Santo Sepolcro.   Apart from the contemporary Brabantian fusion, the other three composers stretch across the Baroque proper and represent a territory on which some of us prefer to hear the ABO at its labours.

This program will be repeated on Sunday November 11 at 5 pm.

 

Sunday November 11

TOGNETTI’S BEETHOVEN

Australian Chamber Orchestra

Hamer Hall at 2:30 pm

Never happy with this appellation; after all, what makes Tognetti’s Beethoven different to Vengerov’s or Francescatti’s?   I’d even prefer the pornograpically suggestive Tognetti Does Beethoven than have this proposition of proprietorship pushed forward as a reason to attend.   Only two works are programmed: the Violin Concerto with Tognetti as soloist, and the Symphony No. 5.   These were written contemporaneously and stand at the pinnacle of the so-called ‘middle’ period.   Quite a few of us can recall the artistic director’s last solo performance of the concerto and you can be sure that the years will not have diminished the player’s skill and insight.   About the symphony, I’m not so sure; we’ve heard pretty much all the canon from these players in the recent past and, while some interpretations have proved riveting, I can’t recall much more than some remedial scouring of this C minor score’s tradition-heavy surface.

This program will be repeated on Monday October 12 at 7:30 pm.

 

Sunday November 11

19TH CENTURY SPLENDOUR

Team of Pianists

Glenfern, St. Kilda at 3 pm

Finishing its year – apart from a fund-raising recital for the Dili Hospital on November 24 – the Team hosts Melbourne Symphony Orchestra principal clarinet David Thomas who, with senior TOP member Darryl Coote, will play both the Brahms Op. 120 sonatas.   Now there’s an afternoon’s solid modicum of delight for you: the last chamber works by the composer, featuring an instrument that he fell in love with during his final years.  Punctuating these gems, Coote plays two Schubert impromptus: the C minor and most mournful from the Op. 90 set, followed by the theme-and-five variations B flat Major from the Op. 142 quartet.  Somehow, the whole gels to make up a most inviting and atmospherically consistent program with the added thrill that, in this house’s central room, you seem to be right on top of the performers, even when sitting in the back row or half-way out the back window.

 

Tuesday October 13

THE MASTERSINGERS OF NUREMBERG

Opera Australia

State Theatre,  Arts Centre Melbourne at 4 pm

After the company’s Ring resuscitation, what better move by the national company than to thrill Melbourne with Wagner’s thigh-slapping yet actually unfunny comedy?   Such a long haul for everybody concerned, but conductor Pietari Inkinen, who has covered himself with acclaim for previous Wagner marathons here, is back for this long-winded nationalistic pap.  The direction has been achieved by Kasper Holten who, with the willing assistance of set designer Mia Stensgaard and costume designer Anja Vangh Kragh, has transposed the action from mid-16th century Nuremberg and put it in a London club (unclear when; could be at the time of Beau Brummell or during the period of Evelyn Waugh) which doesn’t allow women – bad luck for Eva and Magdalene as this embargo will probably hamper their efforts to take part in  the action.   Still, the anachronisms might make bearable the unpleasant overtones of Sachs’ last address to the crowd – such a pity it all had to take place in this particular city.    As this fulcrum figure comes local lad Shane Lowrencev who is fated to rabbit on almost as tediously as Wotan.   The young hero Walther also features a Ring revenant in Stefan Vinke.   The two female roles are local favourites: Natalie Aroyan as Eva and Dominica Matthews as her confidante.   Apprentice David is taken up by Kazakh tenor Medet Chotabaev and Warwick Fyfe, a revelation in previous Wagner, gets the plum role of Beckmesser; who wouldn’t want to play a critic?  Veteran Daniel Sumegi plays Pogner and the rest of the club is a list of familiars: Luke Gabbedy, Adrian Tamburini, John Longmuir, Nicholas Jones, Kanen Breen, Robert Macfarlane, Andrew Jones, Michael Honeyman, Gennadi Dubinsky and Richard Anderson.   You need a wealth of stage magic to keep audiences awake and focused through this opera which begins brilliantly and  quickly peters out as the characters set themselves forward in clear single dimensions.

The opera will be repeated at 4 pm on Monday November 19 and Thursday November 22, and in a matinée performance on Saturday November 17 at 12 pm.

 

Thursday November 15

BEETHOVEN 5

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Would you believe it?  Two C minor symphony performances within four days of each other.   This concert also features a violin concerto: Shostakovich’s all-things-to-all-men-except-Zhdanov No. 1, a remarkable construct of great originality in texture and format.  Guest violinist Mayu Kishima won the Shanghai Isaac Stern Violin Competition two years ago and plays the ‘ex-Petri’ Stradivarius instrument of 1700 – all of which sounds promising; as well, she has the endorsement of Rostropovich.   American Karina Canellakis has recently been appointed the next chief conductor of the Radio Philharmonic Orchestra in the Netherlands, the first woman in that post as well as the first female chief conductor anywhere in that country.   She will take the MSO through a rarely-heard Dvorak tone poem, The Noon Witch, as a procedural prelude, then finish off the night with that blazing Beethoven.

The program will be repeated in Costa Hall, Geelong on Friday November 16 at 7:30 pm, and again in Hamer Hall at 2 pm on Saturday November 17.

 

Sunday November 18

DOUBLE TROUBLE

The Melbourne Musicians

St. John’s Lutheran Church, Southgate at 3 pm

Frank Pam and his players finish off their 2018 efforts with this special concert featuring quite a few doubles.   First come the Grigoryan brothers, Slava and Leonard, bringing their guitars to bear on some concertos for two instruments.   The first is by Handel, the sixth of the Op. 4 set of organ concertos; still, it was originally composed with a harp solo, so doubtless the solo work will be easily divided.   The other is from Vivaldi, the RV532 which is well-known as a work for two mandolins, but the composer would be the last to complain about an adaptation of this type.   Pam surrounds these with Viennese dance music, beginning with Karol Komzak’s Vindobona March and Lanner’s six Dornbacher Landler.   After the concertos come 15 of Schubert’s 16 German Dances and 2 Ecossaises Op. 33, originally for piano solo.   And the afternoon ends with a Strauss double: the senior’s Champagne Galop, followed by the junior’s Bacchus-Polka which could take on extra interest if the Musicians take up the composer’s original instructions which ask for the players to sing as well.

 

Thursday November 22

BACH SUITES

Melbourne Chamber Orchestra

Deakin Edge, Federation Square at 7:30 pm

And here is the MCO finishing off its subscription series with a well-structured set of four works.   The night begins and ends with Bach: first, the Orchestral Suite No. 4; finally, the Orchestral Suite No. 3.   Both of them ask for three trumpets, timpani and and two or three oboes, as well as the usual body of strings with a bassoon for extra colour in No. 4.  In between come two double violin concertos.   As you’d expect in this programmatic company, the first is the slashing and popular Bach D minor, while the second is freshly minted and comes from the pen of the concert’s conductor, Richard Mills.   Who are taking the solo lines?   No idea yet, but MCO director William Hennessy has a fair assembly of talent from which to choose – or he could take one of the lines himself.  Always happy to hear top-class Bach but this event’s main interest comes from the Mills concerto, about which the gossip mills have maintained a stolid silence.   Its catalogued title at the Australian Music Centre gives something away: ‘Concerto for two violins and strings (string orchestra with multiple soloists)’.

This program will be repeated in the Melbourne Recital Centre on Sunday November 25 at 2:30 pm.

