Author: Anne French

“Rockin’ On” with the Lockdown Quartet at St.Andrew’s on-The-Terrace

Posted on by Anne French

Family Lockdown Quartet

Lucy Maurice and Rupa Maitra, violins: Donald Maurice, viola; and Gemma Maurice, cello

St Andrew’s on The Terrace, Wellington

Wednesday 20 October 2021

From 26 March to 27 May 2020, when New Zealand was locked down in Alert Level 4 and many of us were watching Netflix in our pyjamas until it was time for the 1 pm press briefing, the Maurice-Maitra family were putting in some useful quartet practice. Soon they were giving concerts on Zoom ‘to audiences all over the world’. In this charming lunchtime concert at St Andrew’s, they performed some of their lockdown repertoire.

To say the programme was eclectic doesn’t quite cover it. The pieces in the concert ranged across 200 years, from Mozart to Guns N’ Roses. The concert was in two parts: three short works from more standard repertoire, plus five interesting arrangements of great rock n’ roll songs.

Parents Rupa Maitra (violin) and Donald Maurice (viola) have had the good sense to produce two daughters, cellist Gemma and violinist Lucy. But still, a successful quartet is more than a matter of having the requisite instruments. Chamber music requires technical skill and communication. These they demonstrated – along with a sense of fun.

The first piece was an arrangement for string quartet of a famous tango song by Carlos Gardel, ‘Por Una Cabeza’, stylishly played. The adults’ more polished and powerful playing could have taken over, but with Lucy on first violin the girls held their own and the balance was surprisingly good. In the Presto from Mozart’s Divertimento in D major Lucy showed herself to be an able leader and a good communicator.  Then the parents left the stage while the girls played a charming Air and Variations by Jean-Baptiste Bréval, a contemporary of Mozart. A cellist, Bréval wrote mostly for his own instrument, but this piece gave both cello and violin plenty to do. So far a well-chosen programme, presented with confidence and polish.

When the parents returned to the stage, they had changed their appearance. Rupa was barefoot and wearing a spiky black and white wig, while Donald wore a hippy headband. No one was going to take themselves too seriously.

Donald told us that when he first heard ‘Bohemian Rhapsody’ on the car radio one day, he had to pull over. That’s when he found out that he had missed out on ‘about 30 years of rock music’. ‘I had no idea what came after the Beatles.’  It was good, he observed, to be introduced to it now by his children, and to play it together.

Introducing ‘Back in Black’ by AC/DC, Rupa commented that screamed lyrics were hard to reproduce by a quartet but a guitar riff was probably manageable.  And so it turned out. Violin 1 took the lead guitar part, with percussion from violin 2. There was some gutsy playing from viola and cello standing in for bass guitar.

I thought the most successful arrangement was Rupa’s own of the Rolling Stones’ ‘Paint it Black’. Gemma helpfully explained the colour imagery in the lyrics, and played a plangent cello introduction. Her mother took up the tune in the style of a lead guitar, and then passed it on to the viola. If the piece ended a bit abruptly, it’s because that’s what the song does.

I had no expectations of Aerosmith’s ‘Dream On’, but it worked particularly well for quartet, with an improvisatory quality, wisps of melody floating from voice to voice.

Surprisingly I found the arrangement of Queen’s prog rock classic ‘Bohemian Rhapsody’ the least successful of the bunch. The arrangement for quartet was by UK violinist and arranger Mark Lansom, who has arranged Iron Maiden and Cold Play for string quartet, as well several other Queen songs. The remarkable harmonic shifts of the original were there, but the operatic effects had lost their edge when transferred to strings. Roger Taylor’s falsetto ‘Galileo’s were markedly less thrilling when played on the violin, where they are well within the instrument’s range. But it was undeniably interesting.

All in all, an unexpectedly off-beat concert, delivered with confidence and a shared delight.

 

The pleasures of intensity – chamber music liberated by distinctive voices, superbly delivered

Posted on by Anne French

Wellington Chamber Music presents:
Amici Ensemble

LISZT – Piano Trio “Carnival de Pest”
MOZART – String Quintet in G Minor K.516
CHAUSSON – Concert for Violin, Piano and String Quartet

St.Andrews-on-The-Terrace

Sunday, 3rd October

Violinist Donald Armstrong is always an interesting programmer. I loved his
innovative programming for the NZ Chamber Orchestra. But this concert had me
fooled: Liszt, Mozart, Chausson. I was looking forward to hearing the Chausson, but
not sure about the rest. How wrong I was!

The audience was restricted to 100, under Alert Level 2 conditions, and everyone
showed up for the last concert of the Wellington Chamber Music season. This has
been a mostly excellent season, with surprises and delights along the way.
Highlights for me were the revelatory Liam Wooding (piano) and the sheer energy
and fun of the first concert, in which Donald Armstrong, Sarah Watkins (piano), and
Simon Brew (saxophone) played Debussy, Piazzolla, and Farr (amongst others) with
verve and fire.

The Amici Ensemble comprises some of Armstrong’s colleagues from the string
sections of the NZSO plus the protean Professor Jian Liu from NZSM, in various
combinations as the music demanded.

The work by Liszt was an arrangement of his Hungarian Rhapsody No 9 in E major,
known as the ‘Carneval de Pest’, because it evokes the gipsy music of the old town
of Pest (now joined with neighbouring Buda on the other side of the Danube, but still
separate when Liszt wrote the Rhapsody). The arrangement of a solo piano piece for
piano trio was done by Liszt himself, and he used the possibilities offered by violin
and cello to create the distinctive gipsy sound that the piano version could only
gesture towards. Donald Armstrong and Andrew Joyce were gloriously idiomatic.
They played like Hungarian gipsies improvising from folk material, with one bright
idea following another, while Jian Liu sometimes used the piano to imitate the sound
of a cembalom, as Liszt required, or provided glittery cadenzas or scalic passages in
Hungarian rhythms with dazzling elaborations.

The cembalom is a Hungarian hammered dulcimer. It has steel strings (a mixture of
steel treble strings and wound bass strings, like a piano) and a damping pedal, and
looks rather like a harpsichord without the lid. The sound is produced by hitting the
strings with wooden sticks. Jian Liu is a master of producing colours and textures,
and on Sunday his playing rose to Liszt’s bravura heights.

The string textures were varied: pizzicato cello with arco violin to introduce a new
dance idea, or a drone from the cello with busy rhythms from the violin and piano.
Chordal punctuation, as though they were waiting for someone to suggest a new
idea – and then off they swung. It was like time travel: to Pest in the mid nineteenth-

century. Jian Liu finally brought the music back to a Romantic climax. The hectic
accelerando race to the end was sheer delight.

I would have been perfectly content to go home at this point, but there were two
more works to come. The Mozart work was a string quintet in G minor, K516, the
fourth of Mozart’s six string quintets (string quartet plus an extra viola). The
programme notes described the habit of late eighteenth-century composers getting
together with each other to play their own compositions, as well as chamber music
performances of Mozart’s string quintets with Haydn and Mozart taking the two viola
parts. In this case, the viola parts were taken by Nicholas Hancox and Andrew
Thomson, with Malavika Gopal playing second violin, Armstrong on first violin, and
Joyce on cello.

