Author: Peter Mechen

Henry Purcell’s “Dioclesian” – an illustrious operatic “revival” for Wellington!

Posted on by Peter Mechen

HENRY PURCELL – Semi-Opera “Dioclesian (The Prophetess, or The History of Dioclesian)” 1690
Libretto by Thomas Betterton
The Queen’s Closet / The Tudor Consort
Music and Ensemble Director – Gordon Lehany
Tudor Consort Director – Michael Stewart
Stage Director – Jacqueline Coats
The Hunter Lounge, Victoria University of Wellington
Saturday. 31st May 2025

In 1985, forty years ago at Wellington’s Erskine College, Victoria University’s Early Music School organised, staged and performed (on period instruments) Henry Purcell’s 1690 “Dioclesian (The Prophetess, or the history of Dioclesian)”. It must have created a sensation at the time, though it took a while for memories of the earlier occasion to be sufficiently “jogged” so that this recent undertaking of the work by the capital’s “The Queen’s Closet” and “The Tudor Consort” ensembles could be properly regarded as a “revival” rather than a “first” for Wellington. In terms of impact and excitement it seemed to add even more lustre to the present occasion!

I well remember writing, in a February 2022 review, of a Queen’s Closet’s production which (to quote) “brought to life a world of musical and dramatic expression we don’t often get to experience in such a vivid and well-rounded way” – this was an enterprising representation of an historic “opera contest” in London in 1703 between four composers, each setting music to the same libretto and one emerging triumphant. The libretto was “The Judgement of Paris” the work of playwright William Congreve (he of “The Way of the World” fame), and of the four composers one John Weldon (1676-1736) emerged the victor by popular vote – though the Queen’s Closet cannily used excerpts from ALL FOUR composers’ efforts, thus giving us a richly-endowed “overview” of the original occasion’s range and scope – a splendid achievement!

As I’d expressed the hope that we would hear more along these lines from the Queen’s Closet, I was delighted to hear of the ensemble’s plans to present one of Henry Purcell’s earliest works for the theatre, his “semi-opera” (not through-sung) “Dioclesian” which bore the full title of “Dioclesian (The Prophetess, or The History of Dioclesian”. I did some “ferreting around” (mostly on-line, though the New Grove Dictionary of Opera was also of some help) and managed to glean some idea of what was in store for us. One of the pleasures I keenly anticipated was the involvement of Jacqueline Coats as the stage director, as I had previously enjoyed her work in other productions – though I was annoyed by not being able to find my copy of the programme for “The Judgement of Paris” to check whether she was involved, as my review didn’t mention her name! – details which come back to bite the reviewer!

I also couldn’t remember having previously been to the “Hunter Lounge” at Wellington’s Victoria University, but it turned out to be an excellent venue for the type of presentation accorded Purcell’s work. As with the “Foxglove Ballroom” location for “The Judgement”, this one seemed to fit the presentation like a glove, and with that all-important aspect of the music “being made in the same space as the audience”, ensuring our direct, cheek-by-jowl contact with both singers and musicians. A definite bonus in this case was the presence of a screen at the rear of the stage onto which was projected various images (all very seventeenth-century comic-book-like which raised numerous chuckles and titillations as the evening progressed)), and gave us some idea of the opera’s progression through the scenes and acts as they were played and done.

I remember feeling at first somewhat perturbed at what seemed to be a lack of a printed programme for audience perusal, something which I remember at “The Judgement” helped “take” me right into every aspect of the presentation, providing a wealth of background information regarding the actual contest, a synopsis of the opera’s plot, a cast list, and the titles of the individual numbers and their composers. Consequently, I knew exactly “where” I was at every step of the way through a work I simply knew very little about at that stage.

Here, at the Hunter Lounge, we were “helped out” by the presence of a narrator, Adam Neilson, who readily engaged our attentions with his wry delineations of the various plot-and-character convolutions, even though the complications of what the Grove Dictionary called the story’s “dramatic absurdities” tended to result in more confusion than elucidation on my part regarding both just “who was who” and “what she/he/they were doing”. At the time I felt a NEED to know just WHAT was happening and WHO was singing – but now, in my present state of post-event contemplation what’s staying with me most strongly is the “esprit de corps” feeling generated by the interplay between singers and musicians under the direction of Gordon Lehany and further emphasised by Jacqueline Coats’s production.  Ostensibly a story about a power struggle in ancient Rome, the absurd story-line with its portrayal of the whims and passions, cupidities and cruelties of people vying for the power that leadership brings, and their infliction of the same upon steadfastedly struggling humanity in general seemed to ironically mirror similarly ego-driven, pathologically unempathetic tyrants self-fashioned as rulers all around today’s world, and with the “prophetess” as much a schemer and manipulator as those whose fate she attempts to sway.

Whatever Purcell himself thought of the story, his efforts on its behalf brought him success, and the approval of no less a figure than John Dryden (for whose libretto he was to write the music for another opera, “King Arthur”). So, without a programme to hand I simply “went with” the presentation as best I could, and though detail wasn’t always clear to me as to what was exactly happening, the verve and commitment of the singing and playing never let my interest go elsewhere. I would have liked to have known at the time who the singers were (some of the faces I knew, but certainly not all of the names) and precisely what their characters were for the sake of the story-line. (Being one of the world’s least computer-savvy individuals, I’ve completely failed to notice the Queen’s Closet’s “past performances” page when first writing this review, and am thus posting the link accordingly –  https://thequeenscloset.net/may-june-2025/! ) However, Purcell’s music ultimately triumphed “on the night”, and there were many delights along the music’s way – without going through the whole work, item by item, then, I have these highlights of mine to offer……

First, the players (whom I’m able to name, thanks to their instruments!) – with their bracing sounds the Queen’s Closet players always delight, and this evening’s performance was no exception. The ear picked up on and relished the tanginess of the different timbres, as well as the excitement of the sudden surges of momentum – such as the Gigue-like energies unleashed during the Overture proper’s solemnities (No. 3) before the voices come in, and then, the brass (Chris Woolley and Andrew Weir) and timpani (Ben Whitton) vigorously supporting the singer’s “Come, show your instruments of war”. There was gaiety and charm aplenty from the oboes (Sharon Lehany, Rebecca Grimwood and Luka Reardon) and bassoon (Craig Branfield) supporting the alto voice at “let the soldiers rejoice”, and more festivity at “To Mars let ’em raise” , making a beautiful contrast of feeling with the recorders (Gordon Lehany and Luka Reardon) and joining the cellos (Jane Young and Tomos Christie) in accompanying “Since the toils”. The “Dance of the Furies” was amusingly described in one review I read of a performance elsewhere as “Dance of the Mildly Irritated”, though the strings here (Gordon Lehany, Henry Nicholson, Antonia Grant and Sara Kádas, violins and Miru Shimaoka, viola,) managed with the cellos to generate a suitable amount of “furious buzz” with their figurations! More charm, this time of a melancholic sort, came from the oboes, bassoon, ‘cello, guitar (Peter Maunder) and harpsichord (Michael Stewart) in their instrumental reprises between the tenor’s wistful “What shall I do?” verses, a mood that was then “whisked away” by the nimbly animated “Butterfly Dance”, the dancers equipped with delightfully lepidopteral effigies on the ends of sticks, wings  flitting energetically to the strings-and-winds-led music.

Apart from a slight purple patch during the Act IV chorus “Let all rehearse” (ironically apt at that point!)  the brass let fly with spiritedly and well-rounded fanfares as required, both martial and celebratory (with Gordon Lehany picking up a trumpet at one point and sounding a fanfare solo) – while as the other end of the expressive spectrum was the grace and charm of the Act V country dance. More delightful contrast was generously provided by the lusty Bacchanals, strings and winds propelling the dance forwards with gusto. Towards the end, as the vocal trio sings “Triumph Victorious Love” in honour of amatory order being justly restored between the opera’s principals, the orchestral playing struts its stuff with the soloists, then with a reprise of “Let all rehearse in lofty verse” the full ensemble joins with the singers to reinforce the lovers’ happiness in the most resplendent and appropriately brilliant-sounding way!

And then, there were the voices! – buoyed along by the instrumentalists’ marvellous accompaniments, the Tudor Consort singers certainly gave their all in both a vocal and theatrical sense, whether solo, in duo or trio, or as an interactively-detailed chorus, and making the most of their opportunities as they arose. I found it difficult, in the heat of the dramatic action’s cut-and-thrust, to properly and fairly ascribe which character did or sang what, and so am reluctant to attempt to “match up” the names – as, in Sullivan’s “The Mikado”, the Lord High Executioner KoKo famously sings when listing his victims for execution – “The task of filling up the blanks I’d rather leave to YOU!” – but these were the singers: sopranos, Chelsea Whitfield, Genevieve Gates-Panneton, and Erin King; altos, Alexander Granville, Andrea Cochrane and Kassandra Wang; tenors, Herbert Zielinski, John Beaglehole and Philip Roderick; and basses Joshua Jamieson, Keith Small, Mark Bobb and Thomas Whaley.

I couldn’t fault the choruses or the ensemble numbers in terms of their vocal characterisations and general stage-presence concerted utterances such as in “Praise the Thund’ring Jove”, “Let all Mankind the pleasure share” and the bolstering of the solo “To Mars let ‘em raise”, which all fell upon our ears with appropriate alacrity!  Especially lovely was the 4-part “Let the Priests with Processions”, and later, in Act Five came the ear-catching, beautifully-pointed and somewhat canonic  chorus “Begone, importunate reason” (for me, a highlight!). The smaller ensembles, trios and duos, brought out the singers’ theatricality to entertainingly risible degrees, while the various solos were taken in ways that integrated their characters satisfyingly into the musical flow of the work, some in  a “larger-than-life” manner , which contrasted well with other, more thoughtful and circumspect portrayals.

All of this was refracted through the keenly-modulated stage direction of Jacqueline Coats, and the typically thorough and expertly crafted drilling of the voices by Michael Stewart, the Tudor Consort’s director. However, to the Queen’s Closet director Gordon Lehany goes the credit for instigating and overseeing the production’s excellent musical cohesiveness and period-style efficacy – everything suitably proportioned, flavoursome and communicative – an insightful and enjoyable amalgam of scholarship and insightful reinterpretation.

 

 

 

John Psathas’s “Leviathan” – genre-defying and irresistible

Posted on by Peter Mechen

JOHN PSATHAS – Leviathan
Four Percussion Concertos
The All-Seeing Sky (with Fabian Ziegler and Luca Staffelbach)
Call of the Wild (with Adam Page)
Leviathan (with Alexej Gerassimez)
Dijnn (with Yoshiko Tsuruta)

All with Orchestra Wellington and Musical Director Marc Taddei
Orchestra Wellington OW 23CD

Hailed as “genre-defying music”, four of New Zealand/Greek composer John Psathas’s percussion concertos have made a spectacular appearance on Orchestra Wellington’s own label, a release appropriately gathered together under the name of “Leviathan”, the title of one of these concertos. The “genre-defying” aspect reflects Psathas’s intense feelings concerning the role of a contemporary composer, which he feels is a matter of “connection” across all genres and boundaries, one which reaches out to all audiences. For him this “outward” energy conveys that connection, and it has come to inform works such as the four presented on this album. Significantly, Psathas regards Beethoven’s music as an exemplar of such “reaching out” to people, music that embodies, in his words, “that desire to reach another human being”.

All four of these concertos were recorded during Psathas’s “composer-in residency” tenure with Orchestra Wellington, a circumstance that has given him a good deal of joy – “we had these incredible soloists and we had fantastic performances, and we’ve captured them”. As well, the venture is obviously a tribute to the staunch support for Psathas’s music from the orchestra’s Music Director, Marc Taddei.  I’ve not been able to comment on the vinyl format of this release as I’ve only seen the CD format (which, in terms of my own reactionary sensibilities regarding recordings in general, has what I would call the “minimalist” approach to presentation, with no accompanying documentation regarding either the works or their performers, save a QR code which you scan for access to liner notes (“Not I, but some child, born in a marvellous year….” etc.! – however, my own “marvellous child” was able to guide me through these personal “portals of Dis” with nary as much as a backward glance!).

The first of the set’s four percussion concerti, “The All-Seeing Sky” is dedicated to the soloists in the recording, Fabian Ziegler and Luca Staffelbach. A “double concerto”, it has three movements – The Portals of Dis, The Upper World, and the titular The All-Seeing Sky  – and it entrances the listener at the outset with its almost subconsciously-heard impulses, a process characterised by the composer as “a very subdued oh wow, this is actually happening kind of feeling”. Of course, the opening movement’s title “The Portals of Dis” suggests something dismal and dark,  a kind of penetration of an Underworld (as suggested by Psathas’s reference to Dante Alighieri’s “The Divine Comedy” which he had read, and which characterised for him a sense of antiquity and ancient times, furthered for him by artist Gustav Dore’s nineteenth-century visualisations of the poet’s journeyings through the Inferno – and yet the opening paragraphs of the music evoke more mystery and eeriness than fear and dread as the travellers in the boat in Dante’s poem cross the River Styx, the sounds of the orchestra detailing the almost limitless wonderment of these adventurers amid their surroundings, as the two soloists – Fabian Ziegler and Luca Staffenbach – gradually but inexorably advance the sense of a “journey” with their increasingly compulsive and addictive patternings on, respectively, the marimba and xylophone. Whole sequences of minimalist patternings alternate with newly-wrought material from both the soloists and the orchestral musicians, gradually intensifying the ambiences with extra percussion – timpani and cymbals – and achieving what Psathas describes as a “welcoming fanfare” to the Gates of Dis. It’s one where the traditionally spectral “abandon hope all ye who enter here” mindset of antiquity is leavened by a more modernist view of one’s mind being “its own heaven and hell” (Psathas suggests in so many words a similarly updated view.).