 

Friday November 23

FRENCH CLASSICS

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

To be fair, you will hear two significant French masterpieces on these nights: Debussy’s limpid Prelude a l’apres-midi d’un faune, and Ravel’s Daphnis and Chloe Suite No. 2 for which the MSO Chorus will contribute to the final orgy.   This night’s conductor, Paris-born Fabien Gabel, is music director of the Quebec Symphony Orchestra, so we can be reasonably sure of the requisite Gallic insights.   Debussy appears again on the program through his early six-part song-cycle to Verlaine poems,  Ariettes oubliees.  These were orchestrated in 2015 by Brett Dean for the Australian World Orchestra, later recorded by the German Symphony Orchestra Berlin, tonight sung by mezzo Fiona Campbell.   But the night’s showpiece, Prokofiev’s Piano Concerto No. 3, is solidly Russian, setting the benchmark for all those skittering works of similar ilk that flowed from the pencils of the composer’s less-talented compatriots.   Beatrice Rana is the soloist; Italian-born, silver medallist at the 2013 Van Cliburn, first prize at the 2011 Montreal Piano Competition and still in her mid-20s .  .  .  ideal for this concerto.

This program will be repeated at 7:30 pm on Saturday November 24 and at 6:30 pm on Monday November 26.

 

Thursday November 29

MAHLER 9: FOR CHAMBER ORCHESTRA

Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

That’s it, of course: just the last Mahler (well, the last completed).  The arrangement, by pianist/conductor Klaus Simon, is one of the fruit’s of his editing endeavours in the scores of Schoenberg and Mahler.   Somehow, he has cut down the large orchestral body to 15 players, in this outing most of them notable Australian presences: flute Virginia Taylor (ex-ANU, ANAM), oboe Nick Deutsch (ANAM artistic director), clarinet Philip Arkinstall (MSO), bassoon Lyndon Watts (Munich Philharmonic), horns Andrew Bain (LA Philharmonic) and Saul Lewis (MSO), trumpet Tristram Williams (ex-MSO), piano Timothy Young (ANAM), percussion Peter Neville (ANAM, University of Melbourne), piano accordion James Crabb (ACO favourite), violins Sophie Rowell (MSO) and Robin Wilson (ANAM, Sydney Conservatorium), viola Caroline Henbest (ACO, MSO, everyone’s favourite guest viola), cello Howard Penny (ANAM, Chamber Orchestra of Europe) and double bass Phoebe Russell (QSO).  The conductor is Matthew Coorey, an Australian based in London who has conducted the MSO although I didn’t hear him.  A one-time horn player, he should be well equipped to direct this agglomeration of timbres.  Accordion?  Really?

 

Thursday November 29

LUDWIG’S LEGACY

Wilma & Friends

Ian Roach Hall, Scotch College at 7:30 pm

In this final recital for the year, Wilma Smith and four colleagues are playing a set of little-known works by top-rank composers.   For instance, although it shames me to admit it, I’ve never come across Beethoven’s String Trio in C minor, nor the other two works that make up the composer’s Op. 9.   In similar vein, I doubt that the Brahms String Quintet in F Major has swung across my horizon; nor has its later companion, the G Major String Quintet.    And Mendelssohn’s B flat String Quintet is further unknown territory, as is the composer’s earlier A Major work in the same format.   An occasion, therefore, to remedy woeful ignorance.   Along with Smith’s violin, the other voices in this recital are to be taken by Ji Won Kim from the MSO’s first violin ranks, violas Stefanie Farrands from the Melbourne Chamber Orchestra and Caleb Wright, newly appointed principal with the Adelaide Symphony Orchestra, while Michael Dahlenburg from the Melbourne Chamber Orchestra plays cello.

 

 

October Diary

Tuesday October 2

SCHUBERT LEDGER SHOSTAKOVICH

Australian String Quartet

Melbourne Recital Centre at 7 pm

Visiting as part of its national series, if a remarkably truncated one these days, the ASQ plays a standard classic to begin in the Schubert Rosamunde; not the most cheerful nor the most aggressive of the composer’s extraordinary mature forays into this field.  Balancing this comes Shostakovich in A flat, No. 10 in the series of 15 and one of the more formally adroit and emotionally satisfying of the lot.   James Ledger’s String Quartet No. 2, sub-titled The Distortion Mirror, will enjoy its world premieres as the ensemble tours the country.   Sad to say, I don’t know this writer’s work at all well; he appears to be based in Perth, which doesn’t help, but in 2011 he was Composer-in-Residence at the Australian National Academy of Music, during which time he undertook a collaboration with Paul Kelly that somehow evaded me – or was a bullet dodged?.  Adding to the mystery, on the Australian Music Centre site, this new quartet is called Transmissions.

 

Friday October 5

LAGRIME DI SAN PIETRO

Los Angeles Master Chorale

Melbourne Recital Centre at 7 pm

Here we start the small number of serious music offerings for this year’s Melbourne International Arts Festival.  Once again, the organization has done us proud with a heavy number of stage works, exhibitions galore, the essential rock events to drag in the crowds (but do they?), and a measly handful of serious music programs which, more often than not, turn out to be middling-to-poor quality.  This group is being touted as ‘one of the world’s leading choral ensembles of the last half century’; yet again, modesty and understatement are not proving to be part of the festival’s house directory.  The night’s content are the 20 sacred madrigals and concluding motet by Orlando di Lassus that offer expressions of Peter’s guilt at his betrayal of Christ.   As a summation of the composer’s career and his technical mastery, the work holds manifold musicological attractions; director Peter Sellars seems to have got the LA singers to memorize the work and do some acting to illustrate its passions.   The experience lasts 75 minutes, with no interval.

This program will be repeated on Saturday October 6.

 

Saturday October 6

BUDDHA PASSION

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

For the Festival, Tan Dun is back to conduct this substantial work in its Australian premiere from the MSO and Chorus.  It’s a joint commission from the Dresdner Musikfestspiele, New York Philharmonic, Los Angeles Philharmonic and the MSO.  The title promises a paradox but is the composer’s contribution to world music by way of being the first passion to use the teachings of the Buddha.  This exercise is the fruit of two years spent in the Mogao Caves near Dunhuang in Gansu Province.   No half-steps here: the work lasts 2 1/2 hours with a 20 minute interval and the texts will be sung in Chinese and Sanskrit.   Which is asking for a good deal from those of us with a wafer-thin scraping of Tourist Mandarin.  While not looking for impediments to any true minds’ marriage, I can’t help wondering about the efficacy of this enterprise, the most serious question being the attempted fusion of Christ and Buddha.  Would you feel any different if faced with a title like Jesus Diamond Sutra, or does that smack too much of the flirtations of loutish rock-stars with Oriental philosophy?   Best not to overthink; after all, it’s Festival time.

 

Monday October 8

CELLO NAPOLETANO

Van Diemen’s Band

Melbourne Recital Centre at 7:30 pm

This period ensemble, new to me, is under the direction of Julia Fredersdorff, doyenne of the Peninsula Summer Music Festival for the last 11 years and leading light of the trio Latitude 37.   This Festival contribution is a 90-minute one-night-stand, no interval, featuring the music of Corelli (one of the concerti grossi from Op. 6), a concerto grosso from Geminiani’s Op. 3, a sinfonia each from the two Scarlattis, and Boccherini’s Guitar Quintet No. 9 (yes , that tired old La Ritirata di Madrid).  Pride of place, however, goes to music by Nicola Fiorenza, a sparsely documented and historically shadowy Neapolitan writer of the 18th century’s first half; the Band will play three of his cello concertos, although I only know of one in F Major and another in A Major.   As for the other writers, I was unaware of Corelli’s connection to Naples;  Geminiani certainly spent three years there; both father and son Scarlatti are inextricably linked with the city; I can’t find any reference to Boccherini ever visiting the place.   But, once again: it’s holiday time – let’s not get bogged down in pedantry and facts.   As for the Band’s personnel (as set out in the organization’s web-site), most of them are unknown to me – as is the greater part of Tasmania itself.  Some familiar faces are Laura Vaughan on gamba, double bass Kirsty McCahon, violinist Lucinda Moon, and lutenist Simon Martyn-Ellis.  The other 14 members occupy yet another O’Connell terra incognita.

