Author: Rosemary Collier

Two former schools chamber music contest winners return in international roles

Posted on by Rosemary Collier

Chamber Music New Zealand

Alwyn Westbrooke: “?”, or: Why Gryphons Shouldn’t Dance
Ravel: Trio in A minor
Schubert: Piano Trio no.2 in E flat, Op.100, D929

Saguaro Trio (John Chen, piano, Luanne Homzy, violin, Peter Myers, cello)

Wellington Town Hall

Wednesday, 3 August 2011, 7.30pm

It cannot be too often that two young people who both played in the Schools Chamber Music Contest in the same year appear on the same top-flight CMNZ tour merely ten years later, one as pianist and the other as composer.

Yet that was the case in this CMNZ programme in Wellington, part of a tour of ten centres in New Zealand, to be followed by a five-city tour in Australia. In the local tour, the Saguaro Trio will perform in both the Taranaki and the Christchurch Music Festivals (good on Christchurch for going ahead with their Festival!)

The Trio has had great success since it formed in 2007, the very next year winning competitions in Japan, and in the USA, where all three were then based, and an important competition in Hamburg, where all three now live, in 2009. (The photograph in the CMNZ subscription brochure for this year shows a different cellist.)

In the Hamburg contest, eight different trios were required to be played – a very demanding programme. On this tour, six different works are being performed.

The work by Alwyn Westbrooke, who was a student at Burnside High School in Christchurch when he had success as both composer and performer in the Contest, and uniquely won both the performance first prize (as a violinist with his quartet) and the composition prize, was a commission by CMNZ. Its composer heard it for the first time at the beginning of this tour, in Invercargill.

His work opened the programme. It came over as an experiment in sounds, but with coherence. The word ‘beauty’ does not come to mind, however. Various unusual techniques were applied to the string instruments. I thought ‘There must be some plucking of the piano strings soon’, and sure enough! It seems to be obligatory these days. There was extraordinary playing from all three performers, but especially from John Chen. However, I did not find the work engaging.

The Ravel trio has a very gentle, vague opening, evoking thoughts of ‘Where are we? What key are we in?’ It received strong yet subtle playing. The delicious reverie, particularly in the piano part, summons idyllic thoughts and images. This movement calls on Basque folk dance, and evokes a mysterious atmosphere. As the programme note put it “…a wistful movement… dominated by rhythmic fluctuations and hypnotically shifting harmonies.”

The second movement was quite lively and exotic, yet enchanting. Then came the more contemplative Passacaille third. It was played with fluidity, fluency and finesse. It even became solemn, with use of the lower register of the piano. The final movement gradually livened up – but this is predominantly a mellow, graceful work.

These performers demonstrated first-class balance and blend. Their ensemble was near-perfect in timing, intonation, dynamics, expression and interpretation. Only a couple of times towards the end of the final work did I hear a couple of rum notes.

In the Ravel work the strings tend to work as a pair. The Canadian violinist was a semi-finalist in the Michael Hill Violin Competition in New Zealand last year; both she and the American cellist had thorough techniques and grasp of the music, but both were undemonstrative performers. The deft, accomplished playing of the whole trio made it clear why they had won in Hamburg – and why there was no second place-getter to rival their achievement.

However, the pianist has probably the greater say in the Ravel trio, and John Chen’s playing had assurance yet sensitivity.

Like all of Schubert’s major works the Trio in E flat is quite long – and quite delightful. It is full of fertile melodies and lovely harmonies. Its mood is happy, sombre and exultant by turns.

Listening to the Saguaro Trio, one would think that they had been playing this music together for years, and it reminded me of hearing the great Beaux Arts Trio play it in Wellington years ago; it left a permanent impression. (Menahem Pressler, the pianist in that group, was chair of the judging panel at the Hamburg competition that the Saguaro Trio won.)

A fiery, passionate, yet at times romantic allegro opens the work. ‘…Schubert managed to achieve balance between the instruments, never allowing the piano part to dominate’ as the writer of the programme note said; the performers achieved this equality.