The viola has an undeserved reputation these days, as a dull plodder filling out the
harmony in the middle of the chord. Sheer prejudice. Mozart clearly loved the
instrument, and this quintet exploits its dark sonority and melancholy personality to
the full. The second viola part, played by Andrew Thomson, sometimes had a
woodwind quality, like a bassoon emerging from the string texture. As the quintet
unfolded, I wondered why there are not more viola quintets along Mozartian lines.
Armstrong’s first violin playing was virtuosic, with beautiful clarity of tone and
phrasing over the rich dark sound of the lower strings.

The work itself reveals Mozart in his prime, from the tremulous quavers of the
opening movement in sonata form, the agitated second movement with chordal
punctuation and heavy third beats, the slow movement that moved Tchaikovsky to
tears (‘the feeling of resigned and inconsolable sorrow’), to the rollicking final G
major allegro in rondo form, just to show that all is well after all. (Wipe your tears,
Piotr.) The third movement was glorious, starting with a stately hymn-like unfolding of
deep regret, and the second viola speaking to us directly from its wounded heart.
Aside from the rondo, which I thought could perhaps have done with one less repeat,
the whole work is a stunner. I felt as though a door in the palace of Mozart had
suddenly opened to reveal a whole new wing.

Which left us, after a short interval, with Chausson. Poor Chausson. He died in 1899
at the age of 44 when his bicycle hit a brick wall at the bottom of a hill. People have
wondered about suicide, but mechanical failure strikes me as being much more
likely. This work, Concert for Violin, Piano and String Quartet in D Major, Op. 21,
shows what a major composer he would have become, but for the bike. It was
written between 1888 and 1891 (Chausson did not write quickly), when the
composer was at the centre of French cultural life. He had studied under Massenet
and César Franck at the Paris Conservatoire. He was a chum of Vincent d’Indy; in
fact, they went to Bayreuth together for the première of Parsifal. He was friends with
Duparc, Fauré, Debussy, and Albeniz, not to mention the poet Mallarmé and the
Russian novelist Turgenev. From time to time I heard something of Debussy’s sound
world; better ears than mine would likely have added Massenet, Franck, and Fauré
as well.

Chausson wanted to show that chamber music could have the intensity of opera.
This concert proved his point. The solo violin and piano are sometimes treated as
virtuosic soloists and sometimes as members of a sextet. The first movement
(Décidé – Animé) begins with a simple three-note motif in the piano and then a
passionate violin solo over a liquid piano line. The three-note motif is handed around,
followed by many events and disclosures, complete with commentary and private
conversations. There is such a wealth of thematic material, it is like living through a
nineteenth-century novel written in music. Finally, the solo violin picks up the motif
and takes it higher, and then higher still.

The second movement is a Sicilienne in a slow 6/8, with a lovely dance-like lilt. The
third movement, Grave, is solemn, with grieving solo violin and sympathetic piano.
The quartet players are silent. When they finally enter pianissimo with sombre
chords, it is as though they are expressing sympathy. And so it progresses, the
piano first serene, then searching, walking steadily onward; the strings broken-
hearted. It is an extraordinary piece of writing.

In the Finale, the piano bursts into life in a jaunty ¾, with pizzicato accents from the
strings. And then it’s all on. Themes reappear from earlier, but transformed. Rhythms
come back; new ideas are tossed about, as though there are plenty to spare. I heard
Debussy’s distinctive tone colours most strongly in this movement. But mostly I was
amazed by the variety of Chausson’s ideas. The final climax was huge, rich, and
exciting. What will a standard string quartet sound like after this?

Thanks to Wellington Chamber Music, for a great season under tricky
circumstances. Bravo Donald Armstrong and friends, for such superb playing!

“The Long Day Closes” – Mozart, with “Evening Music and Lullabies” from the Bach Choir of Wellington

Posted on by Anne French

Mozart Vesperae Solennes de Confessore, K339
Evening Music and Lullabies by Franck, Brahms, JS Bach, Karg-Elert, Haydn, Lauridsen, Whitacre, Sullivan and David Hamilton

The Bach Choir of Wellington
Music Director:  Shawn Michael Condon
Accompanist:  Douglas Mews
Vocal Soloists: Shaunagh Chambers (soprano), Kate Manahi (mezzo), LJ Crichton (tenor), Samuel McKeever (bass)

St Andrew’s-on-The-Terrace

Saturday, 24 July 2021

This was a concert of two halves, as they say in rugby. The first half consisted of the advertised Mozart Solemn Vespers, and the second half consisted of ‘Evening Music and Lullabies’, on the basis, I suppose, that Vespers is the evening prayer service, one of the Canonical Hours in the Catholic liturgy, although you wouldn’t find any of these items following a Catholic Vespers. But more of this later.

The liturgical Vespers consists of five psalms, preceded by a chant and followed by the Magnificat, with the doxology (‘Gloria Patri, et Filio, et Spiritui Sancto…’) at the end of every psalm. Mozart wrote this Vespers for the Cathedral of Salzburg in 1780. It is scored SATB with a small orchestra including two trumpets and three trombones, basso continuo plus organ, but in this case Douglas Mews substituted for everything.

For the first half of the concert, the choir was stationed in the gallery of St Andrews, around the organ. This must have been a bit of a squeeze, because there are nearly 60 of them, plus four soloists. I couldn’t see how cramped they were, though, because I was sitting at the front of the back half of the seating, facing forwards. The front half of the seating had been rearranged to face inwards, separated by a narrow aisle.

I was in St Andrew’s a few weeks ago for the terrific Inspirare concert, where the choir (all 18 of them) sang from the choir loft, but that evening all the downstairs seating faced backwards.  In both cases, putting the choir up in the gallery worked well. Now that St Andrew’s has thrown a cool three million at the organ, we can probably expect more of it. It strikes me that the choir sound is enhanced by singing upstairs, even in a dryish acoustic.

In any event, I was waiting for the choir’s first note with slight trepidation. The Bach Choir was once an excellent choir, but it fell on hard times. ‘What do they sound like these days under Shawn Condon?’ I wondered. Much, much better is the answer. The first phrase of the ‘Dixit Dominus’ was full and confident; the second higher and louder. The choir’s sound had a fuzzy quality, a bit like peach fuzz, which I found oddly beautiful. With a choir of sixty, it’s easier to sing loudly than quietly, and very hard to sing exactly together, so the fuzz was probably the result of dozens of tiny inexactnesses. Still, the opening filled me with confidence. This was going to be a great concert.

And so it proved. There were four soloists supporting the choir, all young singers at the start of their careers. The soprano gets the most work, being given the well-known Laudate Dominum (aka Psalm 117) with the choir as backing group. In this case, it was Shaunagh Chambers who was doing the full Kiri. She is in her honours year at New Zealand School of Music, where she is taught by Jenny Wollerman and Margaret Medlyn. She has a lovely voice for Mozart, bright and agile, and she sang the few florid passages she was granted with athleticism, plus Wollerman-like precision and beauty. But the other soloists were no slugs, even though they had hardly anything to do. I was especially taken with the delicious dark sound of Samuel McKeever, the bass soloist. He is a graduate of Project Prima Volta and recently performed with the NZSO. Tenor Lila Crichton was also great, and mezzo Kate Manahi, like the tenor and bass, a Project Prima Volta graduate, has a glorious voice. They sounded beautiful together in their quartet passages.