The following movement, “The Upper World” delivers a new kind of eeriness, with the soloists floating and arpeggiating over a series of deeply-voiced slowly-undulating gestures from the orchestra’s lower instruments, striking an occasionally more forceful, and by turns an exquisitely-flowing air with winds and strings, the atmosphere more claustrophobic than free, as if further reminding us that our “Upper World” can take on similar threatening propensities to that of antiquity’s visionary horrors, with the dismissal of a traditional God plus the trappings creating a vacuum filled by any number of entities bent upon dominance of peoples’ minds. This is further explored by the freewheeling third movement “The All-Seeing Sky” – a kind of “juggernaut” through the void, for much of its length, with the kind of energy that freedom brings, along with a price that has to be paid for that “freedom” – it isn’t long before the exhilaration develops an obsessive, hectoring note, breaking off at the climax to sound a warning – the orchestra builds frightening vortices against whose sides the percussionists hammer until the reality of a new kind of imprisonment hits home. In a tremendous crescendo, begun quietly and almost innocently, both soloists define the formidable slopes that have to be climbed and the spaces that must be filled with new resolve, building the sonorities in a do-or-die effort which awakens the entire orchestral forces who play above their weight, reaching a hammering climax of renewed hope – Psathas elaborates here on his idea drawn from his Greek ancestry of a “gladdening sorrow” – in his own words “gratitude for being alive, and sorrow for understanding all that’s ill in the world!”

Following this on the set’s first disc is Psathas’s “Call of the Wild”, a concerto for tenor saxophone and orchestra commissioned jointly by Orchestral Wellington and the Christchurch Symphony Orchestra, the recording here presenting the work’s actual 2021 premiere given on July 17th by saxophonist Adam Paige and Orchestra Wellington. My “Middle C” colleague, critic Lindis Taylor, reviewed this concert in glowing terms, struck as much by the work’s “vividly individual” nature as by the brilliance of the performance by soloist Adam Page, and of the orchestra under Marc Taddei’s direction. Taylor highlighted the soloist’s “flamboyant confidence” and noted the latter’s use of a “wide range of techniques” as the music unfolded. The instrument itself, while not a standard symphonic orchestral instrument, has long enjoyed imaginative instances of use by various composers – I would have added Vaughan Williams’s name to the list my colleague proffered (for the review see https://middle-c.org/2021/07/orchestra-wellington-under-taddei-with-adam-page-triumphant-in-psathass-saxophone-concerto/).

Solo saxophonist Adam Page describes in his accompanying notes how musical collaboration often has a kind of “jewel in the crown” quality for artists, even though these experiences are sometimes isolated and short-lived – but with the “Psathas/Page” partnership a true friendship (Page calls it “a lifelong connection”) evolved from the pair’s first collaboration in 2012 when co-writing “The Harvest Suite”– consequently Page “jumped/bomb-dived” at the chance of renewing his creative association with Psathas via a new tenor saxophone concerto the composer was formulating.

Psathas’s description of this work’s genesis encompasses a good deal of his family history, dealing with events that left an indelible and continuing mark on both the twentieth and the present century, but more immediately on his own family – his grandparents and great-grandparents were forced to relocate between Greece and Turkey in the early 1920s in what could only be described as devastating and denaturalising circumstances – in the wake of genocidal activities between various racial and religious groups exacerbated by the 1914-18 war in Europe, the governments of both Greece and Turkey deemed it necessary to forcibly relocate ethnic groups whose religious beliefs and cultural mores had become regarded as incompatible with the respective majorities of their citizens, despite the long-established (in many cases) native and indigenous ties these people had created over centuries within what they considered their homelands. There had already been genocidal massacres of non-Turkish Armenians, Greeks and Assyrians both before and after the war and by the time the Governments had signed the 1923 Convention Exchange (called The Asia Minor Catastrophe in Greece), resulting in about one-and-a-quarter million people arriving in Greece from Turkey and over 300,000 Muslims expelled to Turkey by 1923. A Muslim Professor, forced from his home in Crete, to Turkey, expressed in an interview every migrant’s tragedy – “Born in one place, growing old in another place – and feeling a stranger in both places”.

Psathas’s grandparents and great-grandparents experienced the forced marches sustained by people expelled from Turkey during this early 1920s period, resettling in Greece, only to experience a second World War and a subsequent civil war, from which their children (Psathas’s parents) left to emigrate to New Zealand to begin a new life in 1960.. Though he was born in Wellington, most of John’s childhood, along with a sister, was spent in Taumarunui, after which he attended college in Napier. His interest in music developed throughout this time, resulting in his entering University to study piano and composition at Victoria University of Wellington. John’s parents and sister Tania returned to Greece to live in 1988, but apart from trips back to Europe to reconnect, John has remained in Wellington, and he and Carla, his wife, have two children, Emmanuel and Zoe.

Unusual as it is to explore the biographical aspect of a composer to such an extent in a review as here, the works on this CD recording each relate singularly to Psathas’s life experience and familial ties, none more directly that this work “Call of the Wild”. In three movements, Psathas by turns characterises and meditates upon the salient features which define each of his parents, and their heritage and life-experience as embodied in Psathas’s own children and their attitudes and impulses.

Call of the Wild begins with a piece of music dedicated to John Psathas’s mother, Anastasia given the title by the composer “She stands at the edge of the incomprehensible” – a saxophone solo at the beginning, an opening up of a sonic world with which the soloist can play, dominate, integrate, lead or dissolve into. The orchestra becomes the world, giving the energetic impulses of the soloist a sense of direction and unlimited purpose, resonances that seem to have the capacity that resound for all time, in places demonstrating a determination above all else, unquenchable energy of the kind that seems to feed itself – though an almost heart-stopping moment is when the saxophone seems to challenge the limitations of existence itself, sending out a call whose reach is as high as its compass suggests it would allow before pushing even further. Even the surrounding resonances are amazed, perhaps agog at the temerity of this instrument, this single entity pitting its capabilities against the business of being. And then, as if some kind of reassuring synthesis is needed, the saxophone and orchestra come together, surging towards a corelated kind of ecstatic outpouring, then setting an inexorable course towards continuance.

How different is the following, opening with slow, dreamy oscillations of some kind of prenatal nature, Psathas’s father Emmanuel perhaps waiting in the womb to be born, or else meditating the nature of the circumstances of that event in later life. The music suggests a time for reflection upon things that are important to know, feel and conceptualise – in a way it could be characterised as the inner life of the first movement’s outer being, an idea of fusion having different though accessible natures, and each giving to and feeling from the other, Psathas stressing unity of different personalities, spirits, souls. Or it could claim its independence from the outset (Psathas’s title “He can worship it without believing it” suggests this), elaborating upon what the composer considered to be his father’s “staggering force of will” in being “inflexible in his principles of decency and fairness”. Throughout this piece the sounds are unwavering in their constancy and disarming in their quiet persistence and surety. Something of the depth of emotion this piece explores by association is the quoting by a solo violin of a vocal line from the composer’s 2016 work “No Man’s Land”,

From the outset of the third movement (“Tramontane”) there’s a restlessness, both in the setting of different (three-against four) time-signatures for the soloist and the orchestra, which, after a confrontational build-up fuses energies and begins a more concerted exploration – dramatically reducing the pace and the dynamics brings the piece’s elements together, agreeing on the agenda, and setting off again with near-irresistible resolve. This is Psathas’s and his children’s heritage (the name Tramontane literally means “From the other side of the mountains”, and refers to a particular Mediterranean wind which frequently blows up a storm), the composer characterising the energised impulse within his family “to fight for what we needed in life” after his relocation in small-town New Zealand and having to endure being “outsiders” in terms of heritage, custom and religion. What emerges is an incredibly wild ride on the part of the music’s various elements, the soloist’s giving vent to a contemporary “Call of the Wild” in his instrument’s at times frenzied tessitura against the orchestra’s similarly restless soundscapes. In conclusion Psathas comments on the near-inevitability of his children having inherited the same impulsive desire to express what he calls “that nomadic gypsy impulse” and take it to who knows where?

Turning to the set’s second disc, first up is the piece that gives the collection its overall name “Leviathan”. This work, completed by Psathas in 2020, was commissioned as part of an international project with the title “Beethoven Pastoral”, an initiative by the UN Climate Change and BTHVN2020  to promote action on climate change and the environment during the 250th anniversary year of the birth of Beethoven. The Project represented a “determination to be part of the solutions to current planetary challenges’ and the desire “to inspire and be part of that change”. Psathas wrote this work for and dedicated it to Alexej Gerassimez, the soloist in this recording.

“Leviathan” has three movements, summarised as follows – the opening Hightailin’ to Hell crystallises both the composer’s introductory remarks and the feelings generated by the music – “Our planet is in a very bad way, and it seems that we can’t wait to get to the “finish line”. To this end, the human race’s “out-of-control race to environmental disaster” is depicted by the use of “junk-percussion” – The trajectorial impulses are remorseless – the pulsatings never let up as the journey takes the listener through what seems like a thankless and unforgiving, almost lifeless kind of terrain, an experience that gives a feeling of being driven rather than driving – I was put in mind of connections with similarly “driven” music such as Hector Berlioz’s “Ride to the Abyss” from La Damnation de Faust, and (during  the most frantically virtuosic sequences)  parts of the first movement of Carl Nielsen’s Fifth Symphony during which a solo side-drummer is instructed to try and halt the orchestra’s progress at all costs with savage interjections and disruptive counter-rhythms!

The Final Brook , a homage to Beethoven, comes next – a complete contrast, limpid, shimmering, effusions of light and sensation with instruments that suggest the play of light on and through water, a sound-world I to which one can give one’s sensibilities over to entirely and feel refreshed and renewed, while at the back of these instruments the strings are beginning to playing the actual music of Beethoven’s “Pastoral Symphony” in a dream-like, trance-like way – a “fled is that music? – do I wake or sleep?’ kind of sensation, one which puts Beethoven’s hymn of praise to nature to the forefront of the madness of today’s polluted world.

A single plastic water-bottle used as an “instrument” by the soloist centres our attention throughout Soon We’ll All Walk On Water – a movement one cross-furrowed with dippings, splashings and “impingings” on our sensibilities, with an eerie cosmic circle of sound sensation revolving around the dancing plastic object – a symbol of the madness threatening our world with ruin.

Finally, there’s A falcon, a storm or a great song – (a quote from a poem by Rainer Maria Rilke) – a determined tattoo-like pulsating over luminous orchestra chordings which come and go like fog lights in the gloom, and a grand brass statement reinforced by percussion and driving  tones – a held chord, and jagged rhythmic slashings indicate that action is being called for and, indeed demonstrated by the vigorous rhythmic patternings and the long-breathed calls across the sound-spectrum. The sounds make a stirring impression, even though they can at times tremulously fall back as if lacking certainty,  but then gather and plunge onwards after a dramatic pause – obstacles appear out of nowhere and are subdued and conquered – it can be done, and human beings, whether falcons, storms or great songs, can be inspired to act with such purpose! – in the composer’s words, “of steel and drums and momentum and drive!” Percussionist Alexej Gerassimez and the orchestra players are heroes, every one, under Marc Taddei’s unswervingly focused direction!

Rather more elusive, mercurial and mysterious as a creation is Djinn, a 2009 work which Psathas first crafted as a marimba concerto for Pedro Carneiro, but which has since appeared in various other guises. The soloist here, Yoshiko Tsuruta, remembered the premiere of this concerto well, and was honoured to be invited to present this work in 2024 – in her words,  “an exciting and deeply-rewarding experience”.

Djinn is a marimba concerto in three movements – 1. Pandora – 2. Labyrinth – 3. Out-dreaming the Genie. The first movement is a meditative dialogue between soloist and orchestra depicting the legend of Pandora, who opened a box containing all the evils of the world, leaving only hope inside for humankind. – though distinctive, the movements are interconnected by a common mythological resonance where consciousness and mystery can interact and colour both our individual and collective imaginings. The second, Labyrinth, is perhaps the most profound as it symbolises a journey of self-discovery and has the capacity to surprise and astonish us, despite our expectations. The final movement, Out-dreaming the Genie offers a kind of interpretation of these previous experiences as
sources of hope, confidence and freedom as one might imagine it could be. The soloist, Yoshiko Tsuruta, gives an extraordinary performance,  never missing a beat or nuance, and Marc Taddei and Orchestra Wellington lead us through the proverbial maze of exploration, entanglement and eventual realisation with single-minded resolve and a degree of hope bolstered by determination – the music  in both its performance and symbolic power becominga synonym for human perseverance.

So, what feelings am I left with  about what I’ve been listening to? Mainly that, to go into and through these pieces, either separately or together, is to undertake a journey that puts one in touch with things that ebb and flow, and helps one crystallise one’s feelings about music in general and about humanity and ITS relationship with music. After listening to these works by John Psathas on this recording, the most resounding thing I’m feeling is to equate music all the more with being human, and reinforce that quality of sharing something that’s about continuance – as someone put it so succinctly, like ”a journey on an overgrown path”. To be thus presented with such a simple yet profound idea is a wondrous achievement – one that I urge people who haven’t yet done so to try through this splendid set of recordings of John Psathas’s music.

 

 

 

 

Home for the Winter with Hannah Darroch and Liam Wooding

Posted on by Peter Mechen

“Home for the Winter”
Liam Wooding (piano) and Hannah Darroch (flute)
Music by Jasmine Lovell-Smith, Henri Dutilleux, Lachlan Skipworth, Aaron Copland and Lili Boulanger
Bedlam and Squalor – Level 1, 18 Garret St,. Te Aro, Wellington
6:00 pm, Thursday,15th May, 2025

Things were “swinging away” in great end-of-the-day style at “The Rogue and Vagabond”, the watering-place right next to central Wellington’s Glover Park, as I made my way, a little tentatively, just around the corner and further along Garret St, to where there stood, self-assuredly in its own modest way, the entrance to “Bedlam and Squalor” (ah, thought I – a first cousin to “The Rogue and Vagabond!) – but I was straightaway taken by the contrast of the sombre doorway (of the “abandon hope” sort) with the profusion, above and besides this entrance, of coloured-pencil like horizontal stripes one might have correlated to a kind of urban kindergarten or some sort of art-gallery where the Hogarth-like images I’d entertained of “Bedlam and Squalor” were in reality reverse-euphemisms  for “fun and games”, and obviously nothing worse than “madness and merriment”.