The andante second movement opens with a sombre cello them which is then taken up by the piano; here and elsewhere in the movement the pianissimos were gorgeous. The vigorous scherzo is partnered by a chorale-like trio, of much heavier mood and expression, then the cheerful, extravert finale arrives, thoughtful as well as animated. It returns to the melody of the second movement, played lyrically with rich, sonorous tone by Peter Myers.

The Saguaro Trio is a consummate ensemble; a combination of superb musicians in complete accord. I will be most surprised if they don’t hit the ‘big time’ quite soon.

There was a reasonably good house, but I thought there would be more people come to hear well-known New Zealander John Chen play, and to experience the interesting programme. It was pleasing to see a considerable proportion of young people attending; appropriate, since the players themselves are all young.

Felix the Quartet’s inspiring concert at Waikanae

Posted on by Rosemary Collier

‘Beethoven Inspirations’:
Beethoven: String Quartet in C minor, Op.18 no.4
John Psathas: A Cool Wind
Beethoven: String Quartet in F, Op.59 no.1

Waikanae Music Society: Felix the Quartet: Vesa-Matti Leppänen (violin), Rebecca Struthers (violin), Andrew Thomson (viola), Rowan Prior (cello)

Waikanae Memorial Hall

24 July 2011, 2.30pm

The usual substantial audience defied the weather, and came to hear Felix the Quartet, made up of prominent members of the New Zealand Symphony Orchestra. There was a change to the programme: the music for the work by Esa-Pekka Salonen is somehow lost in transit, Leppänen explained, and so John Psathas’s piece was substituted. It and the Beethoven Op 59 no.1 Quartet were played recently by the Felix players in Wellington Chamber Music’s Sunday afternoon series; I refer you to Lindis Taylor’s review of that concert of 26 June, on this website.

Right from the dark opening of the Op.18 quartet, it was striking how beautifully balanced the Felix players were. No one instrument dominated; all were in perfect ensemble. However, it was interesting to note the difference in tone between the first and second violins. Every nicety of dynamics and ornamentation was observed, but this was lively playing that was constantly forward-moving.

The purposeful and optimistic first movement was followed by a scherzo which consisted of plenty of conversation between the instruments, as did the next movement. Though using a classical form, Beethoven’s minuet and trio are unlike anything Haydn or Mozart would have written; besides the chromaticism (which Mozart might well have employed) there is frequent use of syncopation.

‘A Cool Wind’ was inspired, the composer says, by the Armenian instrument: the duduk. Described as nasal (among other features), it appealed to Psathas as a voice-like instrument. This quality was present, although there was not a particularly nasal sound in the quartet. There was, however, much close harmony – and disharmony. Considerable use is made of modal tonalities. The piece included effective solos for all the instruments, the others providing a drone, or to harmonise – often with piquant effect.

The piece has an elegiac sound, but is not deeply mournful. It maintains tension, due to the harmonies and intervals used. The piece ends on a sad little melody on the second violin.

There is no doubt that the pièce de resistance in the concert was the Beethoven Op. 59 no.1 quartet – and I heard numbers of people around me expressing the same opinion. It seems streets ahead of the Op. 18 quartets in its themes, depth of feeling, musical language, and variety of expression.

Its opening with a lovely cello solo is innovative, to be followed by the first violin’s repetition of the theme. The contemplative mood is sustained through much of the spacious grandeur of the movement. As it develops, melodies are woven and twisted, exchanged and multiplied.

The scherzo second movement, unlike any preceding scherzo, involves much conversation between the instruments. It is tuneful, enormously varied, stimulating, exciting and innovative.

The third movement opens with a great chorale, played with sweetness, subtlety and perfect ensemble. This adagio movement has considerable intensity, contrast, and emotional impact.

The lively and varied finale on a Russian theme, carries on from the previous movement without a break, and ends with a very extended coda; typically, Beethoven seems to be about to bring things to a conclusion when another idea occurs, and off we go again.