Early on the choir’s diction was rather muddy, but it had improved by the time they got to the doxology of the second psalm, Confiteor tibi. The dynamics were somewhat samey at first with a lot of mf and not much else until the third psalm, Beatus vir. Here the soloists sang as a quartet, and the choir’s first entry was a bit pallid after their brilliant tone. The basses begin No 4 Laudate pueri, but the tenors follow straight after. There are currently 12 basses in the choir but only six tenors, yet the tenors sounded gorgeous: they have a completely unified sound, young and fresh, which creates the effect of much bigger forces. The altos, I thought, often sounded underpowered, getting lost in the texture, yet there are 17 of them.

Mozart’s Magnificat in this Vespers is not subtle: word-painting applied by trowel. By the time they got to ‘quia respexit’ the choir was giving it plenty of welly, and the tenor section briefly overblew. But the soloists came to their rescue. Though the women nearly came to grief in ‘dispersit’, they were brought into cohesion in ‘Abraham et semini eius’ which sounded definitive. The soloists led into the doxology, followed by the choir. The tenors were briefly a bit on the rough side – pushing too hard? And then it was over.

The pieces in the second half of the concert were a mixed bag. It opened with César Franck’s setting of Psalm 150, a gorgeous thing, with the choir accompanied by the organ. The work was composed to inaugurate the new organ at the Institut National des Jeunes Aveugles in Paris, and was scored for organ, choir, and orchestra. The aim is to show off the capabilities of the organ, and Douglas Mews did a splendid job; supported by the choir, with fluting sopranos and the men lyrical and majestic by turns.

Next came my favourite work of the concert, a very Brahmsian rendering of ‘Wie lieblich sint deine Wohningen’, the most performed movement from the German Requiem. They sang in great rolling waves of sound, with the altos sometimes getting lost in the texture, and then found again. The basses sounded splendid. The subito piano was dramatic, and the occasional drop in tuning (a loss of energy at the ends of phrases) went almost unnoticed.

Then came an organ and chorus version of Bach’s ‘Nun danket alle Gott’ from BWV 79 which seemed a bit antique after the lush chords of the Brahms, with the choir singing the harmonized hymn tune and the organ providing all the elaborations. I wondered why it was here, out of time and not very ‘evening’ in theme; but before I had formed the thought it was attaca Karg-Elert’s rowdy setting of the same tune as a triumphal march, in case the Bach had put anyone to sleep. It was a magisterial showing off of everything the refurbished organ can do. Douglas Mews must have eleven arms.

The choir moved downstairs, and stood at the front of the church to sing David Hamilton’s ‘God be in my head’, a movement from a mass written for the choirs of Westlake Boys and Girls schools. I was surprised to see that the Bach Choir is older than it sounds. (In my day, the Bach Choir comprised under-35s.) The Hamilton was a capella and more challenging, but they sang it sweetly and simply, heads mostly buried in their scores. Mews came down to join them at the piano for Haydn’s ‘Evening Song’, a rare work for accompanied choir that was not commissioned. But it was one choral part song too many for me. This would have been the moment to use the four soloists, who had sung so little.

Next came ‘Sure on this Shining Night’, a poem setting by the American composer and mystic Morten Lauridsen. Shawn Condon was on home turf now; the dynamic indications were clear, the tuning mostly excellent. It was followed by another popular American, Eric Whitacre (b.1970). ‘The Seal Lullaby’ was originally composed for wind ensemble. Whitacre is beloved of choirs, and it’s likely that no one ever lost money by programming him, although I find him light to the point of weightlessness. But the choir sang with conviction.

And still two more works to go! Arthur Sullivan’s ‘The Long Day Closes’ came next. This too would have been great to give the soloists (although there was already too much music for one concert). Or not sing it at all. Still, there were some great low notes from the second basses.

Finally, the last work in the programme, David Hamilton’s arrangement of ‘Hine, e Hine’, a lovely thing that benefited from the assistance of the soloists singing with the choir. Alas, it was over too fast. All in all, a delightful concert that would have been better if it had been shorter.

 

 

 

 

 

 

Fever’s Candlelight Jazz Standards with Retro Pack at Wellington’s Public Trust Hall

Posted on by Anne French

Retro Pack at the Public Trust Hall
Andrew London (guitar); Kirsten London (bass and vocalist); James Tait-Jamieson (saxophone); Lance Philip (drums); and April Phillips (vocalist). 

Public Trust Hall, Stout St, Wellington

Wednesday 21 July, 2021

Jazz is a polarizing genre. For aficionados, it’s all about innovation, pushing the boundaries, expanding the genre whilst respecting its traditions. Technical skill is prized, but always in the service of new ideas. For your average classical concert-goer, it’s pretty much a mystery, and sometimes incomprehensible.

But everyone loves a jazz standard. Jazz musicians know them inside out and sometimes reference them on their way to something else. Every Wellington Jazz Festival includes two or three gigs that incorporate standards in some way – this year Whirimako Black performed ‘Cry Me a River’ and’ Summertime’ alongside traditional Tūhoe waiata, while Ruth Armishaw channelled Ella Fitzgerald at Cable Top.

This concert of jazz standards by candlelight, presented by Fever Original, was commercially well judged. There were two concerts on the same night. I went to the 6.30 pm concert, and the Public Trust Hall was almost full. The audience was pretty mixed in age – from RNZ Concert to the Rogue and Vagabond crowd. Someone had done a great marketing job.

The quintet, billed as the Retro Pack (an indication to expect some Frank Sinatra and Dean Martin), wore dinner suits with bow ties or sparkly dresses. The volume was on the low side for a jazz concert, so it was perfectly comfortable for a non-jazz audience. And the stage area was marked by a bank of electric candles, flickering pleasantly.

Of the members of the Retro Pack, only James Tait-Jamieson (saxophone) and Lance Philip (drums) were familiar to me. Lance Philip has taught percussion in the jazz programme at Massey since the early 1990s and now at NZ School of Music. James Tait-Jamieson is a Massey graduate in saxophone who has also spent time on cruise ships. Lance plays all around town and is always excellent; Tait-Jamieson is a good sax player. The ones I didn’t know were Andrew London, guitar (ex-Hot Club Sandwich); Kirsten London, bass; and April Phillips, vocalist. The Retro Pack goes back to 2002, and the line-up has been remarkably constant over the years, though April Phillips seems to be a recent addition. She is billed elsewhere as a ‘singer, actress, playwright and movie-maker’. She researched, scripted, and delivered all the song intros, and did much of the singing.

The repertoire was, as promised, jazz standards, from the 1920s to the 1960s. The programme began with ‘Summertime’ from Gershwin’s groundbreaking opera Porgy and Bess, but there was no hint of the stage production in this version, just a tasteful cover version that showed off April Phillips’s low notes, with lovely vibrato. She had a nice duet with the saxophone, subtle, tasteful, understated, and all too short. And that was how the show went. The bass player took the vocals for Jerome Kern’s ‘Can’t help lovin’ that man’, with harmonies from the guitarist and lead vocalist, and another short sax solo.  I felt that the key was too low for Kirsten London, who has a pleasant, untrained voice; and I felt the same about the other songs she sang, Peggy Lee’s ‘It’s a Good Day’ (livened up with close harmonies from the others) and ‘Why don’t you do Right’ (with the sax solo providing some heat).

I would have preferred to hear more from April Phillips, who has a wider vocal range, and offered more colour and more power, with a gorgeous lower register. But that is a minor quibble.

