Month: September 2018

Inspirare’s partnership with Youth Choirs a resounding success

Posted on by Peter Mechen

ILLUMINATIONS – Inspirare Choir, directed by Mark L.Stamper

PAUL BASLER – Missa Kenya
Richard Taylor (tenor) / Rachel Thomson, piano / Shadley van Wyk, horn
Jacob Randall, James Fuller, percussion
Wellington College Chorale / Men of Inspirare

IMANT RAMINSH – Missa Brevis
Maaike Christie-Beekmann (mezzo-soprano)/Rachel Thomson, piano
Queen Margaret College Chorale / Altissimi, Samuel Marsden Collegiate School, Karori
Women of Inspirare

JOHN RUTTER – Mass for the Children
Pasquale Orchard (soprano) / Daniel O’Connor (baritone)
Orchestra – Rebecca Steel, flute / Merran Cooke, oboe /Moira Hurst, clarinet
Leni Maeckle, bassoon / Shadley van Wyk, horn / Vanessa Souter, harp
Vicky Jones, bass / Michael Fletcher, organ / Grant Myhill , timpani
Jacob Randall and James Fuller, percussion
Wellington Young Voices / Metropolitean Cathedral Boys’ Choir
Inspirare

also featuring:
Z.RANDALL STROOPE – Tarantella
Helene Pohl, violin / Peter Gjelsten, violin
Hayden Nickel, viola / Rolf Gjelsten, ‘cello

CRAIG COURTENAY – Ukrainian Alleluia
Arr.JACKSON BERKEY – Cibola
Tejas Menon, TJ Shirtcliffe, guitars / Rachel Thomson, piano

Wellington College Chorale / Men of Inspirare

St.Mary of the Angels Church, Wellington

Saturday 15th September, 2018

This second concert that I’ve attended which featured the voices of Inspirare, a choir founded by their director, Mark L.Stamper, couldn’t have been more different from the first one (an inspirational performance of Sergei Rachmaninov’s All Night Vigil earlier this year), but was equally impressive in achieving what it had obviously set out to do. In the same venue as where the previous concert had held its audience spellbound, here was something more akin to a true community event, or even a school prizegiving, but with the intent of demonstrating to all and sundry what singers of all ages could achieve in tandem by dint of hard work and inspired direction.

A glance at the credits above will give the reader an idea of the variety of forces involved in this presentation – in itself it’s a tribute to both the organising skills and the visionary scope of Stamper that the different strands worked together so well. Though the audience was made up largely of people connected with the performers, a good many, like myself, were there primarily for musical reasons, drawn by the prospect of hearing repertoire which, if not familiar, certainly looked and sounded innovative and exciting, and especially if performed with a similar level of skill and intensity to that which for me made the Rachmaninov work so brilliantly.

It took but a few seconds of the opening item, a work by Z. Randall Stroope called “Tarantella” (curiously, not the usual 6/8 “spider-dance” tarantella rhythm one usually encounters in music so named), for us to register the performance commitment of the young singers of the Wellington College Chorale, the voices arrestingly full-toned from the beginning, and maintaining the rhythmic energies of the music’s running trajectories with great excitement, aided by handclapping and choreographic body movements, reflecting the adroit angularities of the accompaniments from the string players. I especially enjoyed the singers’ synchronised nodding heads indicating canonic or fugal entries, towards the piece’s conclusion.

We then got some sombre unaccompanied alleluias from the lower voices at the beginning of Craig Courtenay’s “Ukrainian Alleluia”, the tones beautifully hued with no lack of variety – the basses rich and sonorous, the tenors sweet and true. A lovely cascading effect was to be had at certain inner trajectory points (one of them finishing with an unscheduled slamming of a door somewhere that didn’t however disturb the singers’ flow, nor ruffle the harmonic clusters of the lines in the slightest!)….

An arrangement of the song “Cibola” brought out stunning attack on the song’s first note, thrown out by the singers almost defiantly – then, to rolling guitar accompaniments, the word “Cibola” was tossed every which way with remarkable dexterity, accompanied by vocal exclamations which added to the variety of colour and texture. Altogether these three works covered a lot of ground in both vocal and instrumental spheres, reflecting the conductor’s interest in variety and innovation as a means of securing maximum involvement in the music-making.

The same group of voices then prepared to present the first of the three major works on the programme, the “Missa Kenya” by Paul Basler. The composer worked as a teacher at the University of Kenyatta in Nairobi, thus coming into contact with a Kenyan vocal tradition whose elements he incorporated into his work, fused with Western traditions. We thus had a solo singer with chorus using elements such as what theorists term “call and response” and “call and refrain”, with the soloist and chorus sometimes overlapping. One would expect African folk music in general to be rhythmically rich, with rhythms sometimes playing alongside or against one another; and so it was here, particularly so in Basler’s treatment of the “Gloria”.

Originally written for mixed choir, the version of “Missa Kenya” performed this evening was for male voices only, with the Credo and Agnus Dei omitted. A strong unison beginning which had already showed off the strength and richness of these voices in “Cibola” was again employed at the “Kyrie’s” beginning, though broken soon after into different lines, ritualistic and dance-like, and underpinned by the composer’s instrument, the horn, and piano and percussion, though concluding with a return to more declamatory vocal gestures, counterpointed by the horn writing.

The “Gloria” I thought wonderfully “jivy”, the solo tenor and the choir exchanging phrases, and interspersing more declamatory passages. I liked the idea of the tenor (Richard Taylor) being more a “voice from the choir” rather than pushed too far to the front, even if his voice was occasionally swamped – he put across a true and songful account of his phrases, and the exchanges gave a more spontaneous feel to the music’s folk-like style. More ritualistic was the “Sanctus”, here joyful and bell-like, with the voices answered by splendid piano scintillations, the horn joining in with the voices in the raising-up of tones on high, most evident and celebratory in the “Hosannas”! Splendid!

There was a “changing of the guard” for the next item, Imant Raminsh’s “Missa Brevis” being sung by various female groups, the  Queen Margaret College Chorale, Altissime, from Samuel Marsden Collegiate School, all with the women’s voices from Inspirare, along with soloist mezzo-soprano Maaike Christie-Beekmann, and accompanist Rachel Thomson. Though written for a children’s choir, the work could also be sung by women and children. Beginning with the “Kyrie”, the work opened beautifully with a canonically-repeated “Kyrie” phrase, before the soloist entered with “Christe” – all very impassioned, with the choir supporting the soloist and the top notes made by the children’s group simply breathtaking in effect! When the “Kyrie ” returned with its canon-like phrases, the mezzo-soprano sang a descant-like line in accompaniment.

Contrasting with this was the “Gloria” with its toccata-like piano introduction, generating great expectation and excitement from the voices, rising to a pitch with Glorificamus te. Christie-Beekman’s rich mezzo gave us a heartfelt Gratias agimus tibi, answered by the choir, after which the heart of the movement was laid open with the sombre processional beginning at Qui tollis peccata mundi by the soloist, accompanied wordlessly by the choir up to Miserere, where the choir repeats Qui tollis – all very dark and intensely moving, with the concentration beautifully sustained, and reaching a climax with Miserere nobis, after which the prayer occasioned a brief calm, here, blown away by the attention-grabbing Quoniam, whose agitations led to a dancing fugue at Cum sancto spiritu, the singers exulting more and more vigorously until reaching a joyous Amen!

The Inspirare women’s voices added their strength and colour to the “Sanctus” – all most mellifluously realised, other-worldly in atmosphere, with stratospheric swayings and celestial harmonies thrown into relief by a dancing Hosanna in excelsis. Christie-Beekman’s voice ennobled the “Benedictus”, with Rachel Thomson’s piano practically orchestral in its support, while at the Hosanna’s reprise the music simply “took off”, giving the church’s acoustic a proper workout!

“Agnus Dei” was a properly concerted effort, solemn at the beginning, with the idiom straightforwardly melodic, and, quite unexpectedly, what sounded like a solo oboe accompanying the voices most affectingly at the repeat of the opening. Christie Beekman led the third “Agnus Dei” into Dona nobis pacem, the children’s choir positively radiant-sounding when joining in, contributing to a resounding and moving conclusion from the whole ensemble.