Up the stairs I went, leaving those around-the-corner jollities earthbound as I ascended, finding myself in a quiet, comfortable and welcoming space not unlike a bar itself, but with tables and chairs set up in a rounded area at the room’s end, where there was a piano, beside which the two artists, Hannah Darroch and Liam Wooding, were discussing aspects of the music they were about to perform, and greeting us (myself included) as we came in. Pleasantries completed I had just settled down, finding a seat next to an acquaintance whom I’d made at previous concerts and always found most agreeable, when I discovered that, in my haste at leaving home I’d snatched up one of my notebooks, but had forgotten to bring a pen! Help was at hand in the shape and form of a bartender, who was greatly amused by the piquancy of the plight of a music critic who had come without a stylus, but who kindly brought my agony to an end by producing one – I was happy to have thus contributed a “storm-in-a-teacup” strand of incident to the proceedings now that things had been resolved!

So! – here were Hannah Darroch and Liam Wooding, formally welcoming us (we were a small but appreciative audience in that relatively intimate space) and telling us about what they were going to play for us, beginning with a piece which had give the whole recital its name, “Home for the Winter”, a piece written in 2020 for Hannah by Jasmine Lovell-Smith, and whose title was inspired by the “homeward” move made by many New Zealanders in response to the Covid 19 outbreak. The sounds seemed coaxed from out of the air, firstly for the piano, and then for the flute, the lines having a natural, organic kind of flow as if wrought by impulse, a feeling for the actions of wind and water all around – having been brought into being these elements seemed to take human form in song, which became a sort of minstrelsy, a chorus that rose up as the piano intensified the exchanges, before breaking off and leaving the opening resonances as a memory.

Having proclaimed a kind of “this is where we are” introduction, Hannah and Liam took us next to more peopled terrain, with a work by French composer Henri Dutilleux. Though it was one I’d not heard before, I knew and had already been enchanted with pieces by Poulenc, Francaix and Ropartz, and this proved, to my delight, similar kind of territory. I was almost straightaway disarmed by the opening piquancies (mysterious piano octaves echoed and gracefully “danced all about” by the flute) – and I loved the “Peter and the Wolf” opening dialogues of the second movement between the piano’s predatory wolf and the flute’s frightened but intrepid bird, and the following rhapsodic exchanges between the two, suggesting something of a singular “entente cordiale”.

A sudden escalation of energies (brilliant “molto perpetuo” playing from both musicians) seemed to clear the air of menace, entirely, and give the scenario over entirely to the pleasures of tit-for-tat exchange, our sensibilities being given plenty of air and space in places by some soaring lines before being returned to the dance! Towards the end, a cadenza-like episode from Hannah’s flute took us to a Ravel-like place not unlike Daphnis and Chloe’s enchanted grove, before the pair rejoined forces for an ever-accelerating coda, exhilarating for us all in its shared energies and pleasures.

Next was a recently-composed (2022) sonata by Australian Lachlan Skipworth, introduced by Liam, and described by him as “very refreshing” to play, though adding the proviso that the time signatures in the score with their frequent changes – 20/16, 10/16, 18/16 – certainly posed something a “challenge”. From the beginning I found the work a same-but-different experience to that of the Dutilleux, here an almost Gaelic world of exhilaration, with the opening “chaos of delight” morphing into a folk-dance blend of carefree abandon and strongly-pulsed movement.

The piano breaks off to play a solemn, repeated note-pattern to which the flute adds a lovely, rustic song-like sequence, borne along by its own airiness and spaciousness, hymn-like when the piano intensifies the mood, and seemingly tossed into the play of winds and waves when both instruments dance along the hilltops of the melody’s liberated lines – entrancing! Just as spell-binding is the dialogue of voices sequence which follows, like a pair of birds enacting a defining of territories, or a courtship ritual, one which leads back to the exuberance of the folkdance – if the conclusion isn’t quite of the grand finality one might expect, one might say it has an attractively insouciant “well, there it is!” manner at the end.

Our “food for thought” interval was sufficient to process what we’d heard (delightful!) and clear our decks for the next offering, a “different again” experience promised, which Hannah described for us  as “Americana in music” – this was Aaron Copland’s Duo for Flute and Piano, again something I hadn’t heard (oh, the ignorance of some music critics!), and naturally looked forward to an introduction to the piece. The opening movement, marked as “Freely” by the composer, takes us straight into the world of the latter’s ballet “Appalachian Spring” with the flute playing solo, a “voice in the wilderness”, spacious and nostalgic, with the piano’s entry contributing to the characteristic, almost unmistakably “open” sound. The flute begins the dance, strands of movement varying its trajectories, with the piano amusingly “oom-pah” at one point just before the big flute solo! Another pronounced “echo” for me is the similar ambience to the Third Symphony towards the end, a kind of salute to an idealised past…..but, then, what a quirky kind of conclusion! – those sharply-abrupt chordings are almost amusing in their air of dismissiveness!

“Poetic, somewhat mournful”, says the composer at the head of Mvt.II – piano and flute seem to be either looking for or avoiding one another at the start – most of those open harmonies have closed up, and whatever congress the instruments strike, each seems somewhat nonplussed by the other – there’s a moment of accord in a more animated and heartfelt middle section, but compared to the opening, it’s a bit like the difference between a dream and an awakening (whichever suits which!).The piano returns to its lonely furrow, and the flute raises its head for a heartfelt and sonorous single-note look-around!

Both espy a notice saying “Lively, with bounce!”  – so the piano “bounces” and the flute catches on! And what better than a square dance? – lovely, palms-skyward trajectories, with quirky harmonic comings and goings, with the flute occasionally intoning “Where are you?” as the piano rumbles up and down the stairs! – “Back to the dance!” they both chorus, nostalgically smoothing-over the rhythms here and there, but as quickly resuming their “hide-and-seek” – suddenly Hannah’s flute espies an open window and with Liam’s piano in hot pursuit catapaults right through it! – freedom!

Has this been music I’m writing about or some sort of “anything you can do I can do better” kind of game? It just seems that way, at times – but whatever the case, we in the audience were tickled to pieces by it all – and just to show that life bears SOME resemblance to art, we were invited by our stalwart artists to return to our lives with a kind of encore, a piece by Lili Boulanger appropriately entitled “Nocturne”, the flute singing a lullabic song over piano octaves, the tones soaring and settling over gorgeous keyboard undulations, while the harmonies coalesce slowly and beautifully.

Hannah and Liam, you and your instruments brought about such delight and contentment for all of us present this evening – any thoughts of bedlam and squalor were forgotten as I took my leave of my companion (deftly remembering on the way out to return the borrowed pen!) and descended those stairs and met with the open air once again, trying to recall what day it was, where I was, where I was going and what the music was that was playing in my head as I walked through streets that bore no relation, it seemed, to any of those sounds….and I thought it was definitely all part of something well worth remembering……

 

 

 

 

 

 

 

Cantoris – opera that’s tuneful, rhythmic, magical, exotic, funny, murderous, tragic, pompous, escapist, real – what more could you want?

Posted on by Peter Mechen

CANTORIS – A Night at the Opera

Cantoris Choir
Soloists: Barbara Paterson (soprano), William McElwee (baritone)
Music Director: Ingrid Schoenfeld
Piano: Heather Easting

Ruggero LEONCAVALLO – Bell Chorus from I Pagliacci
Giuseppe VERDI – Anvil Chorus from Il Trovatore
George Frideric HANDEL – Chorus of Enchanted Islanders from Alcina
Giacomo PUCCINI – Humming Chorus from Madama Butterfly
Georges BIZET – Habanera, with Chorus from Carmen
Toreador Song, with Chorus, from Carmen
Wolfgang Amadeus MOZART – “Heil sei euch Geweihten” from The
Magic Flute
Christoph Willibald GLUCK – “Quel est l’audacieux” from Orphée et
Eurydice
Wolfgang Amadeus MOZART – Voyagers’ Chorus from Idomeneo
George Frideric HANDEL – “How Strange their Ends” from Theodora
Henry PURCELL – Dido’s Lament and “With Drooping Wings”
from Dido and Aeneas
Giuseppe VERDI – Chorus of the Hebrew Slaves from Nabucco
Brindisi (Drinking Song and Chorus) from La
Traviata
Carl ORFF – Chorus “O Fortuna”  from Carmina Burana

St.Peter’s-on-Willis-Street, Te Aro, Wellington
Saturday, 10th May 2025

What a splendid blockbuster of a way for a choir to begin a season! – and with so many wonderful moments that have actually transcended their “high art” origins and are now “in the culture!” – and none the worse for it! So often certain pieces of music are deemed well-known to the point of cliché, and are therefore passed over, in favour of something more “interesting”. But! – as I fondly remember from my own formative years, it was often one of these very pieces, which would have been regarded by others as “hackneyed”, whose first hearing hit me like a ton of bricks, and to the extent that life was never the same again afterwards!

At school, in the Fourth Form, I had the good fortune to have a teacher who was himself an opera fan – so he would play to us pieces from a recording (of which I now have a prized copy!) of “Opera Choruses”, ALL of which I simply fell in love with on first hearing! – it was partly the way he introduced them to his class of rough-diamond, mostly rugby-playing and pop-music-loving boys who probably didn’t at that stage know Wagner from a Weet-Bix packet, but who listened, spell-bound as he described scenarios to go with the choruses, such as how a rich man, sitting miserably in his house surrounded by his wealth, suddenly heard a crowd of pilgrims passing in the street outside, singing “Alleluiah” at the tops of their voices as they went by the man’s window – and how the man was galvanised by what he heard, and, leaving his house and possessions behind, rushed down the road to join them! – and then, of course, our teacher played us the actual recording of the chorus, and we were “there”, listening to these voices, and imagining how we would have been filled with wonderment at the sounds and jumped up at the end to follow the voices ourselves. This particular chorus (the Pilgrims’ Chorus from Wagner’s “Tannhauser”) wasn’t among Cantoris’s presentations, but the others had an effect this same evening that vividly brought back that memory to me, of my sensibilities being unexpectedly “ignited” by something whose appeal was direct and enduring!

What was especially wonderful at the Cantoris concert was how the choir, with the barest minimum of forces (no orchestra, and no elaborate stage or theatrical trappings with which to fill out the scenarios), was able to generate from their music-making something of this excitement of both discovery and rediscovery amongst their audience. For this they could thank in addition an inspirational music director, Ingrid Schoenfeld, a brilliant pianist, Heather Easting, and two solo singers, soprano Barbara Paterson and baritone William McElwee who threw themselves wholeheartedly into their characterisations of various roles associated with certain of the choruses. Audience reaction to each and every one of the items (even those whose unexpectedly abrupt endings might have taken by surprise people who were just beginning to “groove along” with things – however, opera, as any enthusiast knows, thrives on the unexpected!) was enthusiastic and wholehearted, and the programming with its variety of settings, situations and characterisations meant that one’s interest never flagged.

Within this variety were placed a number of sure-fire favourites with tunes that everybody seems to have heard somewhere or other, those “part of the soundscape” melodies which seem to have always been there – such were two of the Verdi choruses (the “Anvil” Chorus from “Il Trovatore”, and the “Hebrew Slaves” Chorus from “Nabucco”), Bizet’s perennial favourite “Habanera” (solo-and-chorus) from “Carmen”, and the more recent “classic” from Carl Orff’s “Carmina Burana”, that’s made up for lost time on various television advertisements, “O Fortuna!” Each one had plenty of impact of satisfyingly varying kinds, even if in the “Il Trovatore” excerpt the anvils sounded more “Janissary-like” than whole and ringing, and the gypsy men fudged their first “All’opra! all’opra!”, probably through thinking too much about the gypsy women! Such a distraction wasn’t a problem with Barbara Paterson’s alluringly three-dimensional  portrayal of Carmen in the “Habanera” (the singer using the church’s central aisle to palpable dramatic effect!) – and though baritone William McElwee couldn’t quite match her range of vocal colour and impulse, his confident “presence” as Escamillo in the Toreador’s Song, did ample justice to the bullfighter’s swaggering character, both singers backed to the hilt by the choir’s support and the unfailingly buoyant trajectories of Heather Easting’s accompaniments!

On a different emotional plane were two other solo-and-chorus presentations which resounded afterwards in the memory, firstly Gluck’s chilling “Quel est L’Audacieux” from Orphée et Eurydice, featuring the choir of Furies guarding the Underworld with tones fearsome and implaccable  – and the baritone a tremulous but staunch and persistent supplicant, driven desperately by his love for Eurydice to bring her back from the land of the Dead – the atmosphere generated by the confrontation was properly chilling, with the choir’s tones dark and malevolent before being moved to pity by McElwee’s plaintive pleas – a memorable evocation. Though not cheek-by jowl on the programme, fortunately, we still couldn’t help but register the contrasts in almost every way between the Gluck scenario and Henry Purcell’s famous “Dido’s Lament”, one of opera’s most heart-rending scenes, and given all the space needed for both impulse and stillness to work a powerful spell – Paterson’s singing was beautifully-poised, purer of tone on her second-time-round ascent at “reMEMBER ME” and thoroughly affecting altogether, as was the choir’s following “With Drooping Wings” chorus, its sombre tones and heartbeat-like phrasings seeming to put all of us closer to our tenuous grasp upon life than we might have otherwise wanted.

I don’t intend to scroll through the entire programme in this review, but would like to register some more specific enjoyments, such as the opening “Bell Chorus” from Leoncavallo’s “I Pagliacci”, which gave us plenty of bright, vibrant bell-sounds and ear-catching dynamic variation. Another was the chorus from Handel’s “Alcina”, well-remembered from an enterprising production I attended some years ago at Day’s’ Bay Opera, and bringing back some lovely evocations of that time. In fact the programme as such had a number of lesser-known choruses from works such as from another Handel work, an oratorio “Theodora” (again, adventurously performed, and heard by me, at Day’s Bay, incidentally, as an opera!). Any memory of the work had by this time gone, so it seemed like a new and wondrous experience for me, a solemn, processional-like journey sustained partly by long-held notes, and at other times closely-worked phrases that seemed to gestate from these same lines like a plant coming into flower, the whole suiting the passage of thought and expression of wonderment – for me, a delightful rediscovery!.