 

Thursday October 11

PELLEAS ET MELISANDE

Victorian Opera

Palais Theatre, St. Kilda at 7:30 pm

Not the most invigorating night, even if the opera has stretches of unadulterated magic.  Fortunately, the whole is greater than its parts and I’m sorry to be missing out on seeing (and hearing, more importantly) what the state company makes of this neglected work.  As the self-deludedly cuckolded Golaud, Samuel Dundas gets to exercise his rich bass.  Pelleas, Golaud’s younger brother, will be sung by Angus Wood who strikes me as being on the robust side for this shadowy work.   Siobhan Stagg sings Melisande; Liane Keegan takes on Genevieve, the mother of Pelleas and Golaud who gets to sing one of the few sustained passages of solo work in the opera.   Sophia Wasley appears in the short-pants role of the child Yniold and David Parkin works his magic as the chronic valetudinarian, Arkel.  The company’s artistic director, Richard Mills, conducts; Elisabeth Hill directs.

The opera will be repeated on Saturday October 13.

 

Thursday October 11

CHRISTOPHER MOORE

Melbourne Symphony Orchestra

Melbourne Recital Centre at 7:30 pm

The MSO’s principal violist and ex-principal with the Australian Chamber Orchestra, Moore is being given a time in the sun after an impressive career (so far) of excellent performance on his instrument coloured by some eminently forgettable hairstyles.   Like Dale Barltrop and one-time co-Concertmaster Eoin Anderson, this prominent member of the orchestral cast gets to direct and star in his own program which begins with the Brahms Serenade No. 2, the one that omits violins so their larger cousins get all the exposure.   Moore takes up the soloist’s responsibilities with Associate Concertmaster Sophie Rowell for the glowing Sinfonia Concertante K. 364 of Mozart.  Sandwiched between these glories comes the world premiere of Iain Grandage’s All the World’s a Stage which you’d expect would be for chamber orchestral forces and have something to do with Jaques – or is that hoping for too much directness of reference?   At the moment, I can’t find any solid information about it.

This program will be repeated on Friday October 12 in Robert Blackwood Hall, Monash University..

 

Monday October 15

Silkroad Ensemble

Hamer Hall at 7 pm

This ensemble has been supporting one of the Festival’s big drawcards: the Azerbaijani dance-opera, Layla and Manjun.   Silkroad was established by cellist Yo-Yo Ma but the publicity for this event makes it quite clear that the great man himself will not be appearing.   We are given the repertoire for this occasion which includes traditional music from Vietnam, China and Tibet along with material composed by modern writers: suona/shen expert Wu Tong, clarinettist Tony Scott, pianist Gabriela Lena Frank, violinist Colin Jacobsen, shakuhachi/electronics exponent Kojiro Umezaki.   Composer (from where?) Sapo Perakaskero’s most famous work, Turceasca, will provide the finale, informed by the input or presence of the Romani/Romanian ensemble Taraf de Haidouks.  Also, somewhere along the way, Chick Corea’s Spain comes in for Silkroad treatment.  The list of musicians who have participated in the ensemble’s work since its founding is large and some of those mentioned above are notated collaborators.   Now, I hate to be a leveler but it all sounds to me a lot like the sort of thing Phillip Glass did here at Melbourne Festivals some decades ago: give us a sample of musics from all over the place and expect applause for finding a communality of spirituality, despite cultural differences.  Good luck with that.

 

Wednesday October 17

FOUR SEASONS

Selby & Friends

Tatoulis Auditorium, Methodist Ladies College, Kew at 7:30 pm

Sadly, the title gives away the night’s main handicap: Piazzolla’s The Four Seasons of Buenos Aires, which I’ve heard too many times by now to be tolerant.   The famed tango writer put together a suite that shows that BA is mono-seasonal; there’s no difference between any of the movements.   Still, you can always sit back and admire the standard of play from pianist Kathryn Selby and her guests for tonight – violinist Alexandre Da Costa-Graveline who is currently working at Edith Cowan University in Perth, and Sydney Symphony Orchestra principal cello Umberto Clerici.    Apart from the Piazzolla, the group joins up for Mendelssohn in D minor while the solos will be Debussy’s Cello Sonata – all 11 minutes of it – and the Falla Canciones Populares which seems to be an arrangement for violin and piano from one already organised by Falla and Paul Kochanski that sprang out of the Siete canciones populares espanolas song-cycle.   Or it could be the same authorised arrangement under another name.   If that’s the case, then it’s about the same length as the Debussy.  Not that such a matter should be a consideration in chamber music-making of this quality, particularly as this will be S&F’s last Melbourne appearance this year.

 

Saturday October 20

Andras Schiff

Hamer Hall at 7 pm

Once again, Musica Viva comes to the Festival’s rescue with a real star.   The organization is offering special access to the Hungarian-born pianist’s presence with a post-performance reception/celebration on the Hamer Hall stage.   Or you could attend the pianist’s masterclass at the Australian National Academy of Music on Friday October 19 at 2 pm.   Or you could have a gourmet lunch with matched wines somewhere down the Mornington Peninsula, although I can’t work out whether Schiff is also going down the freeway for this expensive fund-raising exercise.   What about the music?  He’s giving a different program in Sydney two days after this one, but we score Mendelssohn’s F sharp minor Fantasy and, speaking of F sharp, the Beethoven Sonata No. 24, A Therese.  Then, in case you hadn’t heard enough from Paul Lewis, a swag of Brahms: the Eight Piano Pieces Op. 76, followed by the Seven Fantasias Op. 116 which I don’t think I’ve heard live for many years.   Icing on the cake comes through the final Bach English Suite.  This is Schiff’s first appearance here in over 20 years and, even if he has cut a few neo-Fascist countries from his visiting schedule, you ought to take this chance to hear him live; he’s 64 and, about now, long-distance travel becomes unattractive, if not irksome.

 

Tuesday October 23

Tasmin Little & Piers Lane

Melbourne Recital Centre at 7:30 pm

Even for a Brit, Little’s life, achievements and activities seem to be remarkably home-based.   So we should be more than happy that she has broached the Channel and made it out here.   Her associate is very well-known if mainly as a concerto soloist and solo recitalist.   The duo is offering one major masterwork in Franck’s Violin Sonata in A: a real duet with pitfalls all over the place and a finale to lift you out of your seat with something close to elation – on a good night.  The other interesting piece is Szymanowski’s D minor Violin Sonata, first performed by Kochanski (see above under Wednesday October 17) and Artur Rubinstein; well, it was probably a patriotic duty at the time for all concerned.  The rest comprises encore material: Kats-Chernin’s Russian Rag Revisited, the Ravel Piece en forme de Habanera, Brahms’s Scherzo contribution to that hybrid F-A-E Sonata, and – somewhat longer –  the Schubert Sonatina in D, the easiest of the composer’s three sonatas in this format.