In welcoming us back for the concert’s second half, Mark Stamper reiterated a request for the audience to allow the separate Mass movements of what was to follow to continue uninterrupted, and to save its applause for the end – part of the initial confusion was, I think, having the three separate pieces at the concert’s beginning, which as stand-alone works each deserved audience acclamation, but then got us into an “applaud everything” mode. The message, diplomatically worded, was re-received, and, I think, understood.

So, to the “Mass of the Children”, a work completed by John Rutter in 2003. Associated with the loss of his son in an accident in 2001, the work represented at the time a kind of “return” to the life of a composer, but also a tribute in tandem to his “formative” experience as a pupil of Highgate School chosen to sing in Britten’s War Requiem under the baton of the composer himself. Rutter wanted to create something that might replicate a bringing together of children and adult performers “in a similar enriching way”. This performance thus brought together the Wellington Young Voices, the Metropolitean Cathedral Boys’ Choir and Inspirare with two young soloists, soprano Pasquale Orchard and baritone Daniel O’Connor, and a chamber orchestra.

A radiant, Respighi-like opening to the work brought forth luminously shimmering instrumental textures, introducing the children’s voices, not with the Kyrie, as is usual in a Mass, but with lines from a seventeenth-century hymn written by Bishop Thomas Ken – “Awake my soul and with the sun”, after which the adult choir sang the “Kyrie” – here the flowing lines reminded me in their manner of Faure’s Requiem, with its fluent blending of lyricism and impassioned declamation. The children’s voices sang “Christe Eleison”, with accompaniments I found glittering, and a touch spectral, followed by the return of “Kyrie Eleison” with soprano and baritone joining with the choir, Pascale Orchard’s voice here strong and vibrant, and Daniel O’Connor’s sonorous and steady. At the end the organ made a deep, resoundingly satisfying impression.

Growing in energy and light, the “Gloria” rose from the depths, its rhythmic trajectories enlivening the performers and their words, children and then adults echoing the opening cries, then revelling in the jazzy angularities leading to Et in terra pax with its cherubic bell-like chants for the children’s voices. Soprano and baritone exchanged phrases at Domine Deus Rex caelestis with the music at Filius patris taking on the character of a floating ostinato as the music arched its way  through Qui tollis peccata mundi, the lines nicely balanced by the soloists throughout right up to Miserere nobis. A vibrant return to life came with Quonian, the music jazzy and energetic in these performers’ hands, carrying us away with its exuberance to the end.

The gently glowing wind arabesque-like solos brought in the “Sanctus” presented by the choir like a gently-tolling bell, the voices rising to impassioned tones at the Hosannas, and again from the Pleni sunt caeli onwards. What a gorgeous panoply of wind sounds accompanying the children’s singing of “Benedictus”, itself so affecting with those innocent, ethereal tones – such drama in the contrast between adult and children’s voices, here! As the soloists sang the Benedictus as a duet, the instruments provided heart-easing counterpoints to the music’s simple intensities.

If the impression thus far was of a composer who preferred light to darkness, the grimmer, haunted opening of the Agnus Dei  dispelled the notion for the setting’s duration – the organ’s tones of disquiet, the haunted strings and winds, and the chromatic lines of the voices in their Agnus Dei utterances instigated currents of lament that gradually built to great waves, reinforced by tubular bells sounding a tocsin of gloom – perhaps one might regard the introduction at this point of the children’s choir with an angelic setting of William Blake’s “Little Lamb who made thee?” as much an unsubtle contrast as a masterstroke (critical opinions vary on the topic!), but the very sound of the voices here acted like balm to the sensibilities, irradiating the gloom with light and hope, until the music again darkened as the voices took up the repeated pleas of Miserere nobis.

Came the work’s final section, the “Dona Nobis pacem”, beginning with somewhat Elgarian string-phrases, and a baritone solo (supported by beautifully-turned wind solos), Rutter setting the words of a prayer “Lord open thou mine eyes that I may see” by Lancelot Andrews (1555-1626) to a nicely-turned melody, delivered confidently and strongly by Daniel O’Connor, then enabling the soprano to affectingly carry the melody further with different words, those of a 5th-century text called St.Patrick’s Breastplate.

The work’s final section featured the adult voices (choir and soloists) reiterating the words “Agnus Dei” and  “Dona nobis pacem” while the children’s voices soared above the chant with Thomas Ken’s “Glory to thee, my God this night” set to Thomas Tallis’s well-known canonic melody, the music gently subsiding into silence at the end, everything, as throughout the work, most sensitively balanced and controlled by Mark Stamper.

There could be no doubt as to the commitment and involvement of all the musicians throughout this ambitious presentation, one whose on-going strength of purpose, depth of interpretation and skill of execution represented a resounding and well-deserved tribute to the various choirs and choir directors involved, to the soloists and instrumentalists, and to Inspirare Choir and Mark Stamper,  its “inspirational” Music Director.

 

 

 

Diverting recital by Liszt and Bartók specialist, Judit Gábos at St Andrew’s

Posted on by Lindis Taylor

St Andrew’s lunchtime concerts

Judit Gábos (piano)

Liszt:  Un sospiro (No 3 of Three Concert Etudes, S 144)
     Hungarian Rhapsody No 5 in E minor, S 244/5  “Héroïde-Élégiaque”
     Les jeux d’eau à la Villa d’Este from “Années de pèlerinage III”, no 4, S 163
Légende II, St François de Paule marchant sur les flots
     Hungarian Rhapsody No 7 in D minor, S 244/7  
Bartók: Three Folksongs from Csík
     Allegro barbaro
     Romanian Folk Dances

St Andrew’s on The Terrace

Thursday 13 September, 12:15 pm

The Thursday recital was by a visiting Hungarian pianist who was also to give a lunchtime concert in the Adam Concert Room at Victoria University on Friday and a second one there, with Jian Liu, playing piano duets, on Tuesday 18 September, 7 pm.

As in other recent weeks, there have been lunchtime recitals on both Wednesday and Thursday, evidently the result of demand for an appearance at St Andrew’s which increases year by year.

This one was a bit special.

Judit Gábos (quoting the programme notes) is piano professor and head of the music department of Eszterházy Károly University of Eger. In 2003, she received her DMA in piano performance from the Liszt Academy of Music in Budapest and in 2012 completed her Doctorate also in piano performance from the Liszt Academy. She has performed throughout Europe and in both North and South America.

She spoke before playing each piece, in an informal, engaging, slightly impulsive way. Unfortunately, she spoke without a microphone and some of her words didn’t carry very well.

Though the programme leaflet might have been a little misleading in its lay-out, the programme wasn’t changed and the recital was a rewarding experience.

Liszt
She opened with Un Sospiro, a particularly beguiling piece in which she handled the rolling arpeggios beneath the melody beautifully, with a sparkling treble line and brilliant embellishments.

She played two less familiar Hungarian Rhapsodies: Nos 5 and 7. No 5 starts in a somewhat indecisive, rhapsodic way, while its warmer melodies emerge after a minute or so, particularly the E major modulation in rolling, triplet quavers. Though Nos 2 and 6 were the first to make their impact on us in our teens (well?…), many others have won affection one by one. No 5 is a sombre (it’s subtitle is Héroïde-Élégiaque), but satisfying piece that Ms Gábos played exquisitely.

No 7 is no more familiar; it’s more rhapsodic, beginning with a sort of highly decorated processional, and suddenly breaks into a vigorous dance, akin to the spirit of No2, and it lightens up through sparkling, galloping passages. Though played most engagingly, it doesn’t register as a piece that’s simply waiting to become a much loved work.

Les jeux d’eau à la Villa d’Este (The fountains at the Villa d’Este) is from Liszt’s Third Book of Années de pèlerinage which was published long after the first two books: the piece was written in 1877 and the collection published in 1883. It deserved its central place, in the middle of her Liszt selection; there was clear, sparkling water in the sunshine; Gábos drew the rhythms from the notes as if they were organic creatures, not overlooking its stunning virtuosity which, with Liszt, always seems to have a proper musical purpose.