Another came from Mozart, this time his “Idomeneo” (one which gave Barbara Paterson another chance to shine as Elettra, one of the characters in the opera’s story, here expressing hopes with some trepidation for a calm voyage to her homeland with the person she loves) – a kind of Mozartean “Calm Sea and Prosperous Voyage” work, here given with flowing, undulating tones from the choir, taking the treacherous upward leap towards the end in their stride!

Comments in general? These are mere opinions and can be regarded as such – but I have to confess to wishing that the trajectories of just a couple of the items had been allowed to flow more easily and dreamily – Puccini’s “Humming Chorus”, for instance, I prefer to hear sounded as if it’s almost “breathed” rather than sung and that we listeners are eavesdropping on something really private and close to the heart! To an extent I thought also that the “Va, pensiero” Chorus of the Hebrew Slaves could also have been taken as if in a dream at the start, making the “outburst” in the middle more of a kind of the captives’ “awakening” a demonstration of despair and grief at their predicament – “O harp, why do you hang so silently?…rekindle the memories in our hearts!”

Enough! – reviewers of concerts should talk about what and how things were done, played and sung, rather than compile wish-lists of such things as “could-have-beens!”! It will be obvious that I got such a lot of pleasure from out of the concert, a good deal of which was reinforced by the enjoyment of those sitting close to me and of other people I talked with afterwards. Congratulations and thanks are due to all concerned for their part in such a warm-hearted enterprise!

Wellington Youth Orchestra – revels ceremonial and fantastical

Posted on by Peter Mechen

Wellington Youth Orchestra –  Conductor Mark Carter  congratulates WYO leader Alan Kao at the conclusion of the “Fanfare and Fantasy” concert on Saturday May 3rd, 2025

FRANZ JOSEF HAYDN – Symphony No. 100 in G Major “Military”
MODEST MUSORGSKY (ed. Rimsky-Korsakov) – Night on a Bare Mountain
PYOTR ILYICH TCHAIKOVSKY – Capriccio Italien

Wellington Youth Orchestra
Mark Carter (conductor)

St.Andrew’s-on-The-Terrace, Wellington
Saturday, 3rd May 2025

Wellington Youth Orchestra’s engagingly-presented opening “salvo” of 2025 appropriately began with one of the most agreeably demonstrative pieces of ceremonial music from the classical era, Josef Haydn’s by turns genial and uproarious “Military” Symphony. This was no less than the composer’s hundredth work in a form he himself had practically reinvented and made his own, setting a remarkable benchmark for future attempts by his successors at reconciling the competing requirements of form and content in symphonic music.

Such was Haydn’s fecundity he had come up with all kinds of different ideas over the years to attract and maintain his audience’s interest. Prior to his final years, during which he had become largely a free-lance composer, he had been employed by the Hungarian Esterhazy family at their Eisenstadt residence on the Austro-Hungarian border, and  – as Haydn himself once famously remarked – had the freedom to be “original”. An example of this was a work called the “Farewell” Symphony, which has a final movement where all the players gradually leave the stage one by one, blowing out their candles as they go – Haydn wanted to give his Prince the message that he and his players badly needed a holiday!

By the time he came to write Symphony No 100 in G Major in 1793 (one of a number which became no less than twelve “London” Symphonies), his old employer had died, and Haydn was enjoying new-found freedom, making two trips to London at the invitation of impresario, Johann Peter Salomon (after whom the set of “London” Symphonies are often named), meeting King George III, and being feted by both the court and high society. Despite such blandishments he preferred Vienna, returning permanently at the end of his second trip in 1795, and becoming music director for his new, more austere Esterhazy Prince who preferred sacred to secular music.

The G Major Symphony we know as the “Military” gets its character partly for the instrumentation Haydn uses – the work makes use of Turkish features known to the Viennese through their various conflicts with the Turkish military over years of conflict – known as “Janissary”, these exotic percussive effects (cymbal, triangle, rute, bass drum) had achieved great popularity, which composers naturally wanted to emulate (both Mozart and Beethoven were to use similar effects in some of their own music.).

Here at St.Andrew’s the cheek-by-jowl relationship of orchestra and audience practically enveloped our sensibilities with the Symphony’s marvellous rhythmic and colouristic effects, though it wasn’t all bang, crash, rumble and tinkle, Haydn cannily reserving his “Janissary” forces for the second and fourth movements. The rest brought enchantment of another kind right from the work’s beginning, with the adagio opening ravishingly awakened by the string-tones, and the supporting winds giving great character to the contrasting minor-key colours. An ensuing allegro added to our delight with the winds cheekily taking up the dance and inviting the rest of the orchestra to join in. It was playing from all which brought out the sheer “joy” of exchange, and the “giving” nature of Haydn’s musical instincts in general, conductor Mark Carter underlining our pleasure with the first-movement repeat!

Deceptively charming and relaxed at its beginning, with lovely al fresco colourings from strings and winds, the Allegretto second movement lurched  suddenly into minor-key drama and conflict with its battery of “Janissary” instruments joining the fray, the bass drummer adroitly compounding the instrument’s window-rattling seismic quality with the use of the rute, a bunch of rods loosely bound, and when striking a surface giving a dry, macabre bone-rattling effect! – with triangle, and “Nefer” crash cymbals and the timpani and brass underlining the overall impact, the general impression was more-than-satisfyingly combatative! A brief return to the major-key opening gave us some brief respite, but the famous passage introduced by the bugle call signalled an ‘all-in” sequence whose  impact gave rise to the well-known story of the premiere causing listeners of the time some angst, described by one reviewer as “the clash of arms, the groans of the wounded, and what may be described as the hellish roar of war increase(d) to a climax of hellish sublimity” (perhaps, alas, not so far from contemporary realities in our planet’s war-torn spots!).

The Minuet took us to a different world, a return to order and semblance of the same after battle, the tempi giving a livelier-than-usual effect – I wanted the wind’s somewhat plaintive “turns” in places to be brought out a bit more! – but the musicians’ graceful curving trajectories of the Trio were a delight, effectively contrasted by the “kick” the players achieved in the minor-key bits!

And so to the finale, bubbling with anticipation at its beginning, Mark Carter’s direction bringing out the players enjoyment of  the dynamics’ interplay, in particular their wry, po-faced insouciance at the “crushed phrase” sequence – and having been brought up on Sir Thomas Beecham’s delightful (if in such places inauthentic) recorded version of the symphony I was also enjoyably startled by the timpanist’s full-on entry with his “let ’er rip” gesture, instead of the crescendo I’d long become accustomed to! Wonderful!

There’s a lot of inspired to-ing and fro-ing elsewhere in this finale (at one point one is even tempted into thinking a fugue might be on the cards!) but Haydn’s judgement at reserving his overtly “martial” forces for certain moments in the work pays off with a vengeance!  Apart from a couple of brief last-minute forays for separate strings and winds, it’s the war machine that returns at the end, this time in triumph! It seems ironic that it’s actually the Janissary which is here sounding the victory, but of course by that time the Turks had been defeated and driven out of Austria, so they were obviously no longer regarded as a threat!

From this point we were taken into a new century, as well as northwards to Russia (though, admittedly, then on holiday with a second Russian composer to Italy!) – life can never be said to be straightforward!  Of these two forays under inspection it might be said that the most startling quantum leap was into the creative world of one Modest Musorgsky (different spellings of the surname abound!). Russian-born, he was tragically short-lived, all the more so for being regarded in some circles as the most naturally gifted of a group of composers (known as “The Mighty Handful”) who had emerged from the land of the Tsars amid the tumult of national feeling that had spread all over Europe in the late nineteenth century.

Steeping himself in his country’s folklore Musorgsky made several attempts at setting to music an old Russian legend whose original title was St.John’s Eve on Bald Mountain which he completed in June 1867. Unfortunately his colleagues, especially his mentor and fellow-composer Mily Balakirev, regarded the work as crude, and lacking in proper technical “finish”. As well, neither of the reworked versions of the story which Musorgsky subsequently attempted, the operas Mlada and Sorochintsy Fair were properly completed. In 1886, five years after the composer’s death from the effects of alcoholism, another of his colleagues, Nikolai Rimsky-Korsakov, decided to “rescue” what could be saved of Musorgsky’s original “Bald Mountain” idea and reworked the piece, using parts of the original material and an instrumental arrangement of an excerpt from the opera Sorochintsy Fair as a kind of “epilogue” to the original tone-poem. This became the version that was used in Walt Disney’s famous “Fantasia” film, and which continues to be played today. Musorgsky’s original 1867 tone-poem composition was forgotten until the 1920s when it was rediscovered (a convoluted story!),  finally published in 1968 and given its first public performance and subsently recorded Whether it will ever become as popular as Rimsky-Korsakov’s revision is a matter of conjecture, though it’s certainly worth a watching listen (see below)…..

First to consider, though, was the performance we heard at St.Andrew’s, taken at a less-than-usual headlong tempo by Mark Carter and his players, and giving the music a more earthy and elemental character, but with the playing’s precision still capturing that “hallucinatory” quality generated by the music. The steady tempo throughout kept the macabre elements bubbling to the fore, with the “mad dance” sequences creating their own excitement, as did the “chattering winds” of the witches’ cackling dialogues, The brass fanfares were spot-on at all times, and especially when returning us to the opening, played with more “bite” than ever as the revelry intensified.

The last onslaught began, slowly on the bassoon and building up to an unnerving pace, gathering up detail in its sweep such as stuttering brass, squealing winds and screeching strings as the brass intoned its final call – with the crash of the tam-tam everything fell silent  except for the tolling bell and the hubbub’s dying reverberation, “warmed” beautifully by the harp, and the lovely string playing (great clarinet and flute solos, as well!)

Here’s the original Musorgsky version –  https://www.youtube.com/watch?v=tu1no7hOlSs

And so to the concluding item, ancient and nostalgic listening history for me, as Tchaikovsky’s  Capriccio Italien was on one of the first sets of 78 rpm discs I owned when a student (part of a whole bunch of 78 rpm discs I found in a charity shop! – things like Tchaikovsky’s Pathetique Symphony on six discs!). Anyway, I played and played the Capriccio until I accidentally and carelessly cracked one of the two discs! (I think I have the performance on CD, somewhere, now!) But I hadn’t played the work for a while, and the performance this afternoon made me fall in love with the music all over again!

What a sensationally-delivered trumpet solo at the beginning! – obviously inspiring the rest of the brass’s majestic and sonorous efforts! The strings, suitably awe-struck in reply, at first, gripped the attention just as steadily, as the exchanges continued. The oboe entered a shade jerkily but soon recovered, building the ambiences with the strings in support until the brass re-entered, the percussion a tad rushed at first but settling down again. We had a breath-catching transition to the waltz-theme –  the oboes and flutes so beautiful and Italianate-sounding with clarinets and bassoons having their turn as well, before the glorious brass-playing completed the sound-picture, with whirling strings adding to the excitement, and percussion snow-capping the climaxes!

Tchaikovsky doesn’t let up with the melodies (I remember already “knowing” both of the “famous” ones here before I ever encountering this work, as they’d obviously been “pinched” by popular music beforehand!) – the second one nicely introduced by the strings and the horn, and then later by the other brasses in turn (how was this Russian composer able to write such Mediterranean-sounding music?). Gorgeously done, with the horns adding an elegant postlude, before the strings reiterated their mock-serious “opening” with the stuttering brass not missing a beat. A well-managed accelerando later, the tarantella was dancing away from the gloom, and  playing “catch-me-if-you-can” with the instruments in its wake, including the tambourine (what a day for the percussion it had been!). But there was further excitement in store for us which came with the return of the Waltz-tune, with the strings and brass on fire and the tambourine-player in seventh heaven for a few scintillating measures – and if that wasn’t enough I had this feeling the conductor was suddenly daring his players  to imagine they were plunging into something elemental like the coda to the composer’s Fourth Symphony’s finale, a “now or never” moment to which everybody seemed to respond without hesitation and bring off with enormous elan! – a burst of youthful energies and dare-devil execution  which I thought appropriately summed up the  enthusiasm and at times brilliance of the afternoon’s music-making – but also, for this listener a great joy!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A tantalizing 2025 season’s beginning – from Wellington Chamber Music

Posted on by Peter Mechen

JOHN PSATHAS – Kartsigar
DMITRI SHOSTAKOVICH – String Quartet No. 1 in C Major Op.40
EDVARD GRIEG – String Quartet in G Minor Op.27

The New Zealand String Quartet
– Anna van der Zee and Peter Clark (violins), Gillian Ansell (viola), Callum Hall (‘cello)

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

Sunday, 27th April, 2025

Wellington Chamber Music opened its 2025 season with a characteristic blast of fresh musical air, the musicians obliging with an enticing amalgam of pieces whose composers had familiar names but whose music promised anything but familiar, well-worn sounds – though two of the pieces presented in this concert happened to have historic connections with the Society. In chronological order, Dmitri Shostakovich’s First String Quartet was one of the works featured during the Society’s inaugural year (1945); while John Psathas’ 2005 work Kartsigar was actually commissioned by Wellington Chamber Music for its 60th anniversary.

These associations duly noted and tucked under our belts for ready reference, we welcomed to the stage the current New Zealand String Quartet, an organisation that’s had its reorganisations and upheavals over the last little while, but has bounced its presently reconstituted self back ready for action. So, violist Gillian Ansell (a foundation member of the Quartet) and violinist Peter Clark (who had replaced Monique Lapins last year) were joined today by violinist Anna van der Zee and ‘cellist Callum Hall.