The playing of this magnificent work was wonderfully vibrant, yet mellow. Perhaps it was sometimes a little restrained, not plumbing the emotional heights or depths, but this may have been due, at least in part, to the acoustics of the hall.

This was an inspiring and satisfying concert, appreciated by an enthusiastic audience.

Cello and piano at Jewish Community Centre

Posted on by Rosemary Collier

Bach: Sonata in G, BWV 1027;
Kodaly: Sonatina for cello and piano;
Bloch: From Jewish Life and Méditation Hébraïque;
Debussy: Sonata for cello and piano;
Martinu: Sonata no.2 for cello and piano;
Piazzolla: Libertango

Paul Mitchell (cello), Richard Mapp (piano)

Myers Hall, Jewish Community Centre, Webb Street

Sunday, 17 July 2011, 3pm

Myers Hall was a new venue to many of us at the concert on Sunday; it proved to be of a good size for a chamber music concert, and with its wooden parquet floor and high ceiling, its acoustics were very satisfactory.

However, if it were to be used more regularly for concerts, a better piano would be required. At times I thought the elderly Marshall and Rose baby grand to be out of tune, but it may just have been its age that made it sound oddly at times, particularly in the Bach. Richard Mapp played with appropriate style and technique for the baroque music (the instrument often almost sounding like a harpsichord), in contrast to his full-bodied playing of the other works, but the former manner of playing seemed to emphasise the piano’s difficulties.

Having just heard a radio talk about recorded Bach works, that made a comparison between performances that were ‘straight’ and those where the performer(s) introduced some individuality to the interpretation, I was delighted to hear the nuances, especially of dynamics, that these musicians brought to their performance of the Bach composition. It was a very satisfying performance; after the third movement’s logical, peaceful nature, the allegro finale was played with great panache. In my head I hear my pianist/organist mother saying (as she does on a private recording I have) ‘The piano does not bring out the notes of the tune as does the organ or the clavichord’. Mapp defied this dictum pretty successfully.

Apart from the Debussy sonata, the remaining works on the programme were not familiar to me. It was a pleasure and interesting to hear so much music that is seldom played, not least the Kodaly sonatina. After a lovely piano introduction, there was much lyrical music, and strong playing from both musicians, providing a complete contrast with the Bach work.

Bloch’s From Jewish Life is in three sections. The first, ‘Prayer’, was very beautiful. The piano starts by just playing chords while the cello plays melody, then a different piano theme that echoes and balances the cello one enters. In the second part, ‘Supplication’, one could almost hear the cello uttering words, since the melody followed very much the inflections and rhythms of language. Finally, ‘Jewish Song’ had a very spare and Middle-Eastern-sounding tonality. There was a plaintive quality to it, and it was very sensitively played. Again, it was a great contrast with the Bach sonata. This was passionate music. The full tone from the cello was very fine.

Paul Mitchell gave spoken introductions some of the items. He said that he thought that the Debussy sonata was more Spanish than French in character. Certainly the first movement has a very rhythmic piano part, which is dominant, then the cello reasserts itself. Then there are passages of great delicacy, played with feeling and finesse.

The second movement (Serenade) features lots of pizzicato on the cello and staccato on piano. It is full of character – and it was given characterful playing. The finale, which follows without a break, had the instruments swapping notes and dynamics with each other, followed by a strong, assertive ending. As the programme notes stated, it was more spirited, and had elements of folk-song. This was a thoroughly convincing performance.

The Méditation Hébraïque of Ernest Bloch starts quietly and lyrically, with a repeated bass note on the piano. The central section, especially passionate on the cello, embroiders a pentatonic theme, and then the music dies away quite dramatically.

The most substantial work on the programme was Martinu’s sonata. A fiery allegro with difficult passage work admirably executed by both performers began this 1941 composition. There was a long section for piano only, as there was in the second movement (largo) also. This movement ended very calmly, with a sad undertone.

The allegro commodo (comfortable) finale was very fast, with repetitive figures on the piano which would have pleased the minimalists. Both cello and piano parts were very energetic and spirited. A cello cadenza was complex and demanding, to end this dynamic and exciting work.