Finally, the second Légende, from relatively late in Liszt’s life; both relate to a Saint Francis. The first was inspired by Saint Francis of Assisi, the second is St François de Paule marchant sur les flots. (St Francis of Paola walking on the waves). Those with a rich religious imagination would make more of it than I do, but as ‘just music’ which is the only proper way to assess music, it is warmly engaging, and Gábos’s reading did it justice, opening reticently, managing the break-neck speeds, first in the left and then the right hand; holding back so that the eventual miraculous happening, the Lento section, made its best impact.

Bartók’s Romanian Folk Dances, are fairly well known but I was not sure I’d heard the Allegro Barbaro before and didn’t know the Three Folksongs from Csík at all. The Csík folksongs is not a major work, but, compared with the Allegro Barbaro, not in such a tough and ‘barbaric’ idiom. The three are only around a minute each in length, but reveal a less familiar, genial spirit, in ever-changing rhythms. In her hands, they carried a very natural, idiomatic feeling.

Allegro Barbaro is just that: bearing little resemblance to any other European music. Though its basic rhythm and pattern of notes vary little through its some two minutes, its impact was more telling than anything else in the recital.

The Romanian Folk Dances were perhaps closer to Gábos’s homeland. Though Hungarian, she comes from Transylvania which, though now in Romania, had/has a significant Hungarian population, but not enough to justify the region’s remaining under Hungarian suzerainty after the redrawing of borders by the Treaty of Trianon in 1920. Though I haven’t been able to find much personal information about her, Gábos has played with the State Philharmonic of Târgu-Mureș which may be the closest one can get to identifying her origin. Târgu-Mureș is about 100 km east of Cluj-Napoca, the main city in Transylvania.

Anyway… Bartók’s six folk dance transcriptions are familiar, indeed very popular, and her playing was admirably clear, rhythmically firm and melodically much closer to the folk music of other eastern European countries, and thus more accessible to western European ears. But Gábos’s playing exploited as much as possible of the modal, non-chromatic as could be found in the pieces, losing nothing of their impact and folk-dance character.

She played a small encore, also by Bartók: Evening in Transylvania (Este a székelyeknél); brief, light-hearted, yet emphatically Bartók.

On Tuesday 18 September at 7 pm she will give a recital, piano-four-hands, with NZSM head of piano studies, Jian Liu, comprising piano duet repertoire of Mozart, Schubert and Debussy as well as Gyorgy Kurtag’s four-hand arrangements of Bach arias and chorale preludes. I’d recommend getting there. (The school of music is still in the same place, Gate 7, just past the round-about, though now gained through a new, huge and forbidding building on Fairlie Terrace).

 

The Borodin Quartet – rich in tradition, focused and austere in performance

Posted on by Peter Mechen

Chamber Music NZ presents:
The Borodin Quartet – music by Haydn, Shostakovich, Wolf, Tchaikovsky

HAYDN – Quartet in B Minor Op.33 No.1
SHOSTAKOVICH – Quartet No.9 in E-flat Major Op.117
WOLF – Italian Serenade
TCHAIKOVSKY – String Quartet No.1 in D Major Op.11

The Borodin Quartet  –  Ruben Aharonian (leader) / Sergei Lomovsky (violin)
Igor Naidin (viola) / Vladimir Balshin (‘cello)

Michael Fowler Centre, Wellington

Thursday, September 13th, 2018

I found myself wondering how many people in the hall on Thursday evening besides myself might have been similarly “initiated” into chamber music by the Borodin Quartet via a famous 1962 Decca LP recording of the music of Borodin (the well-known Second String Quartet) and Shostakovich (the Eighth Quartet). At that stage of the quartet’s colourful history, two of its “foundation members” from 1945 were still with the group, the leader, violinist Rostislav Dubinsky, and the ‘cellist Valentin Berlinsky (actually, the young Mstislav Rostropovich was nominally the first ‘cellist, but withdrew after only a few weeks, and was replaced by Berlinsky). It’s no wonder, then, that the name “Borodin Quartet” still has the power to evoke a resonant sense of history and profound artistic achievement.

That particular recording (which I heard at a friend’s house) tumbled me into a world I knew almost nothing about at that stage – but it was a searing initiation into a form of music I hadn’t previously given much thought to, apart from regarding the idea of “chamber music” as something for people of “advanced” years who didn’t like their music to be too noisy! – rather, to be well-mannered and contained. So, the Borodin Quartet’s playing of the Shostakovich work in particular on that recording  REALLY knocked me sideways, blowing out the chamber-like walls of my youthful preconceptions in the process…….

Forty years and more later, here I am, sitting in and sharing a space with the Borodin Quartet itself – NOT, of course those same individuals whose playing on Decca SXL 6036 brought a new world to view for me, but their successors – two of the present group have been there since 1996 – leader, Reuben Aharonian, and violist Igoir Naidin, while more recently (2007), Vladimir Balshin took over as ‘cellist from the incredibly long-serving Valentin Berlinsky, and lastly, Sergei Lomovsky became the second violinist in 2011.

Though obviously possessing its own unique sound, the present Quartet members consider they have retained something of the original group’s unique identity. While not attributed to any one quartet member, a statement from the group’s “official” website pretty well sums up the on-going philosophy of maintaining that tradition, and is worth quoting at length:

As each newcomer joins, he hears the existing members playing in a very recognisable style, so he is automatically soaking up the tradition. It’s not formal teaching, as if your colleagues are correcting you. A quartet is in a permanent state of studying from each other. It’s as natural a process as could exist, learning while performing with your elder colleagues.

If tonight’s concert was anything to go by, it seemed to my ears that the group had of recent times evolved a less self-consciously expressive, and more “contained” approach in general to their music-making than I remembered from even more recent recordings. I wondered whether this had been instigated by the leader, Reuben Aharonian, whose whole aspect besides his music-making had a kind of austerity about it, with minimal physical movement and a vaguely distant manner, bordering on the dispassionate in overall effect. Away from visual impressions (in effect, listening with my eyes closed), I felt as the evening’s music-making proceeded that the playing “warmed up”, with both second-half items generously and characterfully realised – but this could have been a process of  partly “getting used to” the discrepancy between the visual austerities and the latent generosity of the interpretations!

In appearance, the other quartet members presented a kind of droll “proximity ratio” to their leader’s self-containment, with second violinist, violist and ‘cellist in turn displaying increasing physical animation – but again, this all began to “run together” as the concert unfolded. The Quartet began the evening’s music-making with Josef Haydn’s Op.33 No.1, the String Quartet in B Minor, one of six similar works known collectively as the “Russian” Quartets because of their dedication to the Grand Duke Paul of Russia – all very appropriate, of course.

A delicately wistful dance at the outset gave rise to a counterbalanced Beethoven-like thrusting passage, and an injection of major-key warmth  to the proceedings, which involved a development section that “played with” the opening theme on different modes. Haydn kept us guessing as to what the music would do next, and the players’ largely “contained” aspect did the rest! Instead of a Minuet to follow, Haydn penned a scherzo-like movement, dynamic at the outset, and gentle and sinuous throughout the Trio – the contrasting moods here made a stunning impression through being tossed off so effortlessly.

The Andante was the scherzo’s antithesis, the first violin enunciating his arching-over melody with impeccable taste, and the accompaniments bringing out further the warm gentility of the phrases – here it was the second subject group which darkened the mood with a more trenchant quality, and some intense modulations towards the piece’s end. Finally, the concluding finale movement switched nonchalantly from major to minor, with the quartet members again quizzically producing the most characterful sounds and rhythms with marked sobriety – the music’s energy, drama and theatricality was at once visually internalised and musically brought to the fore – a remarkable display!

The original members of the Borodin Quartet were contemporaries of Dmitri Shostakovich, though the composer had already forged a bond with the older Beethoven Quartet in the 1930s and subsequently entrusted the premiere performances of thirteen of his quartets to this almost-as-long-serving ensemble (the Beethoven Quartet disbanded in 1987 after fifty-six years!). However, having recorded all of Shostakovich’s String Quartets twice, with various single remakes, the Borodin Quartet could be said to have established their own kind of tradition of interpretation of these works, one which (reputedly), in the case of at least one of the quartets, “diverted” the composer’s preference for his original dedicatees’ performance.