I looked up John Psathas’ Kartsigar on the Middle C website for interest’s sake, and discovered that my former colleague Lindis Taylor had reviewed the inaugural performance of the work at that 2005 Wellington Chamber Music concert by the NZSQ of that time, as well as a later 2011 performance by the same players at St.Mary of the Angels Church, a venue whose ample acoustic gave my colleague what he described as “a more enveloping experience” than he’d found on the players’ CD recording they’d made of the piece for Rattle Records. Such observations reflect on different performances to that of the present one, of course, but they’re interesting in further establishing the work’s history and accrued experience on the part of performers and listeners, all of which can help to enrich further encounters and performances.

Kartsigar is a work for string quartet drawn by its composer from traditional Greek music, primarily taximi or free, improvised instrumental solos used as a prelude or introduction associated with a dance or song. In the first movement what sounds like improvised melody from the instruments is the composer’s own transcription of an improvisation from one of Greece’s greatest musicians, the clarino player Manos Acahlinotopoulos, one which “breathes the Voice of Life into Kartsigar”. The cello begins a pizzicato ostinato pedal note, to which the second violin and viola respond with sombre tones of mourning, then expressively added to by the first violin, at once “folksy” and ritual-like, solo lines alternating with shared lines, and instruments going from arco to pizzicato and back to arco – the whole generates a tremendous sense of “occasion” , gradually becoming more and more elaborate, and even more vigorous, until a point is reached when the process seems to disestablish and recede, with tones and impulses growing fainter and fainter to the point of stillness

The second movement begins with an ethereal-sounding pizzicato/harmonic which forms the basis for the whole movement’s trajectory of a kind of mesmerising transferal of impulse – the material shifts from instrument to instrument, the lines and gestures keep us guessing as to where we are going, as if the piece’s “centre” is constantly relocating. I found myself part deliciously, part uneasily “stranded” in scenarios which brought single-note sequences (from the ‘cello, for example) and then sudden “whirling dervish” ecstasies from Peter Clark’s violin! – one’s sensibility became a “loose fragment” tossed all about an ambience, and then just as suddenly left to ponder eerily-held notes with which one “breathes” with the music’s own slow-rhythmed movements, until left only with silence.

In the wake of these colourful immersions in realms awash with improvisation, one couldn’t help feeling taken to a different, more enclosed world with Shostakovich’s First String Quartet, given that the music shows remarkably  little of the intense angst and disturbing dissonances which his later works in this genre would produce. This, after all, was the composer’s first foray into the medium, and about which he was disarmingly frank, as demonstrated by a brief comment he wrote, concerning the  opening as an “original exercise in the quartet form, not thinking about subsequently completing and releasing it”.  Gradually the idea took hold and he finished the work, though still disavowing any particular significance to the exercise, remarking further – “Don’t expect to find any special depth in this – my first quartet opus, In mood it is joyful, merry, lyrical. I would call it ‘spring-like’ ”. It seems that, after the tumultuous years of the composer’s persecution by Stalin and his lackeys over his opera “Lady Macbeth of the Mtsensk District” with what was termed its “formalist” tendencies, Shostakovich was taking refuge in a private, relatively untroubled world, even though he was not to revisit the string quartet medium for a further six years.

The work was first performed in 1938, by the Glazunov Quartet – the composer hadn’t yet established the rapport he was to find with the renowned Beethoven Quartet, to whom he entrusted the premieres of all of his subsequent string quartets except the Fifteenth and last, due to the sudden death of the Quartet’s cellist while preparing the first performance. Commentators have repeatedly described the early work in emotionally-detached terms, such as “divertimento-like” or “Haydn-esque”, indicating the “neutral” content of the undertaking, and whose ostensible purpose was to, literally, keep its composer out of trouble!

The opening sounds more like Borodin at the outset, a distinctively “Russian” ambience betrayed only by the occasional note suggesting a more acerbic strain – there’s a lovely, singing second subject on the first violin sounded over ‘cello glissandi, one which the ‘cello itself “grabs” for a moment of glory! The interchanges wear an almost self-conscious “carefree” air, the development insouciantly augmenting the harmonies and the recapitulation allowing the second violin and viola a “second-subject” variant, before the music poignantly turns for home, having spied out the land and found it ostensibly non-threatening!

A theme-and-variations slow movement in A minor was next, begun by Gillian Ansell’s smokily-toned  viola with a simple folk-tune, ‘cello pizzicati joining in, and then the violins taking up the melody a daintily-astringent half-a-tone higher – the viola’s “Wot’s all this, then?” return sparked a moment of angst before peace was restored by the violin’s open-hearted switch to an E-major rendition of the theme – I liked the players’ handling of the “same again but different” theme variants, and especially warmed to the limpid pizzicato accompaniments to the viola’s return, rather like meek lambs gathered up by their shepherd! Perhaps they could sense the third-movement arrival of some kind of wolf, though it’s really more spectre than substance, here, a spooky ride in constant motion, in the midst of which comes a kind of “lullaby” trio, followed by a blending of the two trajectories – great fun!

Afterwards, the finale takes us to the fairground for some  hi-jinks, the excitement becoming heady and more trenchant, almost “boys’ own” (oo-er! – very “thirties!”) in the second subject, with the vigorous themes becoming more determinedly expressionist and claustrophobic until problems are sorted out and brouhaha is satisfyingly brought back over the final bars. It seems obvious that, In the treacherous slipstream of Shostakovich’s scarifying experience with Stalin over his opera Lady Macbeth, writing this work had obviously felt like some kind of redemptive balm for the composer’s senses.

The concert’s third and final work brought its own particular distinction of novelty and interest to the proceedings – this was Edvard Grieg’s 1878 String Quartet in G Minor, described variously elsewhere as No.1 and No.2 (in fact the composer’s first attempt at a string quartet was lost, appropriately leaving the G minor in its “pole” position). The popularity achieved by the work encouraged Grieg to attempt a further string quartet in 1891, though he finished only two movements, leaving sketches for the final two, making  a couple of subsequent efforts  to finish the work but seeming to lack the inspiration to complete what he called “that accursed string quartet which constantly lies there unfinished like an old Norwegian cheese.” (A couple of attempts have since been made by other composers to complete Grieg’s sketches.)

Grieg’s inspiration, however, proved constant throughout the composition of practically the whole of the G Minor quartet – commenting after finishing the work that it was “not meat for small minds” and adding that “it aims for breadth, vigour, flight of imagination and , above all, fullness of tone for the instruments for which it is written”. It uses a kind of motto theme taken from the composer’s own song “Spillemaend” (meaning Minstrels or Fiddlers) about a water-spirit, the Hulder, who promises musicians great inspiration in exchange for their happiness, one which recurs throughout the work. Violist Gillian Ansell commented in her introduction on the work’s inspiration for Claude Debussy who wrote his own String Quartet in the same key ten years later.

The work has a big-boned quasi-orchestral sound right from its outset, a grand and imperious opening and a fleet and impetuous allegro to follow, featuring incredibly volatile playing, music that breaks off suddenly from whatever mood it inhabits to effect a contrast with another – Anna van der Zee’s playing and leadership throughout I found astonishing, her sweet, silvery tones readily augmented with energetic trajectories and trenchant attacks excitingly replicated by the other players. The movement’s dramatic ups and downs come to a head with a beautiful ‘cello solo that grows out of a tremolando passage towards the end before leading to an explosively vigorous coda.

Added to this, I thought the musicians gave the second movement simply gorgeous treatment – the opening uses a typically redolent “Grieg” melody (one which couldn’t come from any other composer), sonorously projected by Callum Hall’s ‘cello, before “bouncing” into an extraordinarily playful passage involving both pizzicato and staccato phrasings. Then the opening melody returns, the accompaniment this time investing the hapless tune with full-on “salon” treatment, charming in its almost “tea-shop-like” way. It’s then given a kind of Tchaikovsky-like balletic set of guises, before evoking parts of the latter’s “Serenade for Strings” in its acerbic-sweet final harmonies!

The Intermezzo that followed was a vigorously-swinging waltz-like piece, the players digging into those playfully-eyeballing syncopated chordings before gracefully giving way to more demure legato-phrased interactions. Even more delicious was the Trio section, with Grieg revisiting his “Cowkeeper’s Tune and Country Dance” manner to foot-tapping effect, and further spicing the mood with brief bouts of contrasting mania and introspection! All of this was brought off with relish on the players’ part and proportionally huge enjoyment on ours, further underlined by the sheer fun generated from the scampering coda!

Finales often bring composers trouble and anxiety, and there were places in Grieg’s finale where I felt his inspiration was bolstered more by the trajectories of the saltarello form which he had chosen, than any spontaneous melodic invention. Of course, composers are perfectly entitled to “step outside” their own native trajectorial languages and explore something exotic – one thinks of so many who have done so (Mendelssohn, Rimsky-Korsakov, Debussy, Ravel and Sibelius, to name a few, the last-named indulging in a “Bolero” complete with castanets in his Op. 25 Scenes Historiques music!) – but I can’t help feeling that Grieg was at his most inspired in the other, more ostensibly Scandinavian-influenced movements of this work, even if he puts up a good show in places! Still, a no-holds-barred kind of performance can be relied upon to do any piece of music the greatest justice, and that was what we got here!

After the high seriousness of the Lento introduction, with its canonic recitatives and great crunching chords, a “ready, steady, go” sequence from the players kick-started the finale in fine style! By turns vigorous and lightfooted, and alternating the dotted rhythms of the vigorous saltarello with more straightforward “running” passages, the playing’s impetus kept our sensibilities agreeably focused, apart from a couple of sequences featuring repeated rhetorical chromatic scale passages which briefly felt to me like “filler” and an ending which seemed to be looking for a grand finishing statement but didn’t quite achieve the sheer magnificence of, for instance, the composer’s Piano Concerto! However, in terms of incredible skill and sheer commitment, the players took us to what seemed like the music’s overall limits of achievability in grand style – and Grieg had already given us more than enough in the work as a whole to satisfy our pleasure at encountering what was a significant and remarkable creative achievement! (From where do I buy the CD, again?)

Hats off (well, hearty thanks, at least!) to Wellington Chamber Music – an inspired beginning to a richly promising 2025 season of music-making!

Delicious, profound and adventurous – an irresistible orchestral feast from the Wellington City Orchestra

Posted on by Peter Mechen


WELLINGTON CITY ORCHESTRA
Justus Rozemond (conductor
with Sophia Acheson (viola )

Nicolai –  Overture “The Merry Wives of Windsor”
Rachmaninov – Tone-Poem “Isle of the Dead”
Berlioz – “Harold in Italy” – Symphony with Viola obbligato

St,Andrew’s-on-The-Terrace, Wellington
Saturday, 5th April 2025

Concert viewed via video – thanks to Nick Baldwin (camera)
and Angus Webb (editing)

Thanks also to Rowena Cullen (Wellington CO President)

Review for Middle C by Peter Mechen

I’d seen this programme by the Wellington City Orchestra advertised, and was instantly drawn to its boldness, variety and colour, with three works owing nothing to one another but irresistibly drawn together by their very singularity and vividly-wrought panoply of contrasting human emotion. It’s the kind of programming to which orchestras that have a variety of music-directors can bring enterprise and exploration in the form of each maestro’s particular enthusiasms, and whose audiences benefit from such wide-ranging presentations.

So when circumstances conspired against my attending the concert I was delighted to be able to “catch up” with what took place via the kind auspices of Rowena Cullen, the Orchestra committee’s President, through a video of the concert made by Nick Baldwin and Angus Webb, from which I could write a “report” of the proceedings (as I was able to for the orchestra’s final 2024 concert under similar kinds of circumstances). In each case, what I’ve really liked about the results I’ve seen and heard is that along with the judiciously-balanced sound quality the film replicates a single audience member’s view of the concert, rather than the usual “from all-angles” viewpoints, so that one feels like a “bona fide” concertgoer rather than some kind of “voyeur” hovering about the ranks of the players, closely watching them activating their mouthpieces and fingerboards!

Where Otto Nicolai’s exuberant Overture to his opera “The Merry Wives of Windsor” brings together a veritable farrago of characters with engaging personalities and conflicting intentions making for a “spice-of-life” variety of interaction, Sergei Rachmaninov’s darkly-brooding, phantasmagorical tone-poem “Isle of the Dead” presents a bleak scenario of a solitary life’s journey reaching its inevitable conclusion at a forbidding and ultimately pitiless place of interment. No two cheek-by-jowl  presentation scenarios could have been more profoundly different!

In some ways, Hector Berlioz’s “Harold in Italy” is even more visionary in its uniqueness – a work for solo viola and orchestra which brings together both compositional ingenuity and idiosyncrasy with little more than quasi-Byronic characterisations by way of portraying the “adventures” of the music’s ostensible hero. In fact the Childe Harold of Byron is largely absent from Berlioz’s depictions of the chief protagonist, the latter being drawn largely from the composer’s own Italian experiences, however much he might have identified with the general traits of the poet’s title character. The work is a collection of scenes through which the traveller passes, bring to each his own, by turns, exuberant, poetic, introspective and downcast set of moods, with Berlioz’s firebrand inspiration setting even the touches of banality in the story alight! -are those indefatigable brigands, for example, perhaps having one round of carousing too many?

Whatever the conjectures regarding any aspect of these presentations, it seemed expectations were simmering when conductor Justus Rozemond stepped up to the rostrum to begin the afternoon’s concert with Nicolai’s “The Merry Wives of Windsor”. And what a beginning! – such a gorgeous opening paragraph to a work! – here were the first notes so magically “sounded” by the violins, the theme fulsomely so by the lower strings, and all repeated by the violins, staunchly but gently supported by the winds and the horns! It  brought the first signs of mischief afoot, with a perky theme tossed back and forward between the strings and the winds –  a couple of loose notes quickly tucked out of sight! – and then the fun began, with the gossipy exchanges between winds and strings building up a real head of steam – “He wrote what? – Look, it says so here! – the old rogue!” as the two  “Merry Wives” read the fat knight Sir John Falstaff’s fawning letters and resolve to plot his downfall! Some smartly brought-off quick-fire exchanges between instruments – “Are you ready? Here he comes! Quick, hide!” and the famous melody sings out, nicely “nudged” at its top note by the strings, and given plenty of sensuous “sway” by conductor Rozemond. The excitement knew no bounds as brass and percussion joined in, anticipating the fat knight’s downfall – and his entry was delicious, the music suddenly acquiring great girth and pomposity from the heavy brass (though I wish they’d kept those heavy accents going through all the unfortunate miscreant’s music!) as the object of the deception fled in shame when he realised his ruse had been thwarted – the music then repeated the sequences almost as before, though reintroducing the “big tune” (one of the world’s charmers, in my opinion) earlier, and with the brasses and percussion helping to celebrate the triumph of goodness and modesty over self-importance and connivance. All in all, It made a splendid opening for the concert.