 

Thursday October 25

METAMORPHOSIS

Opera Australia

Merlyn Theatre, Coopers Malthouse at 7 pm

It’s been a long while between drinks with regard to this piece.  The last time I saw it was in 1983 at St. Martin’s Theatre in South Yarra when it was presented by the Victoria State Opera.   Now, the work is enjoying a resurrection at the hands of the national company, currently under the artistic direction of the first exponent of the hero Gregor in Brian Howard’s take on Kafka.  This time around, Gregor will be sung by Sydney baritone Simon Lobelson who, as far as I can find out, has made absolutely no mark in Melbourne.   Julie Lea Goodwin sings Greta, Gregor’s sister.   Christopher Hillier and Taryn Fiebig are Gregor’s parents, Adrian Tamburini the noisome Chief Clerk, while Benjamin Rasheed will be the Lodger, standing in for the original novella’s three gentlemen boarders.  Paul Fitzsimon conducts and Tama Matheson directs.  Full marks to the company for this revival of  Howard’s score and Steven Berkoff’s libretto; it’s a tight, percussion-rich drama which copes with the Czech author’s naturalistic nightmare world utilising memorable subtlety.

The opera will be repeated on Friday October 26 at 7 pm, and again on Saturday October 27 at 2 pm.

 

Thursday October 25

STRAVINSKY’S FIREBIRD

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Yes, the whole ballet;  even those dull bits where nobody does much memorable except go to sleep, change the lighting, move the scenery.   Still, the big attraction here is watching Finnish conductor Jukka-Pekke Saraste at work on this lavish post-impressionist relic of the Rimsky school which stretches to about 50 minutes.   Dejan Lazic makes his debut appearance with the MSO, enjoying the central role in Bartok’s remembrance-of-things-past Piano Concerto No. 3.   Also, we are treated to a real Stravinsky curiosity in the Funeral Song: written in 1909 as a memorial after Rimsky’s death, played only once, then lost until a clean-out of the St Petersburg Conservatory Library three years ago.  Recordings have failed to rouse much excitement, although Alex Ross of The New Yorker sees it as a revelatory work in the context of what was to follow.  Maybe so; to me, the influences are all too clear, the orchestration clever-clever, the emotional content bordering on bathos.

This program will be repeated on Saturday October 27 at 2 pm

 

Friday October 26

DOUZE ETUDES: DEBUSSY

Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

The night ends with these magnificent studies, immensely demanding for any artist and a labour of love to present in one hit.   But that’s apparently what ANAM’s resident keyboard guru, Timothy Young, intends to do.   Beforehand, we enjoy some petit pois.  A pair of ANAM musicians will play the not-quite-two minutes Petite piece for clarinet and piano and the more substantial and contemporaneous Premiere rhapsodie for the same coupling.  Then comes a block of piano solos in the 1890 Reveries, the 1888-91 Deux arabesques, Hommage a Haydn from 1909 and the composer’s first published piano piece  –  the utterly forgettable Danse bohemienne of 1880.   Fleshing out our experience of the composer’s chamber music will be the G minor Piano Trio which also dates from 1880 during Debussy’s time in the household of Nadezhda von Meck.   Decried as character-less juvenilia by anybody who matters, the work is inoffensive enough, if not much of an indication of future fireworks.

 

Sunday October 28

BAROQUE, FOLK AND OZ

Team of Pianists

Glenfern, 417 Inkerman St., East St. Kilda at 3 pm

The Team’s Rippon Lea series has ended and what remain in the organization’s year are a few recitals at its home base: the National Trust demesne at Glenfern.   This afternoon, Robert Chamberlain represents the TOP, collaborating with local baroque violinist Shane Lestideau who also has an interest in Scottish folk music.   Their program begins with Telemann, a fantasie for solo violin; the theme is continued – nay elevated – with the Gigue from the Partita No. 2 by Bach – the little frivolity that precedes the colossal Chaconne in D minor.   We make a swift shift into the folk realm with some traditional violin solos from Scotland and Ireland before a lurch into O’Carolan’s Concerto and a pivot back to the baroque with A Highland Battle by James Oswald, Chamber Composer for George III, the poor lad.   Move across the North Sea for Anders Wesstrom, an Oswald contemporary, and his Variations on a Swedish polonaise for violin and piano.   The Oz bit comes with Sydney composer Alice Chance’s Saturation, a duo commissioned for the composer’s Evergreen Ensemble and premiered at the 2017 Port Fairy Music Festival.   Oh, Chamberlain will provide some as-yet unnamed solos by Bach and Ross Edwards.  Lots to hear; it could go on and on.

 

 

 

 

September Diary

Sunday September 2

TWO BY TWO: BACH AND VIVALDI DOUBLE CONCERTOS

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

SCHUBERT, WALKER AND BRAHMS

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

ESPANA

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

BENJAMIN BRITTEN & THE STRING QUARTET 2

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

IN MEMORIAM: MOZART REQUIEM

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

TRANSFORMING STRAUSS AND MOZART

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

INTERNATIONAL WOODWIND ALL-STARS

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

MOZART’S JUPITER & MORE

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

THE CAPULETS AND THE MONTAGUES

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

MEDITERRANEO: MUSIC FROM THE COURTS OF SPAIN

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

MORE THAN OPERA HITS RIPPON LEA – SOPRANO ARIAS AND DUETS

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

SUITE BERGAMASQUE

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

NEW WORLD SYMPHONY

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

A HIGH RENAISSANCE CELEBRATION

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

BEETHOVEN, 11 BAGATELLES

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

GRINGOLTS PLAYS PAGANINI

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.

 

 

 

 

 

 

 

August Diary

Friday August 3

SAINT-SAENS GREAT ORGAN SYMPHONY

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

KARAKORUM: A MEDIEVAL MYSTERY JOURNEY

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

DUDU CARMEL: OBOE VIRTUOSO

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

GOLDBERG VARIATIONS

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

BACH & BRAHMS

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

DALE BARLTROP

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

IMAGES (BOOK 2)

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

VIVALDI’S VIOLINS

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

BERNSTEIN CLASSICS

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

BERNSTEIN ON BROADWAY

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

MOZART AND DONIZETTI

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

SIMONE YOUNG CONDUCTS BRAHMS

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

THE TWO ROBERTS  –  MUSIC FROM RUSSIA, FRANCE AND SPAIN

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

TORMENTED SOULS

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

DIE WALKURE ACT 1

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

CONCERT 1: BRAHMS, BEACH AND MENDELSSOHN

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

HOLST’S THE PLANETS

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

CONCERT 2: SIBELIUS, RACHMANINOV AND BEETHOVEN

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.

 

 

 

 

 

July Diary

Sunday July 1

Melbourne International Chamber Music Competition

South Melbourne Town Hall at 10 am, 2 pm and 7:30 pm

Off we go once more on a week of wall-to-wall piano trio and string quartet music as young ensembles from everywhere compete for several glittering prizes.  It’s a marvellous time for chamber music devotees and their relish in the events is patently clear: everybody who performs enjoys affirmative, if not rapturous, applause.

In the first recital, the Netherlands/Belgium Mosa Trio plays Haydn in E Hob XV 28 No. 44, the E minor Shostakovich and Dutch writer Sam David Wamper’s Portrait of Light from 2015; it probably will help that the group has recorded these last two works.  Then the Idomeneo String Quartet  – a Belgian/Hungarian/Spanish combo – is listed to play Haydn No. 15 in D minor K. 421 (which makes me suspect somebody has the wrong composer although, in a different incarnation, this could be one of Mozart’s Haydn quartets), Janacek’s Kreutzer Sonata, and Thomas Ades’ The Four Quarters of 2011 which boasts, in its finale, the unusual time signature of 25/16.

After lunch, the Bukolika Trio from Poland gives us Haydn in C Major Hob XV No. 27; then, beating the nationalistic drum, Gorecki’s 6 Bagatelles.  The South Korean Baum Quartet follows with the Mozart D minor – probably the second performance of this score that we’ll hear today – and Szymanowski No. 2.  To end comes the Amatis Trio – another hybrid: Netherlands/Germany/UK – with the same Haydn as the Bukolikas, the same Shostakovich as the Mosas, but a real novelty in Iranian composer Kaveh Tayaranian Azimi’s Fragmented Impulses II.