Here we were given the composer’s Ninth Quartet, one whose first completed version the composer reputedly destroyed in a fit of depression (Shostakovich later described the incident as “an attack of healthy self-criticism”), and taking three years to complete the new work, in May 1964. From the outset, a bleak, worrying chromatic figure wove its way around and about the jog-trot rhythms, with certain figures obsessively recurring as if being held tightly for purposes of security – there came a moment when the chromatic figures rose spectrally upwards and seemed to threaten the tightly-held equilibrium of the music’s progress, but the shadows drew back and allowed the work to proceed. Soon after, without warning, the sounds unfurled deeply-hued tones which stilled forward movement, the players by turns declaiming and whispering expressions of deeply-felt emotion and pensive stillness.

The Allegretto which followed was quickly turned into a quintessential Russian dance-like episode, occasionally pre-echoing the three-note “William Tell” rhythms which the composer was to return to in the Fifteenth Symphony, but intensifying the mood and recalling the bleak, worrying figures at the work’s beginning, here far more energetic and biting, like a nightmare come true. The violin attempted some gaiety with a cheerful dancing figure, but the mood was too “danse macabre” to be reassuring!

The players seemed to unfold these transformations of mood, both abrupt and osmotic, with the minimum of outward fuss and display, but with surely-defined intensifications and yielding nuances throughout. The composer’s seeming endless invention found direct and unfussy expression,, solitary moments rudely interrupted by free-for-all-like outbursts indicating both exterior and interior conflicts and tensions. As remarkable as any of the sequences was the finale’s “whirling dervish” world of vertiginous exhilaration, whose episodes drove grimly and resolutely towards a hard-won triumph of the human spirit.

We certainly needed an interval in which to regain some composure after such an onslaught, the  first item in the second half continuing thankfully to refresh our beleaguered spirits with its blandishments of a piquant nature – this was Hugo Wolf’s “Italian Serenade”. Everywhere there was a kind of insouciance which countered seriousness, except, perhaps, as a pastime! I loved the music’s generosity of line and openness of texture, taking me out-of-doors and (paraphrasing the words of Sir Thomas Beecham) “liberating me from conscious thought”. The players’ very “straight” demeanour in fact here added by dint of contrast to the abandonment of the sounds to the open spaces that the music generated – and the ending was brought off by the deftest of touches!

After this was left the Tchaikovsky First String Quartet, with its famous “Andante Cantabile” movement that made Tchaikovsky’s name resound throughout the musical world of the time. Again the players made a virtue out of their controlled, beautifully-polished way of rendering the sounds, though by this time we were “listening through” appearances to the sounds the ensemble was making. Immediately we heard from the players that distinctive and haunting vibrancy of tone and timbre one associates with Russian music of this era, suggesting, perhaps that Tchaikovsky himself composed more idiomatically than his composer-contemporaries gave him credit for (as far as he himself was concerned his own “Russianness” in his art was never in doubt!).

The famous “Andante Cantabile” was here given a reading whose tones and resonances were so other-worldly and dream-like I was enchanted, to the point where, during the second subject’s haunting refrain I could hardly distinguish between sound and memory – so heart-easing, simple and yet so resonant. If the scherzo seemed like an intrusion after this, then that was the composer’s fault, not that of the players. There was a no-nonsense quality about the performance, strongly contrasting with what we had just heard, and the more telling for that – the “Trio” was rather more yielding, blending cantabile with staccato bowings most winsomely.

At once direct and quixotic, straightforward and quirky, the finale here set full-toned tutti sounds against more will-o-the-wisp passages, with, in places, as much spirit as substance at work, a gamut of sounds I really enjoyed for their faery-like character. There was no all-purpose fullness of tones except during a lovely cello solo – the rest was characterful in a different way, the music driven excitingly to its joyous conclusion. We prevailed with our applause and got a brief encore, a simple and touching rendition of a Tchaikovsky piece called “Morning Prayer” – all an embodiment of musical history, for our pleasure and wonderment…….

 

 

 

 

 

Impressive piano recital: Haydn, Beethoven and Liszt, from three NZSM students at St Andrew’s

Posted on by Lindis Taylor

 

St Andrew’s lunchtime concerts

Piano Students of the New Zealand School of Music

Saskia Hazlewood
Haydn: Piano Sonata in E minor, Hob XVI/34
Claudia Tarrant-Matthews
Beethoven: Piano Sonata in F minor, Op 57 “Appassionata” (first movement)
Liam Furey
Haydn: Piano Sonata in C minor, Hob XVI/20
Liszt: Transcendental Etude No 11 in D flat, S 139/11 “Harmonies du soir”

St Andrew’s on The Terrace

Wednesday 12 September, 12:15 pm

This was another in the series of concerts from NZSM students that have been presented recently in the lunchtime concert series at St Andrew’s on The Terrace.

There were three pianists here: two, first year, and one in her third year. Both the first year students played a minor key Haydn sonata, while the third year student, Claudia Tarrant-Matthews, played the formidable first movement of Beethoven’s Appassionata (another minor key piece).

Saskia Hazlewood played Haydn’s Sonata no 34 in E minor, handling with confidence the unrelenting staccato in the first movements, with no needless ornaments. The particularly marked hesitations in the slow movement enhanced the ‘Sturm und Drang’ feeling that it creates (it wasn’t just in the symphonies that that early mark of Romanticism existed). And the Vivace finale is one of Haydn’s most delightful, left untroubled by the odd, minor slip.

The second Haydn sonata was No 20, in C minor, played by Liam Furey. That too was a performance that seemed rather beyond what I might have expected from a first year student: thoughtful, with interesting dynamic contrasts and a surprising slow passage in the middle. The middle movement, Andante con moto, is long and without strong melodic character; so it depended more on the pianist’s own imaginative resources, which were quite evident. One might have interpreted its character as being another foreshadowing of Romantic spirit. His fluent playing of the Finale was further evidence of Furey’s grasp of Haydn’s wit and musical inventiveness.

Then Furey played one of Liszt’s formidable Transcendental Etudes. Not all are of insurmountable difficulty; they are just hugely challenging and emotionally intense. The most tumultuous part of No 11, Harmonies du soir, comes some time before the end; it follows stretches of rapturous, nocturnal music that becomes increasingly passionate and then subsides. The pianist revealed an impressive feat of memory and grasp of Liszt’s aesthetic.

Claudia Tarrant-Matthews’s offering was more challenging inasmuch as the Appassionata is so familiar that one is likely to compare it, unconsciously, to the sounds of consummate performances by the greatest pianists. There was no shame in having the score in front of her for the lengthy and demanding first movement. Her handling of the vivid contrasts that Beethoven presents, cutting between brief, rapturous, melodic passages and sudden irruptions of passion showed her grasp of its entire dramatic narrative.

It was an impressive performance. As were those by the other two young pianists.

 

Excellent choral concert from three young Wellington choirs and the New Zealand Youth Choir

Posted on by Lindis Taylor

Triple C: A Capital Singfest

Choirs: FilCoro (Wellington Filipino Choir); Wellington Young Voices (children’s choir); Wellington Youth Choir; New Zealand Youth Choir

Music by Richard Rodgers, John Rutter, Bob Chilcott, Stephen Leek, Antonio Lotti, Charles Wood, Ben Parry, Lassus, Leonie Holmes, Brahms, Tuirina Wehi, David Hamilton

Opera House, Manners Street

Sunday 9 September, 3 pm

This concert by mainly young choral singers was promoted as ‘A celebration of great choral and ensemble singing’. Each choir was to sing alone and with one or two other choirs and finally all joined to sing David Hamilton’s Dance-song to the Creator.

The publicity also remarked on the choice of venue: the gorgeous Opera House. And of course I share their affection for one of the few remaining turn-of-the-century theatres, splendid in the detailed and beautiful restoration of both foyer and auditorium; where I had my first teen-aged experiences of live theatre and opera.