April Phillips was a dab hand at suggesting whose version of a well-known song she was channeling. She did Ella Fitzgerald’s version of ‘Cry me a River’, and Ella’s version too of ‘Night and Day’ and ‘Witchcraft’, but the Billie Holliday version of ‘The Man I love’, complete with Holliday’s choppy phrasing and asthmatic in-breaths. It was subtle, and would have provided reassurance to someone less familiar with the repertoire than me. Andrew London did a couple of great Louis Armstrong covers, ‘On the Sunny Side of the Street’ and in ‘Mack the Knife;’ where the vocals were shared around, and he provided the Satchmo growl. Even Tait-Jamieson got in on the act, in his pleasant light baritone, doing a passable Frank Sinatra. The audience loved ‘Mack the Knife’, but not being a jazz audience, they left their applause until the end of the song.

It was all a bit too tasteful for me, I’m afraid. There is a terrific singer inside April Phillips who barely got allowed out – we had just a glimpse of her in Cole Porter’s ‘Night and Day’. There were some classy tempo changes. The sax solos were all well-judged and, I thought, too short. This is a polished act. But it wasn’t until the encore, a Cuban number made into a hit by Dean Martin, that the band showed what they are capable of. A faster tempo at last. Lance Philip was even allowed a (very short) solo, and the higher energy swept the audience away into raptures. The welcome rise in temperature made me sorry that there wasn’t a Cuban set to follow.

 

 

 

Jade Quartet presents a somewhat “patchworked” concert at St.Andrew’s

Posted on by Anne French

Wellington Chamber Music series – Jade Quartet

JOSEF HAYDN –  ‘Seven Last Words of Our Saviour on the Cross’ Op. 51 (extracts)
DAVID HAMILTON – String Quartet No 3, Quartetto Piccolo (2021)
PETER ADAMS –  ‘Proclamations, Canons and Dances’ (2018)
FRANZ SCHUBERT – String Quartet No 14 in D min ‘Death and the Maiden’, D810

St Andrews on the Terrace,

Sunday 18th July, 2021

This was an unlucky concert from the first. It was originally scheduled for 27 June,
but had to be rescheduled when Wellington went into Level 2 lockdown a few days
prior. At some point the second violin (William Hanfling) and cello (Edith Salzmann)
became unavailable: the first due to illness and the second being caught in a
COVID-19 lockdown in Melbourne. When the Jade Quartet finally arrived to present
this concert, Hanfling had been replaced by Charmian Keay, a first violinist in
Orchestra Wellington (and daughter of Miranda Adams, the quartet’s founder, who
has been Assistant Concertmaster of the APO since 1994). The new cellist,
replacing Salzmann, was James Yoo, who teaches cello and chamber music at the
University of Auckland and is a graduate of the Sydney Conservatorium and the
Musikhochschule of Cologne.

This made for a patchy concert, the weakest in the current Wellington Chamber
Music Season so far, which began with a bang with Trio Elan in April.

Haydn’s Op. 51 was originally an orchestral work, commissioned in 1786 by the
Canon of the Cathedral of Cadiz as a work for Good Friday. The Cathedral was in
the habit of commissioning new music for the solemn mass on Good Friday. The
church would be draped in black, and the windows shrouded. The Bishop would
speak each of the last words in turn, provide an exegesis, and prostrate himself
before the altar, while the orchestra played the relevant movement, each movement
about ten minutes long. The effect must have been arresting.

Haydn wrote nine sections, starting with an introduction and finishing with an
earthquake in C minor (‘Il terremoto’) with the marking Presto e con tutta la forza.
Although Haydn complained about the commission (‘it was no easy task to compose
seven adagios lasting ten minutes each, and to succeed one another without
fatiguing the listeners’), the work was immediately popular. Haydn produced a
reduced version for string quartet the following year, and also a piano version. In
1794, on his way to London, he heard a choral version in Passau, with the choir
singing a German text rather than the Gospel texts in Latin that the Bishop of Cadiz
had spoken. Haydn rather liked the effect, and wrote his own version with the
German text improved by van Swieten, which premiered in Vienna for Easter 1796.
He and van Swieten went on to work together on The Creation and The Seasons.

The Jade Quartet played only extracts from the quartet version of the work: the
Introduction; Sonata V (‘Sitio’ – I thirst); Sonata VI (‘Consummatum est’ – It is
finished), and Sonata VI (‘In manus tuas, Domine, commendo spiritum meum’ – In
thy hands, O Lord, I commend my spirit’), plus the earthquake mentioned in Matthew
27: 51. The result was unsatisfactory, to say the least. This is a solemn work, written
for the most solemn ceremony of the most solemn day in the Church year.
Wrenched out of the liturgical context, it becomes an interesting example of Haydn’s
tonal exploration, but little more.

The Jade Quartet may have done their best, but their performance lacked profundity
or, indeed, conviction of any kind. There are a lot of notes, and although they were
all there, the tragedy and pathos were completely lacking. At times the music
sounded insouciant, even jaunty. The only movement that the players seemed to
believe in was the last one, the earthquake, in which the earth trembled and we were
all afraid.

Next in the programme was David Hamilton’s brand-new String Quartet No 3,
nicknamed ‘piccolo’ because there are only three movements, labelled ‘A little night
music’, ‘Helter Skelter’, and ‘Song without Words’. The Quartet commissioned this work, and they enjoyed playing it. The first movement starts with sustained slow
glissandi creating starry effects, before each voice enters in turn. There is a beautiful
cantabile passage from the cello with glittery sounds from the higher instruments,
before the cello’s tune is passed to the viola, sad and regretful.

The middle movement is fast and jazzy, with lovely textures (pizzicato cello under
the upper voices, and then a swapping around). And the ‘Song without Words’
began with the song in the viola, followed by the second violin, again with pizzicato
cello, then passed to the first violin, and eventually back to the cello, with silvery
harmonies again from the higher voices.

By this time, I was becoming aware that James Yoo is a superb cellist, with a
glorious sound, by turns commanding and incisive, then investing Hamilton’s rather
filmic writing with moments of beauty.

The last work in the first half of the concert was by Peter Adams, though the piece
was originally billed by Wellington Chamber Music as being by the exciting and
prolific young Chris Adams. Peter Adams was not known to me, but he is an
Associate Professor in Music at Otago, and Miranda Adams’ brother. He graduated
from Kings College London with an MMus in music theory, but he is perhaps better
known as a conductor than a composer. working with brass bands, Dunedin
Symphony Orchestra, and St Kilda Brass.

His second string quartet was written for Jade Quartet in 2018, and its title, ‘Proclamations, Canons, and Dances’ gives a sense of the work. The opening proclamation was big and imposing, as though announcing a portent. Already the emotional content was weightier than for the
entire Haydn item. This was followed by a dance led by the first violin, anxious and
restless. And so it continued.

The individual sections are short, and there’s a lot of anxious running around within
sub-sections, so it’s hard to know where the work is going as one idea is followed by
another and another. Adams describes his writing as incorporating ‘poly-stylism’ and
‘a mixed-modal language’. My notes say things like ‘another melancholy song’,
‘ghost music’, ‘a frenzied dance’, indicating that I was barely keeping up. A second
listening would clarify matters, I think.