Leading off the evening recital, the Quatuor Agate attempts Mozart’s Dissonance No. 19 in C, the terse Bartok No. 3, and Bernadette Clozel’s Volutes, written for the 2013 Festival quatuors a l’Ouest and the composer’s first essay in this form.  Australia’s own Clarendon Trio finishes off the first day with Haydn in E minor Hob XV No. 12, resurrects the Alexander Tcherepnin Trio Op. 34 (not 35, as on the MICMC web-site), and airs Stanhope’s (which one? Paul) Dolcissimo Uscignolo tribute to Monteverdi; yes, we can flaunt the chauvinistic banner as proudly as anybody else.

 

Monday July 2

Melbourne International Chamber Music Competition

South Melbourne Town Hall at 10 am, 2 pm and 7:30 pm

First up, the Austrian/Russian/German Eliot Quartett, taking its name from Thomas Stearns, performs Haydn Op. 71 No. 2, Bartok No. 3 (hello, the lads from Agate), and the same Ades as yesterday’s Idomeneo group.  This morning’s trio is the French/Latvian Sora who break no new Haydn ground with the same Haydn as yesterday’s Bukolikas but then move off the predictable path with Mieczyslaw Weinberg’s Op 24 Trio of 1945.

The afternoon brings us the United Kingdom’s Gildas Quartet in Haydn’s Fifths Op. 76 No. 2, followed by – what else? – Britten’s last, No. 3.   The Australian/US Merz Trio, taking  inspiration from the unlikely figure of Kurt Schwitters, presents the festival’s first Beethoven in the flashy Op. 1 No. 2, with an off-setting pendant Shostakovich (third rendering so far, after the Mosa and Amatis versions).  The Thaleia Quartet of Japan sets up a direct challenge to the Eliots with Haydn Op. 71 No. 2, throws down the gauntlet to yesterday’s Idomeneos through Janacek’s Kreutzer Sonata, finally offering a real original in Akira Nishimura’s 2013 Quartet No. 5, Shesha – written for Irvine Arditti as a 60th birthday present from another sixty-year-old.

The Trio Marvin (Russia. Kazakhstan and Germany – hence the name’s inversion[?]) launches our evening with the competition’s first Mozart piano trio, the B flat K. 502, before vaulting the centuries to senior Latvian composer Peteris Vasks’ Episodi e canto perpetuo, an 8-movement homage to Messiaen from 1985.   Then the all-German Goldmund Quartet plays a different Haydn in the G Major first of the Tost Op. 54 set, runs off-centre with Serbian-born Canadian-resident Ana Sokolovic’s Commedia dell’arte III centred on the characters Brighella, Signora, and the Innamorati, and pulls back a historical decade or four with Wolfgang Rihm’s lop-sided Quartet No. 4

 

Tuesday July 3

Melbourne International Chamber Music Competition

South Melbourne Town Hall at 10 am, 2 pm and 7:30 pm

The morning session completes the first round for all ensembles.  Trio Gaon, a German/South Korean fusion, complements the Merz initiative with Beethoven’s Op. 1 No. 1 in E flat.  An unusual direction comes through Jean Francaix’s late Piano Trio from 1986, followed by Simone Corti’s two-year-old Musica discreta.  Round One concludes with the American Callisto Quartet offering a difference from the Eliot and Thaleia groups with  Haydn’s No. 1 in B flat from the Op. 71 set, then aiming for the stars with Bartok No. 6.

At 2 pm, the competition moves into Round 2 where everyone has to perform a compulsory Australian work:  Holly Harrison’s Balderdash for the quartets, Paul Stanhope’s Pulses for the trios.  Hearing each of these commissioned pieces eight times will give aficionados plenty of space to exercise their standards of comparison, although I fear people will follow the easier road of slagging the works themselves.   Anyway, for its second attempt, after Balderdash enjoys its first airing, the Baum Quartett essays Mendelssohn No. 6 in F minor, his last completed major work and a requiem for his recently departed sister Fanny.  Then, attention turns to German phenomenologist/composer Elmar Lampson through his Quartet No. 3, Canzone.   The Clarendon Trio follows with the Stanhope, then puts its faith in Mendelssohn in C minor with the big chorale finish.  Finishing this ample afternoon, the Quatuor Agate couples its Harrison insights with Debussy – a real show of self-confidence.

Night brings back the Amatis Trio with Stanhope and Mendelssohn in D minor, bare hours after the Clarendons have worked through the ‘other’ one.  The Idomeneo players couple their Harrison with Mendelssohn in F minor, setting up a juxtaposition with the Baums earlier in the day.

 

Tuesday July 3

BEETHOVEN WIDMANN

Australian String Quartet

Melbourne Recital Centre at 7 pm

In an unfortunate bit of untimely scheduling, the ASQ is appearing in the middle of a chamber music orgy; perhaps something went wrong in the planning stage but somebody must have known about the chamber music competition.  Will people be happy to forego the pleasures of the Amatis Trio and Idomeneo Quartet for our home-grown musicians? Let’s hope so.  The title tells it all: the last Beethoven and one of his first – Op. 18 No. 3 in D – surround the Hunt Quartet, the third by German contemporary Jorg Widmann.  In this, the group apparently hunts down and kills (musically, one expects) its cellist, the work based on that repetitive rhythm dominating the first movement of Beethoven’s Symphony No. 7 in A.  Well, it’s a connection of sorts and Widmann’s opus lasts for a bit over 10 minutes – a quick homicide, then.

 

Wednesday July 4

Melbourne International Chamber Music Competition

South Melbourne Town Hall at 10 am, 2 pm and 7:30 pm

First out of the blocks comes the Bukolika outfit with Stanhope, and Dvorak’s Trio Op. 49 No. 1 in D minor which has me beat because it’s not in the catalogue.   Perhaps Mendelssohn is the intended composer but his Op. 49 is self-contained – no individualizing numbers.  At all events, the ensemble finishes up with Kaija Saariaho’s Light and Matter, a 2014 commission from the Finnish-born composer for the Bowdoin International Festival (a college in Maine that offers an annual summer music school and concerts).  The Gildas Quartet then does its Harrison, finishes with Ravel, these two works bracketing Cheryl Frances-Hoad’s 10-year-old My day in Hell; well, she’s a fellow Brit and a busy writer in her home milieu  .  .  .  so much so that this performance doesn’t rate a mention on her web-site.

After lunch, the Mosa Trio pair their Stanhope with – surprise, surprise – Mendelssohn in D minor.  Then the Thaleias juxtapose Harrison with the demanding Ravel Quartet.  Finally, Trio Marvin matches Stanhope with the last Brahms in C minor, as well as Thorsten Encke’s Trio No. 2, written last year and commissioned by the Felix-Mendelssohn-Wettbewerb Berlin but which conceals its mysteries from this writer.

Ending the day’s labours, the Eliot Quartett, like the Agate boys, sets up Harrison and then hopes that Debussy doesn’t suffer in comparison.  On the other hand, the Trio Gaon puts its Stanhope alongside Brahms No. 1, the noble B Major masterpiece.