The concert began with the Filipino choir, Filcoro, singing an indigenous Tagalog language song rather enchantingly, and then a couple of Richard Rodgers’ loveliest songs, ‘You’ll never walk alone’ (from Carousel) and ‘Climb every mountain’ (The Sound of Music). Under Mark Stamper, they showed they had nothing to learn about singing Broadway musical.

They were then joined by Wellington Young Voices, a delightful group of young singers – aged eight to fourteen – to sing John Rutter’s ‘Look at the World’; voices from Filcoro took the first verse with a delightful air of timidity and all singers joined for the chorus.

As with so much in the concert, here was a fairly slight piece that gained through being taken seriously.

Setting the pattern for comings and goings, the Philippines choir then left and Young Voices alone for two songs by Bob Chilcott: ‘Laugh Kookaburra’ and ‘Like a Singing Bird’, both light, lilting, almost dancing, through tricky harmonies. Composers like Chilcott, Eric Whitacre, Morten Lauridsen and Rutter, among others including several New Zealanders, have brought about a revival of contemporary choral music which for some decades has seemed doomed by avant-garde pressures.

The Wellington Youth Choir, which had the honour of singing with the Orpheus Choir in the previous evening’s Orchestra Wellington performance of Verdi’s Requiem, arrived to sing another challenging song, Monkey and Turtle by Stephen Leek, that also made demands on their part singing.

The Wellington Youth Choir alone, under Jared Corbett, could tackle something even more sophisticated; an eight-part setting of the Crucifixus by Antonio Lotti, a Vivaldi and Bach contemporary, and then a spiritual ‘Get away, Jordan’, another piece that called for well managed part singing, and the choir sounded in extremely fine form.

New Zealand Youth Choir
The New Zealand Youth Choir then joined the Wellington Youth Choir to sing Oculi omnium by Charles Wood, English composer 10 or 15 years younger than Parry and Stanford. The choir did not appear on stage but the conductor drew attention to them in the grand circle, from which the voices gained an ethereal quality.

(My colleague Rosemary Collier has added a gloss about Oculi omnium.

“‘Oculi Omnium’ was a tribute to Peter Godfrey for many years the conductor of the choir,. It was always sung as a grace at choir residential weekends and at the NZCF weekend ‘Sing Aotearoa’ and other functions.  And a big massed choir of which I was a part, sang it at his memorial service.  It’s a beautiful piece with gorgeous harmonies.)

The second half was devoted to the NZYC, the most experienced of the four choirs, starting with Ben Parry’s Flame, with men and women separated, right and left. It clearly had a religious significance, suggesting at first a flickering flame, slowly, increasing in intensity and complexity.

I hadn’t heard of Parry. This is what I found on the Internet: Ben Parry (born 1965) is a British musician, composer, conductor, singer, arranger and producer in both classical and light music fields. He is the co-director of London Voices, Assistant Director of Music at King’s College, Cambridge, director of the National Youth Choirs of Great Britain.

And further, Rosemary Collier added: Ben Parry has been to NZ.  I rather think he was adjudicator at the Big SIng last year or the previous one.

So, a very appropriate figure to open the NZYC’s contribution at this concert. Conducted by David Squire, its performance challenges were most sensitively handled.

Then came Lassus’s Aurora lucis rutilat, in which the singers divided into two distinct four-part choirs and it was a delight, quite the contrary of the grim, ‘hell-firish’ words (which I looked up).

Leonie Holmes’s ‘Through coiled stillness’ was the first of a couple of New Zealand compositions. Its words were recited in both Maori and English, and the piece involved singing in both languages, in a musical idiom that had only subtle suggestions of a Maori musical influence, and which was neither too traditional nor too avant-garde. It was evidently good to perform.

Then came all four of Brahms’s Vier Quartette, Op 92 They are O schöne Nacht, Spätherbst, Abendlied and Warum?

Those of us who think we know Brahms pretty well (meaning orchestral, piano and chamber music and a dozen of the familiar songs), are always surprised to look at the huge list of his solo songs, part songs, choral works that he composed throughout his life, and I’d never come across these ones. They involved Michael Stewart at the piano; they were varied, though always hard to place in the appropriate emotional context and so not easy to sing. Clearly, they would form one of the choir’s principal repertoire works this year; and the choir demonstrated musical understanding and splendid technical competence.

The bracket ended with Waerenga-a-Hika, a narrative chorus arranged by Robert Wiremu, that tells of the story of the siege of the Waerenga-a-Hika pa, north-west of Gisborne, in 1865. A mixture of sombre chant, and a certain amount of lyrical song, with distinctly contrasting voices in English and Maori that varied between sophisticated melodic singing and traditional, haka-derived performance.

Finally, all four choirs reappeared to sing David Hamilton’s Dance Song to the Creator, syncopated and jazzy, under David Squire, with two pianists (Mark Stamper and Michael Stewart), and percussionist Dominic Jacquemard, accompanying.  And they all stayed to sing an encore, the familiar and always rather moving Ka Waiata Ki a Maria (composed by Richard Puanaki).

Though singing has suffered a huge retreat in the last couple of generations, from being a standard activity in both primary and secondary schools, and church choirs, it survives, rather unevenly spread, but the widespread existence of youth choirs and other choirs for young people helps to maintain its visibility – audibility.

But the art of singing and choral activity remain at an awful disadvantage in terms of being known about. The New Zealand Youth Choir and the Secondary Students’ choir can win extraordinary prizes in international competitions and yet be unnoticed by the media; at best given a 3cm paragraph at the bottom of page 8.

And so, it would have been good to see a larger audience for this rewarding and delightful concert.

 

Dynamic, muscular and sonorous – Orpheus and Wellington Youth choirs tackle Verdi’s Requiem with Orchestra Wellington to stupendous effect

Posted on by Peter Mechen

VERDI – Requiem Mass

Antoinette O’Halloran (soprano)
Deborah Humble (mezzo-soprano)
Diego Torre (tenor)
James Clayton (baritone)

Orpheus Choir of Wellington
Wellington Youth Choir

Orchestra Wellington
Marc Taddei (conductor)

Michael Fowler Centre. Wellington

Saturday, September 8th, 2018

Choir(s) and Orchestra alike would have been more than gratified at the audience turnout for this concert – the ensuing atmosphere reminded me of the same combination’s brilliantly successful presentation of Orff’s “Carmina Burana” of a couple of years ago. Naturally, the performance ethos in this instance was somewhat more sombre, as befitted the subject matter, but the musicians’ commitment to the task of realising the sounds was in most places just as compelling.

I must admit to initial surprise at having a lineup of soloists predominantly from offshore, with the exception of adopted Wellingtonian James Clayton – surely we could have had at least one New Zealand-born singer in the ranks? I don’t for a moment condone the idea of any kind of local “quota” in these matters, as individual merit should always be a consideration – but it often seems to me that the attitude of organisations is “imported singers are better” – or maybe even “imported singers draw the crowds” – and in my view, it’s not necessarily the case.

Yes, I admit I am, perhaps unfairly, singling out one concert, here, as Orchestra Wellington is, in fact,  usually an exemplar in this regard, as witness the recent concerts involving soloists such as pianists Michael Houstoun and Jian Liu, violinists Amalia Hall and Wilma Smith, and singer Roger Wilson.  I simply, and not unreasonably, want to make a particular point, with this occasion being, on the face of things, fair game! I had no real qualms about any of the singing performances, but still feel that it would be good for august local musical organisations to consistently demonstrate robust support for local artists. Perhaps there was a circumstance that might have forced orchestra or choir to use mainly offshore soloists in this case, but I wasn’t made aware of it.

Away from such considerations, and focusing on the performance, I thought the stand-out vocal achievements of the evening were provided firstly by the choir itself, here made up of the combined Orpheus and Wellington Youth Choirs, and secondly the mezzo, Deborah Humble. The other soloists all, I thought, gradually “came into their own” as the performance went on, whereas for me, Humble “hit the ground running” with her first extended solo, “Liber scriptus proferetur”, giving her tones  apocalyptic foreboding, and “pinging” her notes with impressive accuracy. Then, in the following “Quid sum miser” her more cantabile qualities beautifully augmented the voices of both tenor and soprano. Her ability to blend with others was as much a delight as her solo singing, as with the soprano, Antoinette O’Halloran, in a sublime “Agnus Dei”, and then with tenor and baritone in a beseechful “Lux aeterna”, delivering a radiant final “lux aeterna, luceat eis Domine” over the tenor and baritone counterpointings at the end.