The Piazzolla ‘free tango’ was fast, but good-tempered. There was much upper fingerboard work for the cellist, and off-beat rhythms abounded.

A good-sized audience heard two performers who played with superb technique and musical sensitivity – and Mapp was blessed with a skilful page-turner.

Nikau Trio: flute, oboe and cello, at Old St Paul’s

Posted on by Rosemary Collier

Boismortier, Joseph Bodin de (1689-1755): Trio in A minor (allegro, adagio, allegro)
Schubert: Adagio from Octet in F major, Op. 166
Beethoven: Duo no. 2 in F major (allegro, larghetto, allegro moderato)
Bach: Trio sonata in G major (adagio, allegro ma non presto, adagio e piano, presto)
Haydn: Trio no.3 in G major (spiritoso, andante, allegro)

Nikau Trio: Karen Batten (flute), Madeline Sakofsky (oboe), Margaret Guldborg (cello)

Old St. Paul’s,Mulgrave Stree

Tuesday, 12 July, 12.15 pm

A well-attended lunchtime concert on Tuesday heard a surprisingly comprehensive programme for an unusual combination of instruments. It began with a composer I had never heard of, who, according to the programme note, ‘wrote mainly instrumental and vocal music deliberately in a style that would please the listener and ensure his own wealth and success.’

Certainly it was attractive music. The first movement commenced with the flute and oboe doubling parts. This led to a lively and tuneful allegro. The adagio was perhaps a typical baroque slow movement, featuring delicious chords and suspensions. The final movement was fast and quite demanding, especially on the flutist. This work proved the Nikau Trio to be a very pleasing combination, each player having beautiful tone.

Next came one of Schubert’s gorgeous slow movements. At first, it featured oboe, with the others playing sotto voce. But as it progressed, there was not a lot of dynamic variation. As in some of Schubert’s orchestral works, there were rather too many repeats, and the movement outstays its welcome. However, there was a lovely flute and oboe passage, the cello entering at the end, as a kind of fulfilment of promise.

What followed was a duo for oboe and cello ostensibly, yet doubtfully, by Beethoven. (No such duos appear in the list of works by Beethoven in The New Grove Dictionary of Music and Musicians.) Nevertheless, it was a thoroughly delightful piece. There was more variation of dynamics and expression in this work. The larghetto, entitled Aria, was in a minor key, while the allegro moderato final movement, Rondo, contained a lovely rubato with all the players absolutely together; as elsewhere, ensemble was immaculate.

The trio sonata was Bach at his contrapuntal best, weaving the parts into and through each other. The solo oboe passages, with the other players accompanying, were particularly fine. The final presto movement was pretty exacting, such was its speed.

The final work by good ol’ cheerful Papa Haydn was a splendid way to end the concert, with a final allegro that demonstrated his humour and sense of fun. The master used the instruments imaginatively, producing a jolly result. I couldn’t help thinking, though, that the more mellow sound of the wooden flute would blend better with the other two instruments and with the admirable acoustic of the wooden church interior.

The fluidity of the flute, the piquancy of the oboe and the majestic smoothness of the cello made for great enjoyment of this rare admixture.

A programme of two baroque works, two classical and one early Romantic work was quite an achievement, but perhaps the introduction of one modern piece might have been good, as a contrast. The printed programme notes were brief but informative; it is a pity that those for both Beethoven and Bach were marred by misrelated clauses.

Presumably the building work going on in the grounds of Old St. Paul’s was being done for the historic church, so surely the intermittent hammering could have been stopped the for the duration of the concert?

Concours de la Chanson: second year of splendid initiative

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French singing competition

Songs by Angelillo et Hamel, Satie, Brel, Berlioz, Duparc, Debussy, Poulenc, Fauré, Delibes

St. Andrew’s on The Terrace

Sunday, 3 July 2011, 8pm

The commitment of the Alliance Française Wellington to providing a competition for singers continues; the first competition last year gave a platform for some splendid singing of French chanson and mélodie, and Sunday night’s final continued that.