 

Thursday July 5

Melbourne International Chamber Music Festival

South Melbourne Town Hall at 10 am and 2 pm

The penultimate Round 2 event opens with the Callisto Quartet opting for Debussy alongside Harrison, then offering a difference from the Eliot and Agate people with young Spanish trombonist Francisco Coll’s 5 minutes’ worth of Cantos, written for the Cuarteto Casals last year and with a barrel-load of effects inside its small frame.  The Merz collageists follow Stanhope with Schumann’s last Trio in G minor Op. 110 No. 3 – great to see this being aired – and Johannes Maria Staud’s 10 miniatures ofrom 2007, Fur Balint Andras Varga, a homage to the prolific Hungarian commentator on contemporary music and this composer’s ‘mentor and advocate’.

To finish the round, the Goldmunds break no new ground, putting their Harrison beside Ravel, just like the Thaleia Quartet.  Last cab off the rank, the Trio Sora give their Stanhope before Mendelssohn in C minor, then take on Kagel’s Trio No. 2, In einem Satz; seems to me like overkill if you consider the length of this last work which may be in one movement but is a solid and unusually enervating score.

 

Thursday July 5

SIMONE YOUNG AND KOLJA BLACHER

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

The very popular conductor and splendid violinist collaborate in a simple program that makes little sense on paper if you’re looking for logic.  Regardless, I think that Melbourne people have a lot of time for the Sydney-born musician, especially after the inane and inept treatment afforded her by the national opera company.   Blacher was first sponsored here, I believe, by Markus Stenz and his repertoire mastery continues to impress on each visit.  Tonight, he fronts Britten’s Concerto, a pretty early work but a fine example of the composer’s genius at walking a distinctive line between bracing neo-modernity and piquant sweetness.   As a counterweight, Young conducts Bruckner’s Symphony No. 6, a work you hear very rarely but, to my mind, refreshingly uncluttered – the only one that the composer didn’t subject to revisions.

The program will be repeated in Costa Hall, Geelong on Friday July 6 at 7:30 pm, and back in Hamer Hall on Saturday July 7 at 2 pm.

 

Friday July 6

Melbourne International Chamber Music Competition

South Melbourne Town Hall at 9:30 am, 11:30 am, 2 pm, 4 pm, 7:30 pm

It’s semi-finals day.  Each of these recitals features a quartet and a trio that have one final chance to impress the audience and jurors.   Five recitals mean five of each ensemble, so by this stage only three in each competitive formation have been eliminated.  It makes for a long day and the only assurance is that competitors can only stay on-stage for an hour maximum.

At this level, the repertoire is limited to Beethoven or Schubert.  Which may explain why these composers barely feature on preceding programs; in Schubert’s case, not at all, which avoidance you can certainly understand with regard to the piano trios who will all have been thinking of this round’s single limitation.

 

Sunday July 8

Melbourne International Chamber Music Competition

Melbourne Recital Centre at 1 pm and 6 pm.

We’ve moved up-market to the Elisabeth Murdoch Hall for the competition’s grand final.  The earlier recital features three piano trio ensembles, the last men and women standing.  Their mission is to play a work that they have not performed so far at MICMC.

Obviously, the evening event is for the quartets.  The same situation applies: they can play anything they want but it can’t have been part of their Rounds One or Two programs.

You can wait around for the jury to file out to give its verdict.  Or, if you’re time-poor, you can listen to the results on ABC FM which is broadcasting this event, while 3MBS has been taking responsibility for all of the other recitals over the preceding week-plus.

The prizes seem to grow in number every year, but the pity is that either a trio or a quartet wins the top Grand Cash+Tour Bonanza; a choice between apples and oranges, once again.

 

Saturday July 14

WILLIAM TELL

Victorian Opera

Palais Theatre, St. Kilda at 7:30 pm

It’s been 140 years between performances in Australia, but now the state company is taking the plunge into Rossini’s final opera.  As you’d expect, it will be given in abridged form, but it has rarely been staged in its original length, shortened even during the composer’s life-time.  VO is presenting a three-hour version, which is long enough for those of us who have a powdered coffee acquaintance with the score.  The cast is heavily local, with a few major imports: Argentinian  baritone Armando Noguera takes the title role; Swedish soprano Gisela Stille sings the love interest, Mathilde; Italian bass Paolo Pecchioli will be the villain, Gesler.  Teddy Tahu Rhodes, a sort of import, plays Melcthal, the unfortunate patriot who lasts for only one act.  In the vocally pivotal part of Arnold, Melcthal’s son, Carlos E. Barcenas has his work cut out for him; Jeremy Kleeman serves as Tell’s off-sider, Walter; Alexandra Flood has the young-pants role of Tell’s son, Jemmy; Liane Keegan will suffer as Tell’s pressurized wife, Hedwige.  Jerzy Kozlowski appears as Leuthold who sets the whole story in motion by killing one of Gesler’s guards; Timothy Reynolds’ tenor enjoys the opera’s first solo as the fisherman Ruodi.  Company artistic guru Richard Mills conducts; Rodula Gaitanou directs and here’s hoping she can improve on last year’s Cav/Pag double from Opera Australia.

The opera will be repeated on Tuesday July 17 and Thursday July 19 at 7:30 pm.

 

Sunday July 15

ESPANA

The Melbourne Musicians

St. John’s Lutheran Church, Southgate at 3 pm

Rada Tochalna is Frank Pam’s soloist for this concert.  Living up to the title’s expectations, she will sing the well-known Seven Spanish Folk-Songs by Falla which give a rich all-embracing view of the country’s music in encapsulated form.  The chamber orchestra also plays Albeniz, a Carmen suite, and pieces by Shostakovich (Salute to Spain? Spanish Dance?  Some or all of the six Spanish Songs?)  and Waldteufel (the Espana Waltz?).  All this Iberian frivolity will eventually give way to a brief birthday greeting for Australian composer George Dreyfus who turns 90 a fortnight from today.  Horn player Tom Campbell takes the melody line in Larino Safe Haven, and the whole ensemble revisits the composer’s most popular piece: the main title for the mid-70s TV series Rush.

 

Sunday July 15

VIENNESE MAGIC

Team of Pianists

Rippon Lea, Elsternwick at 6:30 pm

Rather than the collation of short-breathed pieces that have speckled TOP programs so far this year, this recital has only two works scheduled.  A senior Team figure, Darryl Coote, provides the keyboard line for Mozart’s Piano Quartet in E flat K. 493, then does double duty with Schubert’s A Major Piano Quintet – yes, the happy Trout.  His collaborators are all current MSO members: violin Kathryn Taylor, viola Christopher Cartlidge, cello Rohan de Korte, and double-bass Benjamin Hanlon.  Like every performance of the Schubert, this will come from an ad hoc ensemble but it’s hard to strike a misfire with such a benign score.  The Mozart is another story, notable for its hard-hitting directness and oh-so-revealing clarity of texture.

 

Friday July 20

BEETHOVEN & BRAHMS

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Here’s an unusual set-up from the programmers; something that gives you a lot to chew on.  Tonight’s conductor is Joshua Weilerstein – brother of cellist Alisa, son of pianist Vivian Hornik and violinist Donald.  He is currently artistic director of the Orchestre de Chambre de Lausanne.  His first task is not that challenging: escorting Dalby-born pianist Jayson Gilham through the Beethoven Piano Concerto No. 3, which has always struck me as being the simplest of the five, technically and intellectually.  After this has been done with, the MSO plays a Klengel arrangement of the soothing Brahms Intermezzo No. 1 from the Op. 117 set;  I assume it’s Paul’s and not Julius’ orchestration because Weilerstein has recorded the former with the BBC Philharmonic.  Following this near-lullaby, the orchestra plays what is called the ‘orchestral version’ of Brahms’ Piano Quartet in G minor; again, I’m into presumption territory. thinking/hoping that this could be Schoenberg’s celebrated transcription of 1937 which is hard to surpass for mouth-watering textural richness.