As a team the quartet of soloists worked well together, none obtruding in ensemble passages, but maintaining their individual lines, almost to a fault at times where I occasionally wanted a bit more “temperament” to match something of the choir’s fervour. I’m normally a great fan of baritone James Clayton’s, but here I thought his singing in places strangely inward-sounding, as if pondering his own mortality ahead of beseeching his Maker for mercy on behalf of all humankind. An example was his solemnly-intoned “Requiem aeternam” during the “Lux aeterna”, where I was expecting more apocalyptic-like pronouncements. True, his vocal manner was perfect for “Mors stupebit”, deep and solemn, but then seemed to lack sufficient “bite” at “Confutatis maledictis”, which really surprised me, as I’ve heard him “let fly” in the past with magisterial results.

I warmed to tenor Diego Torre as the evening went on, finding his voice a touch constricted-sounding at the outset, but with his tones better-focused and more open by the time he reached his important solo “Ingemisco tanquam reus”, with those achingly beautiful winds echoing and augmenting the vocal line. After the Lacrimosa’s great climax, he contributed sensitively to the ensemble in “Pie Jesu Domine”, and in the Offertorium, sang his “Hostias” with touching inner feeling, despite the accompanying horns being a shade too prominent to my ears (the only wayward balance I noticed in the entire performance…….).

Antoinette O’Halloran’s “big” sequence was, of course the “Libera me” which I thought she addressed with just the right degree of awe and urgency (“Tremens factus sum ego  et timeo”) and lyrical sweetness (“Requiem aeternam”). Earlier she had beautifully capped off the trio “Quid sum miser” with a lovely ascent at the concluding “cum vix justus sit securus”, but seemed to me not entirely comfortable with her intonation at a comparable place place in the “Recordare”. This apart, she contributed to a generally unified ensemble of soloists, at all times ably supported by conductor and players.

Throughout, the sheer presence of the massed voices, whether singing softly or powerfully, and across the whole dynamic spectrum, made for a gripping and visceral experience. Right from the beginning, the contrast between the opening murmurings of the words “Requiem aeternam”, and the sudden, galvanising effect of the basses’ entry at “Te decet hymnus” captured the writing’s unashamed volatility and theatricality, equally drawing us in as listeners to both the hushed and the open-throated declamations, and holding us in thrall throughout.

The deservedly celebrated “Dies Irae” sections had all the weight and “bite” from the voices that the words needed, with the soft singing (such as at “Quantus tremor est futurus”) putting across an awestruck quality which most appropriately ushered in the crushing onslaught of the “Tuba mirum”. At the section’s “other end” came the cortege-like trajectories of the Lacrymosa, building in weight and intensity to enormous proportions, superbly sung by the choir and pliably controlled by conductor Marc Taddei, as were both the vocal and the instrumental “Amens” at the end, beautifully summonsed from the silences before being allowed their full exhalation of breath.

What a contrast with the urgently launched, and excitably declaimed “Sanctus” – here dancing with delight, there shouting with fierce exultation, the singing by turns full-throated and delicate, concluding with a joyful “Hosanna in excelsis!”, the ascending syncopated brass accents as startling to the ears as ever!  Again, there was yet another complete change of expressive mode with the “Agnus Dei” (a different kind of celestial outpouring!) the two women superb, and the choir floating its myriad voices like stars in the Milky Way.

As for the “Libera me” (virtually a work in itself, of course), the choir played its part to perfection – awe-struck at its first entry, immediately following the soprano’s impassioned opening, then hurling itself once again into the maelstrom of “Dies Irae”, the basses wonderfully sepulchral in their after- mutterings of “Dies Irae, dies illa”, then joining with the rest of the voices in support of the soprano’s plea for mercy for departed souls. That done, the voices again took up their cudgels and hove to with a will into the fugue, their hushed tones as spine-tingling as their shouts of terror. The tremendous climax at “die illa tremenda” over, the voices whispered the final “Libera me’s” with an indescribably moving amalgam of fear, exhaustion, hope and faith at the work’s end – a stunning achievement!

As was that of the orchestral players in support of all described above, under the sure-footed direction of conductor Marc Taddei. The instrumental detailing, especially from the winds in their various accompaniments of the singers, was characterful and ear-catching at all times, the string-playing was by turns ethereal and sonorous, and the brass and percussion simply awesome in effect, the placement of the “Tuba Mirum” trumpets at various places in the auditorium opening up the vistas and filling our sensibilities with proper wonderment. I’ve heard more consciously doom-laden performances, with more apocalyptic “grunt” in places from singers and instrumentalists alike, but this was a dynamic, muscular rendition of a work which enabled its greatness to shine forth in splendid fashion.

 

 

Polished recital from Steel and Irons of flute and piano masterpieces at St Andrew’s

Posted on by Lindis Taylor

St Andrew’s lunchtime concerts

Rebecca Steel (flute) and Diedre Irons (piano)

Debussy: Prélude à l’après-midi d’un faune
Prokofiev: Flute sonata in D, Op 94

St Andrew’s on The Terrace

Wednesday 5 September, 12:15 pm

While the series of concerts from students that occupies St Andrew’s lunchtime series regularly around this time of the year, are always a delight and sometimes expose unusual and interesting music, it’s nice to get back to the mainstream, with truly accomplished professional musicians.

The concert’s pun-prone title (Steel and Iron{s}} did announce a couple of New Zealand’s finest artists in their fields.

Though I tend to be wary of arrangements-of-convenience, the treatment of Debussy’s ground-breaking masterpiece, is a natural for such treatment (though its arranger was not mentioned), as the flute occupies such a central place in the work. And even though the rest of the orchestral parts are there in the mind, their transmutation at the hands of such an accomplished pianist seemed to meet all the expectations. Undulating piano sounds others depicting the heavy hooves of the faun (spelling in English looks wrong – we’ve become more used to Debussy’s, French faune). From the flute, meandering sounds, rippling arpeggios, moments of lazy voluptuousness and dappled shade; and it was hard to think that most of the writing for both flute and piano was transcription from a rich orchestral tapestry. I thought it all lost very little in translation.

Prokofiev’s 1943 flute sonata is the music he later transcribed at David Oistrakh’s suggestion, for violin and piano, which is the form that’s more familiar to me. However, the original, in the hands of this duo, emerged as a ever-slightly more idiomatic and made to measure, flute-inspired. For one thing, there were hints of the world of a flute-playing faun, in certain melodic turns of phrase.

It holds an important place in the flute repertoire which seems to include few formal sonatas: on thinks of Poulenc’s, Hindemith’s, and there’s apparently one by Reinecke which was originally included in this programme, and a few by Bach and other baroque composers. But only miscellaneous (some very fine) flute pieces by most of the ‘great’ composers.

This is a four-movement work that meets all the normal classical sonata criteria. It contains no suggestion of wartime, partly I suppose because Prokofiev was among the Soviet artists evacuated to pleasant sanctuary in the Caucasus or Urals. Certainly, the first movement breathes quietude between passages of busyness, and the second, Scherzo, Allegro, bustles with cheerfulness and high spirits, where the duo captured it all, including the pensive moment in the middle; and where their playing became almost reckless before coming to a halt – one of those that announces clearly that it’s not the end of the piece.

There was an airiness in the playing of the Andante: typical Prokofiev, excluding any hint of emotion, any revealing of personal feelings. That is also the nature of the longish Finale, Allegro con brio, in which piano and flute often seemed to inhabit different spaces, the flute fluttering brightly, up high, while the piano goes its independent way with heavier chordal diversions. One is strung along, expecting the end some time before it actually arrives, and it did strike me either that the composer was filling it out to meet certain dimensions, or that the players here were secretly waiting for the last page to be turned.

That may have been an unkind thought for a recital all of which I had thoroughly enjoyed.