To grimmer business, then, with Rachmaninov’s “Isle of the Dead”, his sombre evocation of a painting depicting the carrying of a body over water to its resting-place, the music a dark-toned barcarolle whose “wandering” 5/8 time suggests the steady rowing of the oarsman as the boat with its coffin and robed white figure neared a kind of “burial island”. This was an image which the composer first saw in a black-and-white reproduction in Paris in 1907, composing his “tone poem” two years later.  Rachmaninov himself conducted the work’s premiere in Moscow in 1909, and subsequently recorded the work with the Philadelphia Orchestra in America in 1930. Incidentally, the artist, Arnold Böcklin, actually made several versions of the work, all slightly differently detailed – and it’s fascinating to learn that Rachmaninov, on subsequently viewing one of the original colour copies of the picture, remarked that he would not have composed the work if he had seen the painting in colour!

I thought the performance by the orchestra a remarkably fine achievement – the opening sounds were steadily and remorselessly brought into play, Rozemond and his musicians conveying a proper “heaviness of spirit” and a sense of lamentation, steadily and patiently maintained. What the winds and strings were doing so well, the brass sturdily continued, helping to build up to the first of the work’s vantage-points, where the music briefly paused, muttered, sighed and exclaimed (lovely work by all concerned, strings, wind and brass, with the latter using their mutes superbly) before resignedly accepting that the journey ought to continue.

And so the lower strings rebegan their steady 5/8 rhythms with even more energy and purpose, building the columns of sound up steadily and impressively, with the brasses sturdily holding the top lines. The winds elaborated on the  repeated motifs, the brass moaned, and the strings had a short-lived moment of warmth before the “Dies Irae” melody made a sombre appearance on the cellos, sparking a response through the whole orchestra, the players putting all their energies into the theme, driving it upwards and outwards like an avenging spirit, and propelling the cortege to what seemed like its resting-place on or near the shores of the forbidding island.

The brass sounded the theme (superbly played), weighing down upon us with a kind of finality – but out of sheer desperation came a beseeching strain, a different, more human-sounding plea, led by the strings but coloured by wind and brass, one seeking solace and perhaps salvation from a certain quarter. Such was not to be, as the brass and wind tones rose from out of the orchestral panoply and brutally mocked any such supplications. This brought fabulously full-blooded playing from the strings, and was augmented at the climax by the winds and brass as the harsher realities of death delivered their judgement – one from which it seemed there could be no escape.

Perhaps the most telling sequence in the whole work was the aftermath of this crushing utterance  – a steady pizzicato from the strings, repeating the Dies Irae theme, various solo instruments sounding variants of the theme, and the entry of the solo violin playing an agitated tremolando version before ascending to join the winds – oboe and clarinet then linked to the brass, who sounded a kind of “Requiem” (so reminiscent of the last movement of Tchaikovsky’s “Pathetique” Symphony here!) – before the strings again took up the “rowing” 5/8 rhythm, decorated by descending winds, and with the lower strings playing a fuller version of the Dies Irae theme, locking its strains in our memory for all time, and leaving its last few notes floating in the fading ambiences of the scene – amazing!

After such an experience one imagined that the actual concert needed an interval for its audience to be properly revived!  Everybody having used the space accordingly, the concert’s second half could proceed…..at this point I need to confess to taking a while as a youthful listener to properly “get” Berlioz’s “Harold in Italy”, the last work on the programme. My first reaction to the work was somewhat akin to Schumann’s famous opinion of Chopin’s “Funeral March” Sonata, whose movements he described as “four of Chopin’s maddest children”. But a beautiful recording by violist Nobuko Imai with Colin Davis drew me afresh into the work’s magical realm – and so it was here with the playing of the soloist, Sophia Acheson, whose gorgeous tones encompassed sounds ranging from a beautifully-wrought self-communing meditation to places requiring full-throated energy and lyricism. However, the great violinist Paganini’s complaint about the work Berlioz had written for him – that there was too little for the soloist to do – certainly bears scrutiny, especially in the light of other concertante works that appeared at around this time, though the composer had never intended to (and never did) write a concerto in a conventional sense!

The work’s sombre opening found the conductor and orchestral players gently coaxing the music out of the void and into some kind of coalescence, introducing a minor-key variant of the melody in the winds that would come to dominate much of the work , with the lower instruments shepherding the lighter ones (the winds and upper strings) into being from their places, patiently and gradually painting a Mediterranean-like ambience into which the character of the wanderer could be introduced. It all came when the music’s key turned to the major, prompting solo viola and harp to speak together, with violist Sophia Acheson responding poetically to her harpist Anne-Gaele Ausseil’s beatific tones, and drawing out further responses from the orchestra, a sunnily-wrought statement of the theme expressed in heartfelt terms. The music took a quixotic turn, with the orchestra sounding fragments of the allegro theme which would dominate the first movement, and the soloist, hesitatingly at first, taking the same music up, and instigating a fascinating interplay between viola and orchestra – the theme was tossed between the participants with glee and gusto, the players handling Berlioz’s capricious demands with skill and perseverance, and bringing real elan to the build-up of excitement and culmination at the movement’s end.Sophia Acheson, Viola

Of the four movements my out-and-out favourite has always been the second, the “March of the Pilgrims”, music which so impressed Berlioz’s friend Franz Liszt he made a solo piano transcription of this movement alone to perform at his recitals, besides transcribing the whole work for viola and piano! It’s a wondrous soundscape of a kind of processional pilgrimage moving though all kinds of natural and man-made vistas – Berlioz wrote in his memoirs of observing “returning gleaners from fields singing soft litanies to the accompaniment of the sad tinkling of the distant convent bell”, which ties in with the music’s progress here being continually drawn onward by a bell-like sound (in a different key to the music that both the orchestra and the viola are playing – so magical and memorable an effect!). Over this evocative and varied wall of sound the soloist played her first movement melody, and other variants, including a sul ponticello (the bow on the strings close to the bridge) sequence of arpeggiated chords (Berlioz apparently liked to strum his guitar on his mountain walks!), all adding to the overall atmosphere. I would have liked the tempi a notch or two slower and dreamier in this movement, but this pacing brought a kind of “fervour” to the proceedings, which the ending beautifully dissipated as the repeated orchestral notes echoed and re-echoed the bell-like sounds after the pilgrims had disappeared, leaving the viola to make a final arpeggiated comment by way of a farewell.

After this the peasant revelries swung into earshot with the third movement, the winds attractively rustic-sounding at the beginning, with the cor anglais leading the way for the “serenade” section, matched by the oboe’s plaintive tones, as well as the horns, giving golden support.  The winds beautifully framed the soloist’s entry, and continued to decorate her figurations with all kinds of felicitous gestures – though the horns missed their footing momentarily, they made amends a few moments later with a similar passage sonorously negotiated. The dance resuming, a particularly beautifully flute solo towards the end of the movement, left the strings to usher the dancers off (the orchestral violas having a brief moment of quiet glory!), leaving the soloist pondering as to whether it was all a dream.

The finale began with a crash! – the music veered between gloom and frantic excitement as the soloist reprised some of the themes from the previous movements. The orchestra “caressed“ some of these fragments in partnership with the viola as if in a dream-like state (a particularly lovely sequence largely with the clarinets), but seemed unable to escape the “allure” of the brigands’ carousings (and driving the soloist from the platform as they did so!), keeping the incisive whiplash rhythms coming splendidly! It seemed everybody was caught in a kind of vortex of brigandish euphoria and largesse! – musically, everybody covered themselves with glory in embracing these bacchanale-like excesses, and especially during the over-the-top repeated passage for strings against snarling brass –  fabulous stuff!

Just when the brigands’ excesses had begun to boil over for a third time a deathly hush suddenly overtook the scenario – in the distance could be heard a reminiscence of the Pilgrim’s March (two offstage players) and at the back of the orchestra reappeared the viola soloist, appearing to join in with these sounds, but gradually overcome by the orchestra’s somewhat rogue inclination to rejoin the brigands!  Which they did, to brilliant and conclusive effect, the players giving out as if their lives depended on the outcome!

Kudos aplenty to all those people who played a part in both performing and bringing this concert into being – even on film I found it a totally involving and astonishment-provoking experience!  The thrill of witnessing a group of musicians literally playing their hearts out in tandem with one another has been a pleasure and, indeed, something of a privilege to witness. Again, congrats to the conductor and the players, to the sterling group of organisers and enablers, and, of course, the supporters, who gave well-deserved acclaim to these performances – by turns, delicious, profound and adventurous!

 

Shostakovich and Mozart – different kinds of intensities and delights at Roseneath’s Long Hall in Wellington

Posted on by Peter Mechen

SHOSTAKOVICH AND MOZART

Helene Pohl and Anna van der Zee (violins), Rolf Gjelsten (‘cello) and Nicholas Hancox (viola) play Shostakovich

DMITRI SHOSTAKOVICH – String Quartets – No. 11 in F Minor Op,122
No. 13 in B-flat minor Op,138
WOLFGANG AMADEUS MOZART – String Quintet in D Major K.593

The Chamber Pot-pourri Ensemble

Helene Pohl, Anna van der Zee (violins)
Nicholas Hancox, Julia Joyce (violas)
Rolf Gjelsten (‘cello)

SHOSTAKOVICH -String Quartet No. 11 (1966) – in memory of Vasily Pyotrovich Shririnsky
Introduction, Scherzo, Recitative, Etude, Humoresque, Elegy, Finale

String Quartet No. 13 (1970) – dedicated to Vadim Vasilievitch Borisovsky
(Quartet in One Movement)
Adagio, Doppio movimento, Adagio

MOZART – String Quintet in D Major K.593  (with Julia Joyce – viola)

The Long Hall,
Roseneath, Wellington
Saturday 19th April, 2025

This was the second 2025 “Comfy Concert’ at Roseneath’s “The Long Hall”, part of a benefit series to assist various charities, on this occasion spotlighting the inspirational Arohanui Strings (of which violinist Helene Pohl is the Patron), a visionary Sistema-inspired music-teaching organisation and registered charity based in Lower Hutt. Founded in 2010 by professional musician and El Sistema advocate Alison Eldridge in the belief that all children have a right to a music education, this programme has offered musical instruction to more than 4000 children in some of Wellington and Hutt Valley’s most economically challenged communities.

Though the concert may have been relatively short in performance-time, it surely made amends for any brevity-related aspersions in terms of “moments per minute”. Each of the three works displayed a distinctively wrought sound-world whose singular qualities nonetheless found common cause in their surety of utterance and burgeoning character. And what we heard throughout the afternoon was an “every note counts” quality for which musicians such as Helene Pohl and Rolf Gjelsten have earned unstinted renown over their quartet-playing careers to date, and which their colleagues, Anna van der Zee, Nicholas Hancox and Julia Joyce were readily able to replicate in partnership over the concert’s duration.

In an earlier “Chamber Pot-pourri Ensemble” presentation in this same venue a month previously, we’d heard another Shostakovich String Quartet, the Ninth, along with a new work by Chinese composer Gao Ping which was dedicated to Shostakovich’s memory to mark this 50th anniversary year of his death. On that occasion, the second violinist was Monique Lapins, and the violist Chris van der Zee. Given the remarkable variety of the quartets given thus far in this survey, it might be that Helene’s and Rolf’s necessarily pragmatic choices of colleagues for each occasion could arguably add to the music’s appeal, piquantly suiting the “living dangerously” aura around Shostakovich’s own creative efforts in general. Of course, by the time he had come to writing quartets the composer had ostensibly survived his most hazardous brush with the tyrannical Soviet leader Josef Stalin (specifically over the latter’s reaction to the opera “Lady Macbeth of Mtsensk”), and had since embarked on a series of works which he hoped would give rise to less scrutiny than his more “public” works.

By the time he came to write the aforementioned Ninth Quartet it was 1964, and the composer had appeared to have largely “broken free” from the constraints of a system that had told its creative artists how they should make their art. A Tenth Quartet was written in the same year, and the Eleventh was begun the following year. The latter was the first of a group named the “Quartet of Quartets”, and written for  the violinist Vasili Pyotrovich Shirinsky, a member of the Beethoven Quartet, the ensemble  to whom the composer came to entrust the premieres of all of these works right up to the Fourteenth Quartet. Shirinsky actually died before the work’s completion and the remaining players had seriously considered disbanding the quartet – however Shostakovich had argued for the group to continue, as he maintained the group had “acquired the status of a national institution”.

Rolf Gjelsten introduced this work, commenting most tellingly that it was “great string quartet music which created powerful effects”. The work consisted of seven closely-connected (all marked attacca) miniature movements, beginning Andantino with a short, rhapsodic violin solo, here, beautifully-focused throughout all its appearances by Helene Pohl – answered and echoed by her colleagues, largely expressing a kind of calm acceptance, briefly spliced by a “wrench of agitation” but returning to an integrated kind of poise. The first violin moved things along with the Scherzo – a repeated-note theme, played more legato than pointed and playful, followed by the viola and ‘cello, “dug in”, and with occasional stinging upward glissandi! Together, the violins gave the motif a sinister element by beginning the phrases in fourths, “worrying” the notes insistently – after this all died away, the players suddenly “attacked” the Recitative, with stinging opening sounds, and dissonant resoundings, briefly playing some uncannily ambient “Vaughan Williams-like” contrasting harmonies before returning to the opening, though letting the “stinging” attacks gradually disperse.