This program will be repeated on Saturday July 21 at 7:30 pm, and again on Monday July 23 at 6:30 pm.

 

Sunday July 22

MIDSUMMER MENDELSSOHN GALA

Flinders Quartet

Upper Gallery, Montsalvat at 2:30 pm

As you could probably guess, we’re hearing music for the Shakespeare play, arranged for string quartet by Iain Grandage, with the MSO’s principal viola, Christopher Moore, declaiming a sequence of extracts from the text.  I once saw Joel Edgerton carry out the same task with the Melbourne Symphony Orchestra and the results were top-notch.  Moore further builds on his spoken-word duties by narrating Michael Leunig’s texts for The Curly Pyjama Letters, with music by Calvin Bowman; all the whimsy you could possibly desire.  The recital continues its gala quality with the buoyant Brahms String Quintet in G Major Op. 111, which requires two violas and which the composer intended to be his final work – that was, until he heard Muhlfeld’s clarinet.  For this, Moore closes his mouth and partners Helen Ireland’s tenor line.   The Flinders’ first violin position is changing occupants throughout the year; this afternoon, it will be taken by Thibaud Pavlovic-Hobba, whom I’ve only seen/heard in the  ranks of the Australian Chamber Orchestra.

 

Tuesday July 24

Joyce Yang

Melbourne Recital Centre at 7 pm

The South Korean-born pianist has appeared here with the MSO but I think these are her first Melbourne recitals.  Appearing for Musica Viva, she is playing two separate programs here and in Sydney; the common element to both is a newly commissioned Piano Sonata by young Australian composer Elizabeth Younan.  Tonight, she begins with Five Lyric Pieces by Grieg; don’t know which ones but she has 66 to choose from.  Then come the three Debussy Estampes, Chopin’s Andante spianato et Grande polonaise brillante, Younan’s sonata, and Schumann’s Carnaval for a weltering finale.   In the second program, Yang opens with three of Rachmaninov’s preludes from the catalogue’s 25; moves forward with the Janacek Piano Sonata; brings us a blast from the past in Liszt’s Spanish Rhapsody – it’s been years since I heard this finger-twister; follows the Younan sonata with one of the greatest in the form – Liszt in B minor.  She’s a fine pianist (judged from her concerto appearances) with a welcome level head on her shoulders.

Yang will play her second program on Saturday July 28 at 7 pm.

 

Friday July 27

OSBORNE TOGNETTI VALVE IN RECITAL

Australian Chamber Orchestra

Melbourne Recital Centre at 7:30 pm

A fine combination: the ACO’s long-time artistic director Richard Tognetti and that cellist-for-all-seasons Timo-Veikko Valve make chamber music of the purest kind with Scottish pianist Steven Osborne.  Mind you, they’re not bringing any surprises to this event, playing just two repertoire staples: Dvorak’s Dumky E minor Piano Trio and the Brahms No. 1 in B Major.  This is a one-night stand between Perth and Brisbane appearances and, like some other ACO small-group programs at the MRC, could be so-so or a night to relish for months to come.

 

Friday July 27

WEST SIDE STORY

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Another of the live soundtrack efforts from the MSO, this also serves to amplify local efforts to observe the centenary of Leonard Bernstein’s birth.  A revelation when it first appeared, this film is almost standing the test of time; only the acting is occasionally over-melodramatic (George Chakiris) or ineffectual (Richard Beymer).  But you’d come along for the music, wouldn’t you?  And its dance sequences will be a test of the MSO’s responsiveness to changing rhythms and the brassy assertiveness that radiates from the original, even though Bernstein didn’t approve of the arrangements made by Irwin Kostal.  Above all, in this era of ditzy stupidity in musical theatre, West Side Story has a dramatic and musical clarity that set it as one of the high watermarks of the art – and  that’s exactly what Bernstein made of it.

The program will be repeated on Saturday July 28 at 1 pm.

 

 

 

 

 

June Diary

Thursday June 7

THOMAS HAMPSON SINGS MAHLER

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Well, he’s here at last if not exactly in what you could call the heyday of his career.  Still, other singers have managed to keep going well into their 60s, so the best thing is to wait and see.  Hampson, the famous American baritone, is fronting Mahler’s Songs of a Wayfarer; not exhausting himself, then, with about 15 minutes’ worth of not-too-demanding work in a cycle that he has recorded twice.  Probably of more interest is a rare outing for Mahler’s stand-alone symphonic movement, Totenfeier.  Another rarity is Messiaen’s Le tombeau resplendissant, an assuredly idiosyncratic score from the composer’s early 20s, while conductor Andrea Molino  – to whom we owe thanks for a splendid King Roger last year – takes us all a bit further into the transfigured death stratum of musical experience through Strauss’s Tod und Verklarung.

This program will be repeated on Friday June 8 in Costa Hall, Geelong at 7:30 pm.

 

Saturday June 9

HANSEL AND GRETEL

Victorian Opera

Playhouse, Arts Centre at 11 an, 2 pm and 5 pm

First thing to note is that this is not a complete performance of Humperdinck’s opera; it comes in at about 55 minutes, so expect highlights only.  This version, previously presented by the company in 2014, is sung in German and may feature translations on side-screens.   Elizabeth Hill returns to direct, and Simon Bruckard, assistant to Fabian Russell four years ago, stands at the podium this time.  As far as I can tell, the cast is a completely new one: Shakira Dugan (Hansel), Cleo Lee-McGowan (Gretel), Tomas Dalton (Witch), Kirilie Blythman (Mother/Angel/Child), Stephen Marsh (Fairy/Angel/Child), Michelle McCarthy (Dew Fairy), Matthew Thomas (Angel/Child), and Douglas Kelly (Sandman).  Ross Hall’s set and costumes return, as does Peter Darby’s lighting set-up.  When you think of the voluminous breadth of the original, a less-than-an-hour experience sounds pretty attractive.

This performance will be re-presented on Tuesday June 12 at 1 pm.

 

Wednesday June 13

LISZT AT THE OPERA

LESLIE HOWARD

Melbourne Recital Centre at 7:30 pm

The Australian expatriate pianist has been a Liszt authority for many years and, in recording everything that the composer wrote, he has unearthed many a long-forgotten score.  Despite most people’s experiences, Liszt didn’t stop with Rigoletto and Tristan but took liberties with a whole range of other operas.  On this program, Howard brings to life forgotten corners from the large treasury of transcriptions and arrangements that Liszt wrote and put beyond the scope of most pianists.  There’s a sarabande and chaconne based on themes from Handel’s Almira; the final act of Aida is handled with remarkable thrift; a double-whammy emerges with a fantasia on themes from both Don Giovanni and Figaro; Howard performs one of the three arrangements that Liszt produced on Meyerbeer’s Les Huguenots, the generous Reminiscences; further recollections come from Bellini’s Norma; and the composer takes a motif or six from Gounod’s Romeo et Juliette for his Les adieux – Reverie.

 

Friday June 15

L”ENFANCE DU CHRIST

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

Anyone who has sung in a half-decent church choir will know the Shepherds’ Farewell from this oratorio, but the rest of the score is generally unfamiliar territory.  Thanks to Sir Andrew Davis and his concern to fill in certain gaps in our musical experience, this state of affairs will be changed, just as he did for us with Massenet’s Thais.  Sasha Cooke, an American mezzo who appeared here in Davis’ 2015 review of the Mahler No. 3,  sings Mary; British tenor Andrew Staples, also here three years ago for a Davis performance of The Damnation of Faust,  will be the Narrator; Roderick Williams, a British baritone who has collaborated with Davis on two CDs of Elgar and Vaughan Williams, takes on Joseph; local boy Andrew Goodwin scores the role of the Centurion, lucky fellow with his eight bars of recitative; Melbourne-born Shane Lowrencev enjoys the role of Polydore, commander of the patrol in Jerusalem and embarrassed with the riches of two sets of recitative; and we go back to Britain for the plum part of Herod, to be taken by baritone Matthew Brook whom I last heard in a 2013 MSO Messiah. The MSO Chorus gets to sing the afore-mentioned shepherds’ near-lullaby and a lot more besides: angels, soothsayers and a moving final set of pages supporting Staples.  Not to be missed because you’ll probably never get another opportunity to enjoy this gentler Berlioz live.