Richard Mapp at St.Andrew’s in Wellington – piano-playing with a quality of connection

Posted on by Peter Mechen

RICHARD MAPP – Piano Recital

J.S.BACH – Prelude and Fugue in C-sharp Minor (WTC Bk.1 BWV 849)
KENNETH YOUNG – Five Pieces for Piano (2002) – No. 5
SCHUBERT – Three Piano Pieces D.946
FREDERIC CHOPIN –  Nocturne in C Minor Op.48 No. 1
OLIVIER MESSIAEN – Premiere communion de la vierge (No.11 of Vingt Regards sur l’enfant-Jesus)
JOHANNES BRAHMS – Seven Fantasies Op.116

St.Andrew’s-on-The-Terrace Church

Sunday, September 2nd, 2018

Most intriguingly, the mere prospect of attending a piano recital by Richard Mapp gives rise to feelings within me of a kind of anticipation that I find difficult to explain, except with what seems like vague and insubstantial language, unable to properly grasp the essence of what gives my feelings any kind of actuality. But there’s a quality I’ve always felt in his playing that, in my experience of concert-going induces within the listener a more-than-usual urge to “connect” with the sounds he enables from his instrument, as if they’re given by him a certain “truth” or a whole-heartedness of utterance refreshingly out-of-the-ordinary.

Given that great music is almost  always better than it can be performed for various reasons – such as the phenomenon of musicians having to “refract” their own responses to this body of work in order to make it “sound”,  and that we all, as individuals, have unique responses to these sounds and their characteristics – there’s always going to be considerable divergence of opinion regarding the essences of what emerges from all of this, both played and heard!  These comments, therefore, are not set in stone, but as Keats observed, more “writ in water” – even so, I still find myself wanting to try and make some further sense of my impressions of Richard Mapp’s playing, which I hope will happen at least in part during the course of this review.

There’s no better way for a piano recital to begin than with the music of “Johann Sebastian – mighty Bach!!”, as writer and poet Dylan Thomas’s organ-playing character Organ Morgan declaims at one point, in the play “Under Milk Wood”. Contradictory though that statement might seem in the sense of hearing the music played on an instrument Bach didn’t REALLY know, his music does possess that quintessentially Baroque quality of ready and fluid transcription – the composer’s own work attests to that in a number of instances! Here, Richard Mapp successfully brought out all of the music’s grandeur, the opening of the Prelude unfurling all the purples and deep ceremonial resonances of the music’s solemn canonic statements, the playing at once full-toned and registering infinite shades of focus. As for the Fugue,  it steadily enunciated its shape and cornerstones before beginning its process of “growing” from what had gone before, the voices in concert seemingly very aware of one another, to the point of even “playing” for one another so as to make a concerted effort to push through the impediments and into the culminating sunlight.

The pianist somewhat wryly commented that his programming seemed to have placed the recital’s oldest and newest pieces cheek-by-jowl, but in the process had discovered certain “links” between them. This was Kenneth Young’s piece, of course, the fifth part of a work called “Five Pieces”, which was written for Michael Houstoun. A rich, chordal fabric (almost Messiaen-like) dominated the music’s opening, the progressions angular in places, but still pleasing. The music had plenty of “attitude”, but also generated something of the strength of a Baroque Master’s music, the writing severe, but coherent and cumulative, and leading to a heart-easing liquidity throughout a middle sequence, and then some swirling agitations leading to a climax of sorts. Out of the ensuing debris reappeared the opening chords, embedding themselves more deeply and richly this time around, and with a decorative counterpointing figure that rose upwards and became a kind of “landscaped benediction” it seemed, the phrases shifting and echoing briefly and chromatically. Would that we had heard the whole set…….

Recompense was, however, at hand with Mapp’s playing of Schubert’s enigmatic Three Piano Pieces D.946, works that the composer produced in a kind of “ferment” of activity during the last year of his life, 1828, along with the last three piano sonatas, the great String Quintet, and the song-cycle Schwanengesang. Arguably, too much has been romantically read into the circumstances surrounding the composer’s state of health throughout this time – though by this time syphilitic, Schubert, like Mozart, would not have expected that he would die so soon – and the moments of darkness and turmoil which are present in these works are balanced by occasional humour, quirkiness and high spirits. Each of the three pieces have disconcertingly contrasted moods, in line with the other works composed throughout this period, and present a kind of totality of emotion, an awareness of both light and dark, and a varied response to these states of being.

The opening Allegro assai conjured up some kind of dark “inner” pursuit, the music loaded with grim intent but never threatening from without, Mapp keeping the music’s swirling textures to the fore as much as he did the galloping rhythms. The music’s central sections were properly songful, but made of the same connective tissue of feeling as the opening, so that the parts related rather than contrasted, with no real “escape” from the darkness. So, when the galloping opening returned, the effect was like that of a dark dream refocused, with the pianist intensifying both trajectories and textures, filling the concluding silences with unease.

With the Allegretto which followed, we were seductively drawn further into the music’s world by Mapp’s heart-easing lyricism of expression – he gave the melodic trajectories elbow-rooms of space in which to breathe, the writing seemingly unencumbered by barlines or any other metrical considerations. Then, the central section took up a nervous energy, the disquiet of the music compounded by the exchanges of intensity between the hands, the bass having the melody and the treble hammering out the rhythms, something almost Grieg-like in the music’s “halling” aspect. A return to the lyrical opening was short-lived, the music breaking into a different discourse with pathetic, almost hallucinatory gestures, as if the sounds were a marionette’s arms flailing helplessly in a kind of claustrophobic space, almost Mahlerian in their contrasting garishness and impotence of expression. What relief the return of the opening lyrical strains gave us, after such unnerving dreams!

After this the gaiety and energetic drive of the third piece in Mapp’s hands seemed almost manic at first, though a change of trajectory brought us something resembling a “trio” sequence, a free-spirited, filigree right-hand decorative figure accompanying the second half of the passage. One learns to expect the unexpected with Schubert, however, and the music was true to form, suddenly turning on itself and galloping back into the fray of the opening energies! Here, the playing reached a kind of overdrive, whirling its way to a brilliant conclusion! I couldn’t have imagined a more rounded and multi-faceted performance as we got here, of this richly-endowed but still enigmatic work – it left me as amazed and disarmed as much as surprised and delighted.

After an interval we were treated to a performance of Chopin’s sublime Op.48 No.1 Nocturne, with its contrasted opening processional sequences, the first solitary and melancholic, the second purposeful and increasingly defiant. The differences were at first easefully and then vibrantly negotiated by Mapp, the music gathering determination and hurling out a challenge as the irrupting figures rose up and scattered order and decorum, leaving dazed, agitated impulses rallying themselves as best they could, desperately seeking to reconnect with a world dishevelled and broken – a journey ending in darkness and profound disillusionment.

Something of an antidote to this existential despair was provided by Olivier Messiaen, in Première communion de la Vierge, the eleventh piece in the composer’s Vingt regards sur l’enfant-Jésus.  I had, some years ago heard Mapp in recital play all but one of these remarkable pieces, and illuminating them with his sensitivity of touch and command of resonance. Those timeless left-hand chords which began the piece threw the scintillations of light in the treble into bold relief, at first seeming as awakenings of nature before developing into gently-undulating bell sounds. This ritual of interaction suddenly exploded on both sides with joyously jazzy energies invigorating the mother-child interactions and rituals, filling us with wonderment at such celestial exchanges and with contentment at their humanity. By the piece’s end it seemed as if heaven and earth were united, as opening chords and scintillating responses became as one.

In the wake of these two second-half pieces, I found myself fighting the urge to wish we were getting some Liszt at the recital’s end – however, Brahms it was to be, even though Chopin and Messiaen had put me in a “fanciful” mood, something which the first of Brahms’ Fantasias, with its rough-hewn and fussily rhythmic writing only confirmed my misgivings. Thankfully, the second Intermezzo piece broke down some of my resistance with its opening “nature-calls” amid a magically-wrought ambience, Mapp beautifully enabling the enrichment of the textures in the piece’s middle section before the more “solitary” aspects of the music reclaimed the territories at the end.