After the interval came Schubert’s famous quartet No 14, known as ‘Death and the
Maiden’, because of the riff on his lied of the same name. It began well, and there
was some incisive playing in the first movement, but there were signs throughout of
being under rehearsed – a tempo change that almost fell apart, and a lot of choppy
playing, as though no one quite knew what to expect of the others. Often the tempi
felt rushed, which meant that the work lost some of its emotional intensity. The second
movement was under better control, except that the tragedy was often missing –
except from the cello, which held the emotional centre. The Scherzo was exciting,
and the Presto was positively hectic. The chorale section was under-powered and a
bit garbled, and there was another meno mosso that wasn’t quite together, before
the final prestissimo, which was.

And there was an encore – a syrupy arrangement of Hoagy Carmichael’s ‘Stardust’
by Russ Garcia, who wrote an orchestral version at the age of 11. You may be
familiar with the John Coltrane version. If so, you’d have wondered where the tune
went.

A girdle about the earth from Antarctica to Leningrad – the NZSO National Youth Orchestra concert

Posted on by Anne French

The New Zealand Symphony Orchestra presents:

NYO Leningrad

IHIARA McINDOE ( NYO Composer-in-Residence) – Ephemeral Bounds
DMITRI SHOSTAKOVICH – Symphony No. 7 in C Major “Leningrad”

NZSO National Youth Orchestra
Gemma New (conductor)

Michael Fowler Centre, Wellington

Sunday 11th July, 2021

It was going to be something of a risk, programming a work by the NYO Composer in Residence against one of the greatest symphonies of the twentieth century. A risk – or an act of faith.

Ihiara McIndoe’s Ephemeral Bounds was written in response to a visit to Antarctica last year, courtesy of the Antarctic Heritage Trust. It used less than half the players required for the Shostakovich, and scattered a few of them around the stalls which added little moments of surprise. The work opened with bold gestures from conductor Gemma New turning on the lighting that illuminated them and other players positioned eccentrically on the staging (such as the double basses behind and above the brass).  Some supplementary NZSO players were also on stage.

The work itself sustained my interest for the full ten minutes. Shimmering ice was suggested by very small glissandi from the upper strings, with the flutes and piccolo creating a chilly distance.  Crystalline harp plus percussion. Muted trumpets. The distant sound of a small engine receding. Waves breaking.  And then the much larger engine of the ice; deep, grinding. Sostenuto tuba. The sound is briefly enveloping. Wind. The violas tell us something sad, something ominous. A crescendo of storm (trombones, bassoons, lower strings). Another growl of motors.  A melancholy tune from the concertmaster – but quickly falls silent. A siren-line sound from a solo cello. Woodwind chords.

The piece closed, as it began, with the tiny string glissandos, then silence.

As usual with a new work, it is hard to see past the many clever effects. I was busy throughout trying to determine which instrument created which effect before it ceased. Will this become a much-loved addition to the concert repertoire? Is it challenging to rehearse and stage? My guess is that it is fun to play, and Gemma New, who enjoys working with new and experimental works, clearly enjoyed conducting it.

At this point the NZSO took advantage of the full house to hand out some awards. This year, CEO Peter Biggs told us, every player in the NYO has been sponsored. In addition, all the string players had to re-audition for their seat at the start of the rehearsal period. The John Chisholm Concertmaster Prize was awarded to Peter Gjelsten (Violin I); the Alex Lindsay Memorial Award to Eli Holmes (Principal Bassoon); and the Norbert Hauser Viola Award to Zephyr Wills. The Bill Clayton Memorial Award winner was selected by Gemma New, who gave the award to Isabella Thomas (Principal Trumpet). The audience stamped its approval.

The pre-concert talk was a series of presentations by players on aspects of the Shostakovich. From the snatches I caught, the players were well aware of the circumstances of its composition and its historical significance. The orchestration is huge: 8 horns, 6 trumpets, 6 trombones, tuba, bass clarinet, contrabassoon, two harps, and at least 16 first violins, 14 seconds, 12 violas, 10 cellos, and 8 double basses. Plus a big percussion section (5 timpani, 2-3 snares, and so on). To make up the numbers, the NYO was augmented by NZSO players as required, which meant we benefited from Robert Orr on oboe, Michael Austin on cor anglais, David Angus on contrabassoon, and Larry Reece on timpani. But the credit remains with the NYO players.

This is a monumental work, and the NYO approached it with the seriousness of purpose and steadfast application it demands. The author of the programme notes seemed to be of the view that Shostakovich wrote the symphony in response to the 1941 attack on Leningrad and its subsequent siege by the Germans. But the ‘invasion theme’ of the first movement builds to such a mirthless climax, that the hidden programme, the destruction of Leningrad and its people by Stalin in the 1930s, was clear to all who had ears. There is wreckage by the end of the movement. There are pitiable wails. There is almost no sign of life. The bassoon threnody is beautiful, but that relentless snare drum rhythm ticks away in a menacing undertone, and the trumpets are still ironic.

For those without ears, the NZSO provided ‘performance visuals’ by ‘leading creatives Nocturnal’. My heart sank when I saw this on the programme, but they were moody and unobtrusive (or as unobtrusive as a projection on a huge screen can be), and not too literal. I expect there were people in the audience who appreciated them, but to my mind Shostakovich’s music needs no visual interpretation, though some iceberg pictures may have usefully added to the atmospherics of the McIndoe work.

The second and third movements are freighted in sorrow. The brass choir that opened the third movement announced loss and doom. There were superb performances by Sam Zhu (tuba), Benedict van Leuven (clarinet), Harrison Chau (harp) and terrifying energy from the lower brass and strings. The percussion was splendid and inexorable. But it’s unfair to single anyone out: everyone played their hearts out, and if some of the best playing came from NZSO players, it hardly matters.

The C major climax in the fourth movement was preceded by elegiac themes in the strings, tenderness turning to tragedy, resilience haunted by loss. The climax itself presented a kind of triumph: grand, certainly, but for how long? Not long, the snare drum says. Not long at all.

I found this performance very moving. At some point in the fourth movement I had tears in my eyes, though I was not aware of them until it was over. All I wanted to do afterwards was to retreat to some quiet corner, alone and silent. The mirthless trumpets, the cynical snare drum came with me.

 

 

 

Dazzling star music for “Matariki’ from Gareth Farr

Posted on by Anne French

GARETH FARR – Ngā Hihi o Matariki (world premiere)

Lyrics by Mere Boynton and Ariana Tikao

Mere Boynton reo oro (vocalist) and Ariana Tikao raonga puoro and reo oro

NZSO conducted by Gemma New

 Friday 9 July, 6.30 pm, Michael Fowler Centre

A new work by Gareth Farr is always an event, so it was no surprise to see the Michael Fowler Centre completely full. The stage was completely full as well, with an enormous percussion section hard up against the back wall.

The house lights went down, and the spotlights fell on three cloaked figures standing at the foot of the choir stalls, a man flanked by two women. The woman on the right, Pekaira Jude Rei, began her karanga. It began straightforwardly enough – a message of welcome from the tangata whenua, Te Atiawa ki Te Whanganui a Tara, with some explanation of the significance of Matariki. Then the woman on the left (Rangiamohia Bolstad) continued – a contralto following a soprano – with much more complex language, so I lost the thread pretty fast. She was using an ancient text, or texts, as the programme described her as ‘connector to wisdom from baskets of old’, referring to the kete of knowledge.  Her karanga was long, but no one stirred. Finally, the man in the centre, Te Ahu Jason Hamilton, billed as the Kai Ruruku, Connector to the Heavens, began a prayer. Finally, they sang together, an ancient chant – full of star lore, I’m guessing.