Again, the mood suddenly changed with the “Etude”, the solo violin embarking on a sinuous whirling-dervish episode, to which the other players reacted  almost dreamily at first, but then almost grotesquely as the solo violin intensified its flailing attack, the others enacting a kind of drunken sailors’ dance, before anarchy broke out, with the ‘cello joining the fray, as if possessed of its own accord! Out of nowhere, it almost seemed, came  the Humoresque, with an urgent, warning-like two-note ostinato-like figure from Anna van der Zee’s violin, to which both violin and viola took fright (Nicholas Hancox’s viola matching Helene Pohl’s violin in sheer ghoulishness of tone) – such transfixing sonorities made it seem as if we had taken a brief but scarifying turn into a Little Shop of Horrors!).

The Elegy brought sense and feeling to the proceedings in spadefuls – ‘cello and viola first dark and sombre, but still sonorous  and affecting, then the second and afterwards the first violin returning us to daylight, their sounds emoting like prisoners from dark places espying light. And so the Finale was on us, with the players teasing out by turns the work’s past themes, the process filled with conflicting emotions as the memories returned on the various instruments, and ending with Helene Pohl’s violin reaching the work’s final high C with a variously pre-constituted sense of fulfilment….

Aptly chosen as a companion-work for this concert was the similar-but-different Thirteenth Quartet, of roughly an approximate length though differently constituted, having a single movement, albeit with contrasting episodes – an ABA structure similar to Bartok’s Third Quartet. It’s dedicated to the Beethoven Quartet’s violist Vadim Vasilyevich Borisovsky, who had just retired, leaving his replacement Fyodor Druzhinin to take part in the premiere in December 1970. Shostakovich was by then a sick man, having suffered a heart attack shortly after the Eleventh Quartet’s premiere in 1966, and was receiving treatment throughout 1970 at an orthopaedic clinic – the new work’s largely pessimistic outlook stems from his awareness of approaching his life’s end. It’s reinforced here by a late inclusion in the outer movements of some of the composer’s music for Grigori Kozintsev’s film “King Lear”, originally conceived as “Lamentations” for a string quartet.

In introducing the work Helene Pohl made mention of the remarkable “jazzy” elements in the second part, quoting the composer as saying  to somebody “I’ve written a short little quartet – with a “joke” middle!” – a sequence which another commentator had, I read, characterised as “a jam session from Hell”, and which came across as a grim “dance of death”, the composer joining forces with his great predecessor, Musorgsky, in regard to the latter’s “Songs and Dances of Death”.

Appropriately, it was the viola which began the work, a sorrowful solo with others joining in– bare, astringent sounds  with occasional dissonant note combinations. The players took their time, with the violin taking the lead working up to a “crying  out” sequence with the second violin, and encouraging the viola and ‘cello to join in. When the meditative tone resumed I caught a further reminder of a bleak “Vaughan Williams” voice in the harmony, along with the unsettling half-tone dissonances.

Helene had demonstrated to us the repeated-note phrase that began the more volatile middle section, emphasising for us its mournful rather than playful character with more legato-like phrasing. The murmuring lines from the others developed into harsh, stabbing chords set against an angular descending seventh figure from Nicholas Hancox’s viola – which in turn lead into a wonderful, once-repeated “augmenting” chord, the instruments joining in stepwise, punctuated by the repeated-note figure, and the viola’s falling-seventh declamations!  – jaw-dropping stuff!

What developed next seemed to me almost Dada-like! – a viola tremolando, pizzicato figures from the others, and rapid-fire exchanges of the same activated the ‘cello with Rolf Gjelsten giving us a “grooving-along” kind of running jazz pizzicato, prompting the violins into a “cool” dotted- rhythmed note pattern to which the players occasionally beat the wood of their instruments with their bows in syncopated strokes! – these jazzy, syncopated rhythms proceeded to “fight” against mournful, downwardly-sighing  lines from the viola, which grew to resembling a kind of all-out aerial attack on the scurrying inhabitants below! – all so visceral and palpable!

Violin pizzicati provoked a full-blooded response from the cello, whose  mournful lines eventually prevailed against the jazzy rhythms,  with murmuring lines gathering to subdue the ground zero activities and establish an uneasy, ghostly, tremolando-like calm – a couple of  bleak pizzicato repeated-note whimperings from the violin stimulated another startling, though short-lived  outbreak of the repeated note pattern before it too gave up the ghost. All of this was thrill-a-minute stuff, brought into being with an immediacy that, especially in such unprepossessing settings, simply took the listener’s breath away!

Out of the thicket emerged sighing violin lines and trenchant ‘cello responses, with the violin ascending heavenwards in search of some form of redemption/oblivion, its companions resonating in support, the exchanges again briefly sounding that distinctive “Vaughan Williams” ambience that brought to my mind the latter’s Sixth Symphony – most affecting! Then came the viola’s solo, augmented by cadaverous tappings from the second violin – after which the viola continued, joined by the first and second violins in an extended B-flat which slowly burgeoned towards a piercing climax.

Julia Joyce (viola) and the Chamber Pot-pourri Ensemble play Mozart

The intrinsic greatness of Mozart’s music would, of course, have easily survived a cheek-by-jowl placement with these twentieth-century goings-on intact, but the interval break was nevertheless appreciated at that point! It did give one the chance to ponder what we had heard in relative isolation, and especially apposite given the cultural “head start”  enjoyed by an eighteenth-century classic work when pitted against a later “arrival”. I had enjoyed my own particular “first encounter” with Mozart’s K.593 many years ago, courtesy of a fellow bus-driver I befriended during my “mis-spent youth” period of exploration! This particular individual was a Rastafarian-like figure, complete with dreadlocks! – one who completely belied his appearance by frequently conversing with me about art, literature and music, and ultimately making a present for me of a recording of two of the Mozart Quintets in question, one of which was K.593 (and which he himself adored!).

It was a “head-start” of sorts for me with this work, of course, which I grew to love all the more – and on a later, box-set pressing of the same recording (the stereo Amadeus with Cecil Aronowitz)  I also got to know the “alternate version” of the finale’s opening, the phrase written chromatically, rather than in stepwise fashion, and which is now recognised as the “authentic” opening – Helene Pohl pointed this out, playing both versions for our delight, though stopping short of proposing an “audience vote” on the matter!

It was one of a number of delights associated with this performance, another being Rolf Gjelsten’s engagingly individual way with the ‘cello phrase that began the work, repeated in different keys in ways that made the player on my Amadeus recording sound relatively po-faced and non-commital! Also, I’d never before properly “connected” this episode with the music of Haydn, despite owning recordings of things like the “Drum Roll” and “London” Symphonies for years and years, works with similar kinds of slow introductions, and with the same returning at the end of the opening movements! And finally, the presence of the NZSO’s principal violist, Julia Joyce, in the ensemble gave the performance a wonderfully “burnished” glory of exchange, particularly evident in the slow movement, with its frequent conversational violin/viola passages – all very theatrical, as well, I thought, with the tuttis bursting almost to full with expression.

A quickly-flowing Menuetto followed, less about “beats” and more about emotion ”flowing like oil”, as the composer would have said, and, with the Trio, a showcase of ascending arpeggios, a veritable welter of them on at least two occasions, both collegial and celebratory. As, of course, were the wry interlockings of the finale’s workings, where the sheer contrapuntal elan of the writing becomes an “Anything you can do” kind of musical feast with an “Of course!” series of  rejoinings, the exhilaration of matching knife-edged impulses and resplendent tones a glorious display, and one for all of us to savour and remember for a long while to come.

Good Friday 2025 – music of sorrow and resolve, from the Tudor Consort

Posted on by Peter Mechen

MEDIA VITA – Music by BYRD, GIBBONS, SHEPPARD, TALLIS and WEELKES
The Tudor Consort, directed by Michael Stewart

                                                                                                                                                                                               Michael Steward and the Tudor Consort at Wellington Cathedral of St.Paul  (photo: Cassandra Wang)

ORLANDO GIBBONS – O Lord, in Thy wrath
THOMAS WEELKES – Laboravi in gemitu meo
THOMAS TALLIS – Lamentations of Jeremiah I & II
WILLIAM BYRD – Plorans plorabit
JOHN SHEPPARD – Media vita in morte sumus

The Tudor Consort
Sopranos:  Geneviève Gates-Panneton, Lydia Joyce, Erin King, Jane McKinlay, Rebecca Stanton,
Chelsea Whitfield
Altos:  Christine Argyle, Andrea Cochrane, Alexandra Granville, Helene Page, Kassandra Wang,
Alex Woodhouse-Appleby
Tenors:  Joshua Long, Philip Roderick, Richard Taylor, Axel Tie
Basses:  Brian Hesketh, Joshua Jamieson, Frazer MacDiarmid, Matthew Painter, Keith Small,
Thomas Whaley

Wellington Cathedral of St. Paul, Molesworth Street
Friday 18th April (Good Friday) 2025

What a joy to experience in the here-and-now music written hundreds of years previously with spacious acoustics and worshipful ambiences in mind as spectacularly presented by Wellington’s Cathedral of St. Paul, in Molesworth Street! In fact, the capital boasts a number of churches whose qualities would present a similar-but-different interplay between atmosphere and clarity of sound to that which we enjoyed on this occasion – but for sheer ambient beauty, the sounds made on this occasion by the Tudor Consort voices here in Wellington Cathedral would be hard to beat.

Tudor Consort Music Director Michael Stewart welcomed us to what he obviously considered something of a time-honoured ritual for all concerned, an Easter Concert, with repertoire chosen from the incredible storehouse of music written over the centuries for this particular occasion in the liturgical year – a tradition begun by a previous Consort Music Director, Alastair Carey in 2002, and continued by Stewart since his appointment in the role in 2007.

The two “flagship” works in the concert, Thomas Tallis’s two-part Lamentations of Jeremiah, and John Sheppard’s Media vita in morte sumus obviously gave each of the “halves” a singular kind of distinction and dominance through their sheer physical scale. Though the accompanying works by Orlando Gibbons, Thomas Weelkes and William Byrd were obviously of more modest dimensions their qualities unerringly took us into the ambient performance arena and suitably honed our receptivities for dealing with the more extended and complex works that followed.

Orlando Gibbons’ anthem “O Lord in thy wrath” opened the programme exquisitely, the tones beautifully balanced and the lines effortlessly shaped, with telling layerings in places like “Have mercy on me, Lord, for I am weak”, and “My soul is also sore troubled”. The final two lines further illustrate the singers’ control of emphases, the line “how long wilt thou punish me?” insistent, and the following “O save me for thy mercy’s sake” expiating the tones with heartfelt sensitivity. By comparison, Thomas Weelkes’ setting of different words from the same Psalm 6 seemed more insistent in its sorrowful reflection on the human condition. It seemed like a lament without solace, tapestried with constant lamentings, snow-capped by a gorgeous but insistent soprano line which drew others upwards to empathise and fall back again, the undulations wrapping around one another, simpatico, and taking some comfort in blending together and sharing sorrows in this vale of tears.

I’d heard both of the following pieces by Thomas Tallis and John Sheppard on recordings beforehand so I knew something of what to expect, taking particular comfort in the visceral collegiality of voices expressing (particularly in the Tallis work) remarkably apposite observations and feelings in a world that’s presently echoing in so many places and ways the strife and accompanying distress of the prophet’s visions. And of course, amid the consolations afforded by music of such beauty in places comes the agonising thought of the suffering being more present-day than prophetic, and the extent to which we can sublimate in art such agonies while people in places like Gaza, Sudan, and Ukraine most ostensibly have no such recourse. The horrors of history are difficult enough to bear without having to witness and cope with wilful re-enactments of the same taunting and defiling any such attempts to stimulate awareness, resolve and resistance to such forces through art’s most heartfelt efforts.

Tallis’s Lamentations of Jeremiah are in two parts, and demonstrate with disarming directness an extraordinary range of contrasts of mood and feeling, the settings incorporating titles and headings of different verses of the texts, the latter using the Hebraic names for letters and weaving these names into the otherwise Latin text. So we hear the Hebrew letters “Aleph” and “Beth” in Part One, each given an ornate but emotionally neutral ambience before “easing” or else “plunging” into the actual texts, releasing the listener from the intensities of each verse setting with whole breaths of relative space and re-alignment.

As with the transition from the overall tranquility of the “Aleph” settings to the obvious surge of tone from the tenors at Quomodo sedet sola civitas,  these progressions into text can happen seamlessly, or be underlined by pauses, such as that separating the following “Beth” from Plorans ploravit in nocte.  Amidst the beauty of the singing I wondered whether phrases such as Omnes amici ejus spreverunt eam (all her friends have dealt treacherously with her), here delivered more in sorrow than in anger, were as forceful as what Tallis might have intended – certainly, the concluding Jerusalem, convertere ad Dominum Deum tuum (Jerusalem, return to the Lord your God) expressed here to numbing perfection a quietly beseeching tone!

I was struck all over again by the sheer storytelling capacities of the sounds created by the ensemble when Part II of the Lamentations began – having completed two “chapters” of the text we were about to be regaled with no less than three more, with the beauty of utterance putting a listener like myself in mind of a further “unlocking” of a precious casket of treasures. After the splendid “Ghimel” opening, there seemed more insistence and urgency in the interlocking parts, the sopranos arching their phrases heavenwards with plenty of expressive purpose (and especially in the final nec invenit requiem.) The brief “Daleth” introduction to the central verses brings the ear-catching variant of fewer voices for the opening Omnes persecutores emus which builds into an impressive ensemble; and in the following “Omnes porta eius destructae” follows an even more dire scenario with repetitions of the words oppressa amaritudine (bitter anguish) at the end.