A more combatative and angular mood was established by the third piece, Capriccio, developing a kind of vortex of agitated feeling before a more nobly-conceived middle section “rescued” the music for a few, warmly lyrical moments. “Related to some of Brahms’ songs” writes one commentator about the next Intermezzo, whose opening, improvisatory gestures resemble a kind of question/answer sequence, the feeling caught and held for us most warmly by Mapp in a beautifully romantic and wistfully expressive central flowering of emotion. In spite of myself, I thought it remarkable piano writing, sensitive and poetic.

The second of three Intermezzi “on the trot” contrasted with what had gone just before by dint of the music’s somewhat quirky chromatic figurations, something of a spectral waltz at the outset, though more flowing and softer-edged throughout a contrasting central passage. Mapp brought out both quirkiness and beauty throughout the strange, half-lit measures of the dance. The third Intermezzo in a row reverentially intoned a hymn-like series of chords by way of introduction to a more flowing kind of “trio” section in which the “hymn” tune showed increased animation,  before rhapsodising its way most beautifully over the same chordal structures, as it gave new life to the material.

To finish, Brahms returned to the opening Capriccio’s more agitated manner, the music dominated at the outset by a descending repeated three-note figure, one which was just as pervasive in a much gentler way throughout a contrastingly slower, more easeful section. With the return of the agitations, the music then cranked up even further in a coda which tightened the rhythms as the music’s crisis-points loomed, the sounds cascading spectacularly in Mapp’s hands, creating sonorous bell-like figures whose resonances were splendidly extolled by the pianist right to the last.

Though I was still left with a slight hankering at the end for something seemingly less consciously “wrought” and more transcendental of ambience, Mapp’s splendid playing had brought me a good deal of the way back “into” the music, and left me with a feeling of having experienced a satisfying whole (a Chopin Waltz played as an encore further eased my sensibilities!). Altogether, quite a journey, which we in the audience duly acknowledged with the sincerest of tributes to the pianist, as befitted a memorable and rewarding occasion.

 

 

Triumphant performances of choral masterpieces of Vivaldi and Handel

Posted on by Lindis Taylor

The Tudor Consort and The Chiesa Ensemble directed by Michael Stewart

Handel: Dixit Dominus HWV 232
Vivaldi: Gloria in D, RV 589

St Mary of the Angels

Saturday 1 September, 7:30 pm

Gloria
Vivaldi is believed to have composed three settings of the Gloria; one of them is lost, but the other, RV 588, is extant and sometimes performed. I think both are in the key of D. I can recall hearing it sung in Wellington, 15, 20 years ago. But I don’t have clear memory of it. I suspect it was at St John’s church on Willis Street. If anyone can help my memory I’d be glad to hear.

However, it’s the one we heard, to great delight, this evening that’s the glorious one.

It’s a real bonus that The Tudor Consort often engages a first class instrumental ensemble to accompany them, in accordance with the composers’ intentions for, much as I enjoy organ music it rarely sounds good accompanying choral works not scored specifically for organ. There was, of course, a continuo organ part, played on the William Drake pipe organ, from Victoria University, by Tom Chatterton. The Chiesa Ensemble consists of NZSO players and their professional talents enriched both the Vivaldi and Handel, with energy, refinement and sheer accuracy.

The Vivaldi opens with a strong orchestral introduction that immediately demands attention, and it was soon joined by the choir which inhabited, naturally, the space of the beautifully restored church. Here, Vivaldi’s typically bright, melodious music, in a joyous religious spirit fitting the obvious sense of the text.

In this acoustic its sound was a good fit for a work composed for a church of this size, the convent/orphanage where Vivaldi worked for much of his life, the Ospedale della pietà near the Piazza San Marco.

The piece is in eleven sections, each distinct in character, tempo, composed for varying combinations of choir and soloists.  And the choir, from which very fine solo voices were drawn handled it with affecting subtlety. The second section, ‘Et in terra pax…’ opened quietly with men’s voices, then women’s, plangent, in increasing volume. They seemed to rejoice in its subtle harmonies, with voices so perfectly balanced.

The soloists proved a special delight; first, sopranos Anna van der Leij and Anna Sedcole, in ‘Laudamus te’, their youthful-sounding voices, precise and pure, blending quite charmingly.

Vivaldi’s notion of religious figures is such as to delight even the non-believer: the simple piety of the Gratias, and then the solo aria from Amanda Barclay, introduced beautifully by oboes and basso continuo with its conspicuous organ part.

The triple time, dance-like chorus, ‘Domine fili’, brought another colourful musical element to the piece, again an inducement to belief. And then a lovely cello solo from Eleanor Carter(?) introduced the more subdued ‘Dominus Deus’, with the rich mezzo voice of Megan Hurnard. The fourth soloist was mezzo Eleanor McGechie, singing ‘Qui sedes ad dexteram Patris’ with elegant string accompaniment, again in triple time though in a minor key.

The joyous music that began the Gloria returns for the brief penultimate chorus, ‘Quoniam tu solus Sanctus’ before the only distinctly contrapuntal movement: the ‘Cum Sancto Spiritu’ which sustained the celebratory spirit to the end, with the entire orchestra, including Mark Carter’s brilliant trumpet.

The whole performance, of one of the most delightful of ‘religious’ works, was sung with idiomatic style, energy, even exhilaration; all of which reinforces the feeling that the 18th century, as well as being the Age of Enlightenment, managed to find the right balance between rational thinking and religious ritual, which found their finest expression in that age before the emergence of the Romantic era.

Dixit Dominus
It seemed almost too much to believe that another, possibly even greater, religious choral work was to follow, with Handel’s Dixit Dominus, written less than a decade earlier. It was interesting to read the programme’s remark that parts are a bit bloodthirsty for modern sensibilities (but they only conform to the narrative in a book I’m currently reading, The Darkening Age by Catherine Nixey, dealing with the torture and murder of non-believers, and the destruction of classical literature, sculpture, art and buildings by the early, and also not-so-early Christians).

However, in the 18th century, ways were found to rejoice in religious ritual and belief in a not so conspicuously cruel, intolerant manner; and this work is one of the most spectacular exemplars.

It’s a more complex work than the Vivaldi, even though Handel was only 22 while Vivaldi was about 37. There’s greater richness and dramatic variety, more contrapuntal extravagance, and the programme did well to quote Robbins Landon remark that it is ‘of staggering technical difficulty’.

Like the Vivaldi, it opens with a string orchestral introduction; and the choir spits out the words ‘Dixit Dominus’ insistently, leaving no room for doubt and the choral part is at once more emphatic, varied, through inter-weaving parts.

Again, the second part,’Virgam virtutis’, opened more calmly, with alto Andrea Cochrane and a solo cello accompaniment, her voice almost prayerful. The soprano aria ‘Tecum principatus’, after a calm orchestral introduction, was sung by Amanda Barclay, comfortable rather than brilliant, though she dealt easily with ornaments.

Then the ‘Iuravit Dominus’ opened and closed with energetic, staccato passage warning of God’s inflexibility, and the more dense and rapid-fire staccato ‘Tu es sacerdos’ that spelled out the priest’s commitments, with fast, challenging, staccato again. The same rapid music accompanied the ‘Dominus a dextris tuis’, now with five soloists: Anna van der Leij, Anna Sedcole, Anna Cochrane, John Beaglehole and Matthew Painter; a very singular and challenging movement that again drew attention to the choir’s skill and taste, and the same talents, plus commanding leadership and interpretive gifts of conductor Michael Stewart. The movement ends with one of the most individual passages, the stammering ‘conquassabit’ which was entertaining.

Van der Leij and Sedcole took solo parts again in the ‘De torrent in via bibet’, more peaceful and comforting than much of what had gone before, with striking dissonances making a singular impact; it slowly and almost magically, fades away. Finally, the last chorus, ‘Gloria Patri et filio’, was a last opportunity to demonstrate the fruits of, I imagine, extended and scrupulous rehearsal, with its fast contrapuntal, virtuosic singing that went on and on, showing no signs of exhaustion.

These were triumphant performances of two works that need to be heard, live, regularly, just to remind us of the genius of both composers as well as to illustrate the fertile environment in which they worked. Finally, right till the end, there was scarcely any sign, in the choir’s performance, of the music’s challenging difficulties.