They finished. The effect was arresting, connecting the very modern musical event with the teachings and texts of the ancestors handed down to the present.

The stage lights came up, the orchestra tuned bathetically, conductor Gemma New arrived on the podium, and with a Farr-like chord from the metallophones, the work began.

Ngā Hihi o Matariki (the rays of Matariki, the Pleiades) is a symphonic-length work in seven movements. The programme notes describe it as a ’concerto for orchestra’. It proceeds without a break, but each section begins with percussion, and the two women, vocalist Mere Boynton and taonga puoro player Ariana Tikao, move on stage and off as required.

Matariki, as every school child now knows, marks the start of the Māori new year when it is first seen above the northern horizon in the early morning sky. The stars are also part of the Waka o Takitimu, of which three stars in Orion form the stern of the canoe. The souls of the people who have died in the past year appear now as feathers tied to its stern – a nice example of traditional Māori star lore connecting with Western astronomy, as the nebula in Orion is a place where new stars are being born.

Each of the Matariki stars has a name and significance, and the seven movements of the work are named for nine stars (two sets of pairs). The star lore provides the programme for the piece (although this may have eluded the audience, as there was not enough light in the auditorium to read the printed programme). The first movement, Waitī/Waitā, calls the firmament into being. First the metallophones, then the flutes and piccolo, with the voice of Mere Boynton evoking water, springing from the earth and flowing to the sea. This is water as an act of creation. The lower strings groan into life, as though being born. The muted trumpets stammer a rhythm, answered by a haunting solo from the cor.

The second movement begins with a percussion chord like a clock striking. This is Waipunarangi (or Waipuna ā Rangi), the star associated with rain. The strings do most of the work in this movement, with a wonderful long viola solo, rushing and rushing, finally taken up by the bass trombone and tuba, and the tuned percussion. This is painting with music: it’s all about colour and texture.

The women came back for the third movement, Tupu-ā-nuku (food that grows in the soil) and Tupu-ā-rangi (food that grows in trees). These are the two small stars on the right hand side of the cluster. Mere Boynton’s splendid voice was accompanied by Ariana Tikao on pūtõrino, building to a climax. The fourth movement, Uru-ā-rangi, was all about wind, with the lower brass and lower strings evoking the storm.

And so it went on. For me, the most impressive movement was the fifth, Põhutukawa, in which Boynton’s glorious voice communicated the grief of loss, evoking the memories of treasured people who have died. It is traditional to mourn the recently dead at Matariki, when their souls leave the Earth to become new stars.

By the time we reached the seventh section, Hiwa-i-te-rangi, all about hopes and dreams, Farr was prepared to throw everything at it. The rototoms were drumming complex slit-drum rhythms, plus bass drum and timpani, Tikao arrived on stage with a pūtātara, Mere Boynton opened her throat, and the back of the orchestra went wild. It was a huge and thrilling climax. And then just the voice, and the tinkling sounds of the starlight percussion.

The Wellington audience immediately let out a great shout – the most fervent applause I can remember for a new work. But not just any new work: 66 minutes of commissioned work for orchestra (supported by a long list of donors) by one of our favourite composers for the new national festival of Matariki.

Keeping it all together was the accomplished Gemma New, our rising international conducting star. She is the recipient of the 2021 Sir George Solti Conducting Award, and has for several years been Music Director of the Hamilton Philharmonic Orchestra. Her list of engagements for the 2021/22 season is extraordinary. And she is not yet 35.

Mere Boynton is the perfect collaborator for Gareth Farr. She and Ariana Tikao provided texts, taonga puoro accents, and provided much of the emotional depth. Boynton’s operatic training ensures her voice has sufficient weight and brilliance to hold its own against the full orchestra. At least some of her material was improvised, and she has terrific stage presence. In short, she was electrifying.

Ngā Hihi o Matariki is more complex than some of Farr’s earlier commissions. It’s not merely an hour of dazzling orchestral effects, but a work that demands a deeper response from its audience. A very fitting work for this reflective and hopeful time of year. I very much hope we can hear this work again – perhaps next Matariki – as long as Mere Boynton is available.

 

 

 

Spacious, enraptured, beautiful – Wellington Chamber Orchestra with Baroque Voices and Nota Bene

Posted on by Anne French

MARIA GRENFELL – River, Mountain, Sky
ELGAR – Variations on an original theme – “Enigma”
VAUGHAN WILLIAMS – Five Mystical Songs / Serenade to Music

Wellington Chamber Orchestra with Baroque Voices and Nota Bene
Will King (baritone)
Ewan Clark (conductor)

St.Andrew’s-on-The-Terrace, Wellington

Sunday 4th July 2021

For as long as I can remember, Wellington Chamber Orchestra has been a player-run orchestra which engages conductors by the concert.  This, I suppose, has some advantages. It gives the orchestra maximum freedom and minimum financial commitments. But it also tries to provide solo opportunities for young musicians, and given the inevitable coming and going of people from one concert to the next, the result must be a certain unevenness.

After today’s concert, I have a suggestion to make to WCO’s player managers. Hire Ewan Clark, and extract a two-year programme from him – and you will be going places, I guarantee it. Continuity, artistic vision, and stability have a lot to recommend them.

Ewan Clark is a composer and conductor as well as a trombonist. He has been conducting since he was a music student at Victoria University, nearly 20 years ago. Since then he has studied composition for screen at the Royal College of Music (MMus) and he also has a PhD from Victoria University. For years he worked mostly as a film composer, and his most recent score, for The Turn of the Screw (2020), has already won two awards at international film festivals.

This concert demonstrated what WCO is capable of under a talented conductor, with the support of excellent friends (in this case singers from Baroque Voices and Nota Bene, together with the phenomenal young baritone Will King).

The programme, as first glance, was not exceptionally interesting. Elgar’s Enigma Variations, Vaughan Williams’ Five Mystical Songs and Serenade to Music – all agreeable old war-horses – plus a short work by Australian/New Zealand composer Maria Grenfell to open the concert. Apart from the Grenfell work, it wasn’t interesting at all, in the sense of ‘I wonder what will happen next’, but it was very pleasurable. And there were surprises.

Maria Grenfell now lives in Tasmania, but she studied composition in Christchurch before going to Eastman in the US for her Masters, and UCLA for her doctorate. She tells us that she works from ‘poetic, literary, and visual sources’ as well as ‘non-Western music and literature’.  I discerned none of this in River, Mountain, Sky, which was commissioned for Tasmania’s bicentenary in 2004, but it was a delightful work nonetheless, with a clear programme and much to interest the ear. The first section features birdsong sounds from flutes and other woodwind, with first the timpani, then the horns suggesting spaciousness.  Sustained chords painted in a landscape of mountains and plains; recalling first Sibelius in the writing for the horns, then a dissolve into Vaughan Williams. The mountains section built in slow waves of sound, accented by unmuted trumpets and the harp (Anne-Gaelle Ausseil). I was sitting upstairs, and the harp was often overwhelmed by the timpani – perhaps an effect of the gallery? There was some lovely clarinet playing on the way to the sunset crescendo, and then the night sounds – oboe, the sussurations of the higher strings, muted trumpets, another lovely harp passage, and then an undertone of horns with flute, trumpet, and harp to suggest the starry night. A lovely work, I thought.