The exquisitely architectural “Heth”  preluded the grimmest of the prophet’s foretellings, the tenors forthright with the opening Facti sunt hostes ejus in capite (Her foes have become her masters) and the other voices following suit, obsessively so with the words multitudinem iniquitatum ejus (the multitude of her transgressions). And how affecting did the voices make, firstly, the phrase Parvuli ejus ducti sunt (The children were led away), and then the final, quietly and almost desperately penitential murmurings of the same “Jerusalem” entreaty which had concluded Part I, and here returning with deeper finality.

A smaller ensemble tackled William Byrd’s Plorans plorabit, (incidentally, extending the phenomenon of political subversion in music) with its sombre message to the King of the time (James 1) that the “crown of (your) glory” was under threat! Otherwise its relatively tighter and more integrated sound-picture was to make all the more stimulating and telling a contrast with what followed afterwards. In fact Michael Stewart could scarcely contain his excitement at the prospect of performing this, the concert’s “signature” work – John Sheppard’s antiphon Media Vita in Morte Sumus, regarded as “supreme” in the composer’s output by scholars and performers.

A good deal of discussion has accompanied the work’s more recent history, which Stewart made a passing reference to before leaving it up to us to make our own researches due to the complexities of different editions and attitudes towards the work, though commenting that its impact and magnificence would be self-evident for the listener.

For the work’s certainly become something of an icon in its own singular world of choral music as a result of several factors – its unclear raison d’etre (thought by some to be a memorial for the composer’s first wife), its equally mysterious genesis (no copy exists of the composer’s own score, its survival due to the partbooks used to reconstruct the original in the late 1570s), and its inordinate length in early versions which sought to perform all the polyphonic repeats, a practice which certain newer editions have sought to modify, not by shedding any actual music but limiting the number of repeats of material in performance, as well as changing the order of some of the sections – the place of the canticle, the Nunc Dimittis, for example.  Applying such an approach to extremes would halve the time  some earlier performances might have taken, though Stewart had suggested to us in his pre-concert talk that the Consort’s approach would not be of such a radical order.

At a tempo which readily suggested the celestial movement of unearthly bodies orbiting some distant star, this music’s performance, with its breathtakingly stratospheric soprano line, transported our sensibilities to realms of awareness and imagination far removed from our accustomed realms of being, contemplating an eternal vision which inspires as much fear as longing – Media vita in morte sumus – (In the midst of life we be in death) and contemplating our helplessness at such a prospect at Amarae morti ne tradas nos (- the bitter pains of eternal death) – how readily, to my ears, amid the melismatic Sancte Deus and Sancte fortis, did the soprano lines evoke a distant echo of the yet-to-be-composed Miserere of Grigorio Allegri!

Into this void came the plainchant, given the theatrical treatment of alternating one voice, one section of the voices for the first part of the chant, and then including in the response at the Gloria Patri, the whole choir – if a “time stood still” moment was what was required, then the timing, tonings and placement of the voices was well-nigh perfect in its effect. The resuming of the antiphon maintained the darkness and solemnity of the Nunc Dimittis throughout the following Ne projicias nos (Do not cast us away), during which the radiance of the sopranos was absent with telling sombre effect, and having all the more radiance and candlepower on their return with a repetition of the Sancte Deus/Sancte fortis sequences.

Again the sopranos withdrew at Noli claudere aures tuas (Do not close your ears), with the earthier tones of the lower voices stressing the penitential tones of the suppliants – the more celestial tones take up the text Sancte et misericordis Salvator (O holy and most merciful Saviour) – but even more enchanting was the beautiful, Qui cognoscis occulta corda (You who know the secrets of the heart)  begun by those wonderful stratospheric voices which had given the work so much of its essential character – and together with the altos were what my ears seemed to tell me were the men joining in towards the piece’s end. By this time my sensibilities were drunk with the beauties and intensities of what I’d heard and my notes had begun to resembled mere scribblings of transported emotion, well-nigh indecipherable, as all transported emotion should be! Thankfully, wherever I’d been taken by this piece I did manage to reconstitute my senses sufficiently to get home, since which time it’s all been playing in my head demanding a semblance of order and continuity which has taken time to fall into a kind of coherence! Apart from the supercharged transcendentalism of the ending, I can vouch for my presence of mind during some of it. and thus hope enough of my reminiscing  of the journey makes sense!

 

 

Musical Prodigy Night for Orchestra Wellington

Posted on by Peter Mechen

Orchestra Wellington presents “PRODIGY”

Georges BIZET – Symphony No. 1 in C Major
Felix MENDELSSOHN – Violin Concerto in E Minor Op.64
Dmitri SHOSTAKOVICH – Symphony No. 1 in F Minor Op.10

Amalia Hall (violin)
Marc Taddei (Music Director)
Orchestra Wellington  (Peter Clark – acting Concertmaster)

Saturday 12th April, 2025
Michael Fowler Centre
Wellington

(pictured at right – Georges Bizet, Felix Mendelssohn-Barthody, Dmitri Shostakovich)

Orchestra Wellington spectacularly lived up to its long-established reputation for innovative concert programming with the first presentation in its latest series “The Dictator’s Shadow”, one doing rich justice to the youthful creative achievements of the Russian composer Dmitri Shostakovich, whose fiftieth anniversary is being celebrated world-wide this year. This opening concert showcases Shostakovich’s remarkable First Symphony, written during 1925 while still a teenaged student at the Leningrad Music Conservatory, and achieving a sensational success, both at home with its Leningrad premiere (May 1926)  and abroad, with the work receiving performances as far afield as Berlin and the United States the following year.

As a concert in itself, the scheme based on the idea of “Prodigy” could hardly have done better, even if any of the last three of the teenaged Mozart’s Violin Concerti could just as easily (and appositely) have been substituted for Mendelssohn’s famous E Minor Op.64 work as a vehicle for the gifted Amalia Hall to play – I must sneakily admit that I, for one, would have relished even more the opportunity to hear her play any of those last three Mozart masterpieces!). Still, the idea of using the Mendelssohn work (apart from the happy availability of such an accomplished soloist) was to bring to notice the composer’s own prodigious creativities with earlier works such as the Octet and the Overture to “A Midsummer Night’s Dream”, both of which were completed during Mendelssohn’s teens.

To complete the picture there was no happier way of demonstrating a young composer’s talent, inspiration and versatile technique than presenting the youthful (1855) Symphony of Georges Bizet – and though there were only the merest touches of greatness approaching the order of “Carmen” or “Les pêcheurs de perles” in this seventeen year-old’s enthusiastic concoctions of youthful endeavour, the overall impression of the music is that of a nature by turns vivacious and dreamily melancholic, equally at home in the town or the country, as portrayed by turns, in the various movements.

Marc Taddei’s spirited direction appropriately bounced the opening along, the high-spirited trajectories providing a lovely foil for the plangent beauty of the oboe’s floating second-subject lines soaring above the strings undulating patterns, then playing with the fanfare-like figures which frame the more lyrical sections, and the horn calls that both introduce and bid farewell to the movement’s development. After this, the slow movement’s dreamy, somewhat quasi-oriental meanderings were hauntingly voiced by the oboe after the most enchanting of openings (where did the young genius conjure up this mood from?) had been brought in by the strings. Just as engrossing was the ensuing string fugato with which the oboe then adroitly wove a reprise of the opening melody – had Robert Schumann been alive to hear this sequence, he might have uttered a judgement to rival his famous appraisal of one of Chopin’s youthful words many years before –  “Hats off, gentlemen – a genius!”.

I’ve always loved the Trio section of the charmingly rustic Menuetto-Scherzo which follows, not least because of what I’ve always thought was Bizet’s “gently poking fun in a Beethoven-like way” gesture at the wind players who have the Trio’s melody and repeat it a fourth higher at Fig.8 (in my score). Oboe and clarinet on all the recordings I’ve heard except for one play a delightfully astringent-sounding B-natural in that phrase instead of a B-flat, perhaps to indicate (as Beethoven did with his village band music in the “Pastoral” Symphony), that the players might not be fully up to the music’s demands! Here, I seemed to hear (if my ears were serving me correctly), that the wind-players were playing a B-flat, which of course sounded a lot more mellifluous, but not nearly so tangy and rustic! I have, as I’ve said, recorded evidence for both versions being acceptable, but I do wonder what the composer ACTUALLY wrote!

The finale was an exhilarating, momentum-plus performance, Taddei and his players bringing out the music’s fleet-fingered energies in a toe-tapping way, but giving attention to the shapes and trajectories of the melodies as well, contrasting the “perpetuum mobile” of the opening with the grander, more ceremonial second theme, and a more sinuous refrain, a more vulnerably human, song-like tune with which to “people” the soundscape (the “melodic gift” already strongly in evidence in the young composer!)

Oddly enough Bizet seemed to never give the work another thought as an entity, confining his interest to “cherry-picking” bits of it for use in more “serious” works, such as the opera Les pêcheurs de perles and his music for the play LArlesienne. Thanks to the French musicologist Jean Chantavoine who in 1933 published an article regarding the work’s existence, the symphony came to the attention of the conductor Felix Weingartner, who gave the work its belated premiere performance in 1935, earning for it a “wunderkind” status in league with the efforts of Mozart, Mendelssohn, Rossini and Shostakovich.

But next was Mendelssohn – and if the work chosen this evening was definitely not a “wunderkind” work in terms of years, it still evoked memories of hearing for oneself at another time those two outrageously precocious pieces which have for all time identified their then teenaged composer as one of nature’s creative marvels, the Octet for Strings and the Overture to “A Midsummer Night’s Dream”. This was the E Minor Violin Concerto, for many listeners the work that epitomises the romantic instrumental concerto with its manifest qualities, and one for which tonight’s soloist. Amalia Hall (the orchestra’s regular Concertmaster), seemed a near-ideal choice as its performer.

I’ve certainly not heard a more silvery-toned performance, one whose gossamer finish seemed in places almost unearthly, especially so in the rapid figurations when the notes seemed to “spill out” from the instrument like stardust from a comet arching across a firmament, with the couple of minor intonation stresses deserving the description (coined by a similarly entranced commentator in another, different context) “spots on the sun”. One might also occasionally have wanted a shade more tonal projection in places from the soloist; but to look for something different would be to besmirch the magic we were fortunate to find ourselves caught up in on this occasion  – and so we contented ourselves with the integral state of things as part of the excitement and wonder from both soloist and orchestra.

The music itself is too well-known to annotate at length – enough to say that the musicians here aptly probed the “character” of each of the work’s movements,  filling the ambient spaces with appropriately vibrant tones and gesturings across the instrumental spectrum, More of a dialogue than a contest throughout, the interaction between Hall and her conductor and players transmuted the first movement’s questings, proposings and              bargainings into concordance with the enticing sweetness of the slow movement’s exchanges before giving the exuberance of the finale its head,  violinist, conductor and orchestra revelling in the freely-shared elation of the work’s full expression.

Our readily-wrought appreciation of Amelia Hall’s playing was further enhanced by an encore item she performed with Peter Clark, her stand-in this evening as Concertmaster. This was a duo written by the Polish composer-virtuoso Henryk Wieniawski, his Etude-Caprice Op.18 No,4, in which the playing of both musicians was as remarkable for its delicacy and finesse as for its brilliance – a true sweetmeat of a bonus!

Casting about for ways to characterise the very “two different worlds”  kind of ambience which grew straightaway from the sounds of Dmitri Shostakovich’s singularly remarkable First Symphony, one has to find words for a “new era” of expression – and in this case, one with something of an almost hallucinatory quality in its music’s rapid-fire contrasts of atmosphere, outlook and motivation. One learns with no surprise that the composer spent much of this time earning a living as a cinema pianist, developing in the process a kind of penchant in his music for rapid movement and change, the introduction of disparate elements, and an almost expressionist delight in their surprising interactions.

These thoughts summed up something of the story of the Symphony’s first movement, presented here by Marc Taddei and his players with, in the wake of the concert’s first-half respectabilities, almost mind-boggling aplomb. It’s all superbly etched in, with the changes of pace and mood here nonchalantly and there explosively registered (though clearly articulated, whatever the voice), and the overall energies of the transitions driving one’s sensibilities on until reaching the droll  “did we dream you or you us?” fragments of out-and-out wonderment at the end that had previously tumbled past us all through the plethora of incident carried by the music.

By contrast, the second movement was here kept constantly and brilliantly on the move, either in a helter-skelter or a trance-like, sleepwalking kind of trajectory, each of which abruptly changed as if Shostakovich was  following a private movie-showing (here, Rachel Thomson relishing her occasional “cinema-pianist” role with gusto!). Or, perhaps, we were being asked to reimagine something grimmer – sequences of flight and agitation followed by funereal processions over desolate battlefields still resonating with crushing piano-chord hammerblows……

The music’s Lento mood darkened and deepened, with Taddei drawing from his players a remarkable soundscape of sorrow, with beautiful oboe and ‘cello-playing, taken up by the horns and strings, the repeated portentous brass call heightening the mood of tragedy – the performance brought out the music’s potent “funeral oration” character, moments of harshly unfettered despairing alternated with bleak, desolate voices, anticipating the Shostakovich of the great and harrowing symphonic adagios to come!

And so to the fourth movement, begun with a snare-drum crescendo which seemed at first an isolated, even fatuous gesture of promise, but which planted a rebellious seed in the Lento that returned, bearing its brass, wind and cello musings – suddenly, trumpets and lower strings were igniting the clarinets and upper strings, and whirling us away on a kaleidoscopic journey of contrasts too numerous and varied to fully describe,  but remarkable to experience in a single span of time! There seemed nothing which daunted these players and their valorous maestro – we were transported from the music’s deep recesses of gloom to its near-frenetic expression of exhilaration as the composer’s “end-game” imaginings were given their head in this engrossingly unpredictable but ultimately edifying ride!

If Orchestra Wellington continues to delight us with anything like the same adventurous spirit, emotional engagement and instrumental brilliance as we heard in this first “The Dictator’s Shadow” concert, the remainder of the series will, for me, be well-nigh unmissable! Full marks to all involved for such intelligent and innovative programming and for the sheer elan of execution (oops! – that word just slipped out, Comrade! – sorry!) of some glorious music!!