This program will be repeated on Saturday June 16 at 7:30 pm and on Monday June 18 at 6:30 pm.

 

Saturday June 16

LAWRENCE POWER: SHOSTAKOVICH

Australian National Academy of Music

South Melbourne Town Hall at 7:30 pm

Making his debut appearance at ANAM as a resident teacher, Power was last heard here, almost two years ago to the day, playing Bartok’s Viola Concerto with the Melbourne Symphony Orchestra.    Tonight, he takes his ANAM string charges through Biber’s Battalia a 10, although the work rarely uses that many lines; at least, not in my score.  Mozart’s String Quintet No. 1 follows, the one with a bass line rather than a specific cello one and a treat for those of us who revel in the composer’s unexplored catalogue.  The promised Shostakovich is the Chamber Symphony, that arrangement by Rudolf Barshai (a violist, among other things) of the composer’s largo-rich String Quartet No. 8.  Before we get there, Power and his forces present British writer John Woolrich’s 1989 Ulysses Awakes, a meditation of sorts for solo viola and string decet that revolves around the hero’s initial aria, Dormo ancora, from the criminally under-performed Monteverdi opera.

 

Thursday June 21

MOZART & THE CLASSICAL AGE

Melbourne Chamber Orchestra

Deakin Edge, Federation Square at 7:30 pm

Pianist Anna Goldsworthy is soloist at this event which comprises mainly Mozart and Haydn, with an unexpected oddity at the night’s start.  William Hennessy directs/leads his orchestra in Mozart’s Symphony No. 30 to round out the program, possibly with the missing timpani part inserted – or an attempt at what it might have sounded like.  The other Mozart components are an arrangement of the String Quartet No. 7 for the MCO players; I assume this is the E Flat K. 160, fairly close in time to the D Major Symphony. Goldsworthy takes up the cudgels for Mozart’s Piano Concerto No. 6 in B flat, which has somehow escaped my notice – remarkable, considering the score’s substance.  This program’s genuflection to Haydn comes with his popular D Major Piano Concerto which dates from some years after the Mozart we are hearing.   The overture that German-born, Swedish-resident and almost-exact Mozart contemporary Joseph Martin Kraus supplied to precede a performance of Voltaire’s Olympie in 1792 begins the MCO’s endeavours.

This program will be repeated on Sunday June 24 in the Melbourne Recital Centre at 2:30 pm.

 

Saturday June 23

MID-SEASON GALA

Melbourne Symphony Orchestra

Hamer Hall at 7:30 pm

For one night only, Anne-Sophie Mutter appears in this MSO mid-season celebratory concert, playing the Tchaikovsky Violin Concerto.  Sir Andrew Davis conducts the program, opening with Stravinsky’s homage to his great compatriot, Le baiser de la fee; not the complete ballet, but the 25-minute Divertimento of extracts from the original.  Davis closes out his celebrations with Nielsen’s Symphony No. 3, the Sinfonia espansiva and most striking of the composer’s six essays in the form.  Mutter is also playing host for Markings, a work for solo violin, strings and harp by the popular and active film-score composer John Williams that was premiered last year at Tanglewood, at which concert this gifted musician also worked her way through the Tchaikovsky concerto – as she will have done at three concerts, a week prior to this, in the Sydney Opera House.

 

Sunday June 24

STEVEN ISSERLIS PLAYS SHOSTAKOVICH

Australian Chamber Orchestra

Hamer Hall at 2:30 pm

As usual, nothing if not varied fare from the ACO.  At the core of the program sits the Shostakovich Cello Concerto No. 1 in E flat Major, one of the most famous in the repertoire, and a taxing piece to negotiate – at least, for the soloist.  The other pillar of orthodoxy comes at the end with Richard Tognetti taking his orchestra through the last Haydn symphony, No. 104, the London; thereby adding to our limited exposure to any of the last twenty or so in the composer’s output.  Alongside these come two world premieres.  Elena Kats-Chernin wrote A Knock One Night as a commission by Mirek Generowicz to commemorate his family’s fraught migration path to Australia.  Movements (for us and them) was composed by Samuel Adams, son of the American composer John Adams, to a commission from the ACO and Stanford Live; so far, I can’t find out anything about the rationale behind the work, which retains the mystery behind its enigmatic title.

This program will be repeated on Monday June 25 at 7:30 pm.

 

Sunday June 24

BREATH-TAKING AND FOUR HANDS

Team of Pianists

Rippon Lea at 6:30 pm

Well, the performers may be puffed by the time they reach the end of this very varied night’s work.  Veteran oboist Anne Gilby  is partnered by one of the Team’s senior partners, Darryl Coote. as they wander all over the place.  Their tour takes in the Poulenc Oboe Sonata, one of the last pieces that the composer completed; Arnold’s Sonatina of 1951; Gabriel’s Theme from Morricone’s score for that spirit-numbing 1986 Roland Joffe film, The Mission; Schumann’s solitary composition for oboe, the Three Romances; Margaret Sutherland’s 1958 Sonatina; cellist/composer Caerwen Martin’s brief The Native Garden; and Carolyn Morris’s A Day in the Brindabellas.  As a leavening for this fare, Coote and Max Cooke play a couple of four-hand piano works: Mozart’s B flat Sonata and the Andante and Variations K.501.

 

Wednesday June 27

A HITCHHIKER’S GUIDE TO THE ROMANTIC

Selby & Friends

Tatoulis Auditorium, Methodist Ladies College at 7:30 pm

For this reversion to the normal after the organization’s previous excursion into transcriptions/arrangements, Kathryn Selby is joined by violinist Andrew Haveron, the Sydney Symphony Orchestra’s concertmaster, and that orchestra’s co-principal cello, Umberto Clerici.  Both of these guests have appeared in previous years, so they would be well-informed about what Selby requires in her collaborators.   Each of them gets a duo showcase: Haveron plays the Mendelssohn F Major Sonata of 1838, the mature one; Clerici has the joy of taking us through Brahms’ F Major Sonata No. 2.  When the players combine after interval, they aim for the heights with the Schubert Piano Trio in E flat: one of the last of the composer’s completed works and an ever-welcome, ever-moving experience.

 

Thursday June 28

KOLJA BLACHER

Melbourne Symphony Orchestra

Melbourne Recital Centre at 7:30 pm

These events have been taken over in previous years by the MSO’s concertmasters, but this time round, regular guest Blacher has taken on the task of curating and leading this particular MRC program.   He will play the solo violin line for Beethoven’s G Major Romance No. 1 of 1802, then directs a reading of the same composer’s Symphony No. 1, published in the preceding year.  Blacher begins with what I hope is the overture only to Mendelssohn’s music for A Midsummer Night’s Dream; as the publicity stands, there is no specificity about what piece(s) will be performed from that rich score which conditioned reactions to the play for generations.  Blacher really hits his front-of-band straps for the Bernstein Serenade, which the composer built on Plato’s Symposium, that personality-rich celebration of love; the composer’s five movements take their inspiration from dialogues and monologues spoken by seven of the characters who attended Agathon’s famous 4th century B.C. celebratory party.