Next, Elgar’s Enigma Variations. It demands a large orchestra, and bristles with solos, made even harder because everyone in the audience can sing or whistle the tunes. And the playing was patchy.  The upper strings were considerably weaker than the lower strings, with uneasy tuning and a general air of tentativeness that marred the opening of Variation I. But the back of the orchestra rose to the many challenges that Elgar gave them, and the winds played beautifully, with some superb oboe solos and secure flutes and clarinets. I have to say, though, that the horns were terrific. They and the trombones get a lot of work; whilst the trombones were always enthusiastic but not necessarily delicate, the horns were tender as well as bold. By the time they got to the crescendo in Variation IV, the orchestra was making a big, exciting sound. The lower brass were great in Variation VII, and there was terrific wind playing in VIII after the lovely oboe solo, with sensitive piccolo and flute. Nimrod crept out of VIII as intended but although the lower strings played as one, the upper strings sounded uncomfortable and out of tune. Never mind! Here come the horns, winds, and finally the trumpets. Variation X was a curate’s egg, but one with a nice bassoon solo. Variation XI showed off the brass to good effect. By the time we reached Variation XIV the orchestra sensed the end was in sight. They built well to a splendid Elgarian crescendo, with a few rough edges.

The choir came on stage for the second half of the concert, which began with Vaughan Williams’ Five Mystical Songs. The soloist was Will King, who was an Emerging Artist with NZ Opera in 2019, and is supported by the Malvina Major Foundation. He has already sung Orfeo (Monteverdi) and Count Almaviva (Marriage of Figaro), along with Sam in Gareth Farr’s opera The Bone Feeder for NZ Opera. He has performed Schubert’s Winterreise, Schumann’s Dichterliebe, and Brahms’s Vier Ernste Gesänge. Later this year, he will understudy Orpheus in the NZ Opera production of Orfeo et Euridice.  When he won the Wellington Aria in 2018, Richard Greagor described him as ‘a baritone clearly with the potential to make a fine career’.

Not surprisingly, Will King made a splendid job of the Five Mystical Songs. He has a big, beautiful voice and excellent musicianship. From his first entry, he demonstrated the vigorous, rapturous sound that these songs demand. His diction is superb – I could have taken dictation from him. At one point during ‘Love bade me welcome’ I wondered whether he understood the poetry – George Herbert was a religious mystic, after all. But it was impossible to tell, because he thoroughly understood the music, and gave a superb performance. ‘The Call’ featured a gorgeous oboe solo, and Will King was lyrical perfection.

The choir acts mostly as backing group for the first four songs, until let off the leash in number five, ‘Let all the world in every corner sing’. I first sang this in the Auckland University Choir under Peter Godfrey, back in the late Cretaceous, and recall it as a bit of a shout. Not in the hands of Ewan Clark and Baroque Voices/Nota Bene. It was big and glad and joyful, with WCO’s wind and brass romping all over it.

The final work in the programme was Vaughan Williams’ Serenade to Music. This was written at about the time RVW was giving Douglas Lilburn a bad mark for the Drysdale Overture in his composition class at the Royal College of Music. The choir sang well, with various small solos being charmingly taken by one or two voices. Once or twice in quiet passages the orchestra overwhelmed the choir, but mostly the balance was good, with the choir’s sound delightfully imitating the instruments.  (I’m not sure whether to thank Ewan Clark or RVW, but it was lovely nonetheless.) The audience was enraptured, and applauded long enough to be rewarded with an encore, a reprise of ‘Let all the world’, which never sacrificed style for volume.

Supertonic conjures up arcadian realms for an evocatively-sung “Rest” presentation

Posted on by Anne French

Supertonic Choir presents:
REST: – Faure’s Requiem and Songs of Remembrance

Supertonic Choir
Music Director Isaac Stone
Soprano Nicola Holt, Baritone William McElwee,
Organist Michael Fletcher

Music by Herbert Howells, Elizabeth Alexander, John Taverner, Kurt Bestor, U2 (arr. Bob Chilcott), Gabriel Faure

Cathedral of St Paul, Molesworth St. Wellington

Saturday 19 June 2021

It was a drear Wellington night. A cold drizzle was falling. I expected to see a tiny dedicated audience huddling in the cavernous cathedral. I was wrong.

The church was a good two-thirds full, and the enthusiastic audience seemed pretty familiar with Supertonic. The choir was founded in 2014, and by my estimation is one of the youngest choirs in Wellington, as well as one of the larger choirs, with 64 singers. The average age seems to be under 30. The sound they make is zingy with youth.

The Music Director, Isaac Stone, is a well trained singer and choir director with a deep background in barbershop and consequently he has an exquisite sense of pitch. For a large choir, Supertonic is gloriously in tune; precise and clean. Isaac Stone is a confident but not ostentatious conductor. He gets exactly what he wants, because all eyes are on him.

The programme was built around the Fauré Requiem and comprised six smaller a capella elegiac works, with the Fauré placed second to last. (More of this later.)

The concert opened with a beautiful and well known work by the English composer Herbert Howells, ‘Take him, earth, for cherishing’. Written in memory of John F. Kennedy, it has the fresh lyrical beauty typical of Howells. The text is from a poem by a fourth-century poet, translated by Helen Waddell, beginning:

Take him, earth, for cherishing,
to thy tender breast receive him.
Body of a man I bring thee,
noble even in its ruin.

All of that is sung by the three lower parts, piano, in a beautiful legato, until the soprano entry on the second page. The soprano sound had a passionate quality over more complex rhythms in the lower parts. The divisi sopranos produced a beautiful bell-like sound in the con anima section. The semi-chorus a little later sounded a tad untidy, as though the dotted rhythms were under-rehearsed; but the next divisi section was confident and together.

It is the sound of Supertonic that is so delightful: the freshness of youth plus the smoothness that is achieved with 60 singers. This was evident in the next work, ‘Y Comienzo a Bailar’, by Elizabeth Alexander, with piano accompaniment. The Spanish text is a soliloquoy of a woman preparing for La Dia de los Muertos, and includes a ravishing soprano solo, sung by Karishma Thanawala, one of the sopranos, with the choir sotto voce underneath.

Tavener’s ‘Song for Athene’ is also well known. Typical Tavener, using minimal material, and requiring utterly precise tuning over a bass drone. The work was most famously performed for the funeral of Princess Diana, sung as her coffin was carried out. Supertonic sang it splendidly; the dissonances were not labored, and the sustained singing built steadily to the crescendo, an outpouring of grief.

This was followed by a work called ‘Prayer of the Children’ by Kurt Bestor, an American composer of new age music and film scores. This is his best-known work, written in response to ethnic cleansing in the former Yugoslavia, and intended to be used to commemorate tragedies involving children. The words are banal, and the music not to my taste, but the choir sang it as though such thoughts had not occurred to them.

Yet the next work, MLK by the Irish band U2, arranged by Bob Chilcott (a former King’s College chorister), was the exact opposite: simple, direct, moving. It opens with a tenor solo (sung by Joel Miller, one of the tenors) with the choir backing him, and takes on a gospel feel, with a terrific low bass part. Coming after a lot of truly excellent singing, it was the stand-out piece of the first half of the concert.

The stage was reset during a short interval, with five string players and two soloists, soprano Nicola Holt and baritone William McElwee. The Cathedral organ is currently out of commission, so Michael Fletcher played the digital organ, which proved to be a mixed blessing (though the sight lines were good). The organ sound was too dominant in the first two movements, and overpowered the first baritone solo (‘Hostias’). But the choir! Such beautiful singing, with purity of tone and precise intonation.

The Sanctus was almost ruined before it began with an unscheduled ugly blurt of sound from the organ, but the choir’s entry was perfect. The entry of the men at the Hosanna was exciting, but the organ couldn’t match the choir’s volume at the first diminuendo and spoiled the effect.

Soprano Nicola Holt had to do only one thing, to sing the Pie Jesu, and she did it beautifully. She gave it the glorious full Aled Jones treatment and filled the cathedral.

The Agnus Dei had some splendidly sensitive accompaniment from the strings, but too much organ volume both there and in the Lux Aeterna. William McElwee’s Libera Me was assured and sat well in his voice. The organ’s Last Trump was almost too much, but the choir’s crescendo was magnificent, full and urgent. The women’s tone in the In Paradisum was light and ethereal, exactly as required –but once again the organ was just too dominant.

All in all, a gorgeous performance of a very well known and much loved work from choir and soloists with lovely string accompaniment.

And then… one last work. In this case it was an arrangement of a traditional South African song, and it is a pleasing work, well sung. But not well placed after the Fauré, which is after all a sublime piece of choral writing, and next to the plainchant Missa Pro Defunctis, the most perfect setting of the Requiem Mass text.

Stylish, varied and compelling – Inspirare’s tribute to Great Britain’s music

Posted on by Anne French

Great Britain: Five centuries of British music

Inspirare

Mark Stamper, Artistic Director

Heather Easting, organ and piano

St Andrew’s on the Terrace,

Saturday, 29 May 2021

This concert was billed as ‘five centuries of British music’, but in truth it was two and a half centuries plus Tallis, or even one and a half centuries plus Handel and Tallis. Nonetheless, it was a stylish concert.

Inspirare is a small choir (18 voices) of mostly soloists. Founded by Mark Stamper five years ago, it gave its first concert on 4 September 2016. Known for its polish, the choir did not disappoint.

The concert began with a work for organ, Herbert Howells’ Rhapsody No 1 in D flat major, played with consummate style by Heather Easting. This showed off the recently refurbished organ nicely, and set the style for the programme to follow.

As was appropriate for a concert featuring so much organ music, the choir sang from the gallery, and the audience was arranged on the usual seating in the body of the church, but facing backwards. This arrangement worked beautifully, ensuring that there were no awkward timing delays between choir and organ. The only downside was that some of the singers were not visible, and the usual rapport between choir and audience was missing. But the sonic advantages made up for that. Placing the choir high in the church, close to the ceiling, meant that the sound was focused and clean, exactly as the music required, rather than becoming muddied between the front of the church and the back wall.

Britten’s Jubilate Deo – what an ohrwurm! – demonstrated a very nice balance between organ and choir, and showed off the fresh, young sound of the choir. They sounded like much Viva Voce in the early years: half the size, but with the same freshness and flexibility, precise tuning, and clear diction.

Thomas Tallis’s slender four-part motet, If Ye Love Me, showed a lovely sustained legato, clean and crisp at the ends of phrases. If it had any fault it was a lack of emotion. The overall effect was beautiful but not fervent, straightforwardly sung as though it was simply a piece of music rather than a musical prayer.

The Tallis was followed by Handel’s monumental Let thy Hand be Strengthened. Like a Ferrari on the open road, the choir responded to Mark Stamper with a full-throated roar, sounding like three times the number of voices. They gave a full Handelian sound, yet were precise in the runs; never florid, always stylish, with superb organ support (standing in for the whole orchestra). Heather Easting’s registrations were delicious, especially in ‘Let Justice and Judgement’, where the pedal line must not overpower the delicate upper register. The altos and basses came in with a smooth legato, and the silvery soprano entry demonstrated perfect balance.

If the concert had finished at that point, I would have gone home satisfied, but the best was still to come. Britten’s Festival Te Deum followed. The work was written in 1944 for the centenary of St Mark’s Church, Swindon, and first performed in 1945. There was a finely graduated crescendo held against the full organ, and the subito piano entry was magical. The tenors sounded young and fresh. The athletic middle section is fast, with a wide tessitura, followed by some jolly vehement singing. The treble solo part was taken by Simon Hernyak, one of the altos. The highest notes were just a fraction too high for her, but Stamper’s choice of an alto soloist was exactly right, because the Inspirare sopranos have a fuller sound than the English cathedral treble.

Staying cheerful, Parry’s I was Glad succeeded Britten. It was written for a coronation and has a big organ introduction. The choir that entered sounded more like Westminster Abbey than a chamber choir. Majestic singing. At times I wondered whether the choir could hold its own against the organ, but they did, with some glorious soprano top notes. Lovely vocal technique throughout.

And then a change of pace. Heather Easting came downstairs to play the piano for the setting of In Flanders Fields by Welsh composer Paul Mealor. This was the highlight of the concert for me. A perfect marriage of music and text, written with directness and simplicity. Inspirare did a splendid job, from the first male entry, tenors joined by the basses singing lightly in the upper part of the voice, and then a ravishing bell-like sound from the sopranos. Wikipedia says that Mealor is ‘considered one of the world’s most performed living composers’, and I understand why. More Mealor, please!

After the Mealor, some Stanford. And I Saw another Angel featured tenor James Asquith as soloist, with a lovely light Evangelist sound, and powerful singing by the women in particular.

This was succeeded by an organ piece by Vaughan Williams, Rhosymedre, placed here to give the choir a short breather, since there was no interval. And straight on into a melodious work by the contemporary Scottish composer James Macmillan, A New Song. There were pretty fluttering and trilling figures in the organ part, with a thicker harmonic texture once the choir entered, with sopranos dominant. The sopranos sang trills against a sustained bass pedal line; then the tenors imitated the effect against the organ’s pedal notes. The structure is strophic, but the changes of texture made it thrilling. The lower soprano sound, once more with that Viva Voce freshness, was beautiful. Like the Mealor, this is a work that deserves to be performed widely.

David Bednall is a prolific young contemporary Brit who has been educated in the English Cathedral tradition and has written many works for church choirs. His 8-part Easter Alleluia featured bass soloist Joe Haddow, who made a gorgeous sound. Bednall cites his love of ‘late twentieth century music’ as an influence on his composition, but though the tonality in this work was complex, the effect was riveting, with lively compound rhythms and some punishingly high soprano notes.

Jonathan Willcocks’ Lacrymosa set a movement from the Requiem Mass text (‘Lacrimosa dies illa’) and did it full justice, with Messiaen-like tonality, lovely text-painting, and a beautiful Pie Jesu for tenors and sopranos. Inspirare did the work full justice.

The last work was by the Welsh Anglican composer Willian Mathias (who taught Paul Mealor), Let the People Praise Thee (Op. 87). Written for the wedding of Prince Charles and Lady Diana Spencer in 1981, it started with fanfares from organ and choir and built to a huge crescendo.

And that was it. A most stylish concert of interesting works, well chosen, and presented with exquisite attention to detail. Inspirare’s next concert will be on 4 September in St Teresa’s Church, Karori. Put it in your diary now.