There were fewer finalists in the Chanson Moderne section this year than last year, and of the four, two chose to sings songs by Jacques Brel.

First, we heard Estere Dalton sing Je veux te dire une chanson, by Angelillo et Hamel. Dalton is a confident singer who used a microphone, and was accompanied by Andrew Bruce on the piano. She sang with an Edith Piaf-type voice and delivery. The song included unusual tonalities, nevertheless I thought her intonation suspect at times. My searches on the internet have failed to uncover whether this is one composer or two, however I did discover that the first name is spelt as above, and not as on the printed programme.

Erik Satie’s cabaret song La diva de l’Empire was sung by Angelique McDonald, accompanied by Jonathan Berkahn on piano, but without microphone. This was an attractive voice, but projection was uneven between lower and upper registers. Some gesture was used, but as with the previous singer, it did not appear to have much point.

Daniela-Rosa Young (who, for the second year running, suffered incorrect printing of her name in the first half of the programme), sang Jacques Brel’s Ne me quitte pas most effectively. Her close use of the microphone was just right for this music. She had the style for this song, and created the atmosphere of French nostalgia and regret (despite the title of Edith Piaf’s famous song) right from the beginning. Her words were very good, and she used them, her breath and her face as part of the expression of the music. Sometimes she was sotto voce, at others full voice. A good voice it was, and she was given a very sympathetic accompaniment by Julie Coulson.

The last singer in this section was Kieran Rayner, now quite an experienced singer in a variety of styles. Jacques Brel was his composer of choice also, with the song Amsterdam. He was accompanied on the piano accordion by Jonathan Berkahn, to give that authentic Paris sound. However, either Berkahn was too quiet, or Rayner (with microphone) was too loud; certainly the balance was not right. Some gesture, stamping in time and a beautiful unaccompanied introductory passage all helped to give atmosphere, as did the singer’s spoken introduction to the piece, which was a confident communication compared with those of some of the other singers. I found it a little tiring to be harangued at the volume Rayner chose, but there was no doubt about his commitment to the song.

After a short interval, we heard the classical items. These were French mélodie written in the nineteenth century or since. All were attractive songs, some familiar and some not, but all worth hearing.

The only singer in the finals of both sections was Daniela-Rosa Young, who sang Berlioz’s L’Île Inconnue. While her announcement was a little too quiet, her fine voice was well-produced, and her French enunciation and pronunciation were good. Gestures were rather meaningless, but she did put the meaning into the music and the words to an extent. Julie Coulson was her excellent accompanist, and to all the other singers except one.

Isabella Moore sang the gorgeous L’invitation au voyage by Henri Duparc. It was pleasing to hear her include in her introduction the name of the poet: Baudelaire, and an explanation of the meaning of the poem. Her voice is smooth and she gave good delivery of the words, but there was not enough variation in dynamics in her performance. Although she explained that the word ‘luxury’ featured in the poem, her voice did not convey that feeling when it came.

Bianca Andrew, who was the winner of the chanson section last year, performed De Soir, the fourth song in Debussy’s Proses Lyrique; the composer wrote the poem. Andrew gave a confident, fluent, indeed enthusiastic introduction which sounded spontaneous. She used both words and music well to characterise the meaning of the song. Some meaningful head movements conveyed more than vague hand gestures would have. There was good variety of tone; this was an excellent performance, including Julie Coulson’s playing of a very busy accompaniment.

Mon cadavre est doux comme un gant (My cadaver is as soft as a glove) sounds a pretty macabre title – but then, Poulenc was given to irony and wit. Imogen Thirlwall’s rich, mature voice, after a good spoken introduction, led us into the song, which she invested with meaning. This was a consummate performance.

Next was Bridget Costello with C, a 1943 song setting a poem by Aragon. After a rather formal introduction. which was nevertheless done well, Costello revealed a strong voice with quite a lot of natural vibrato. This was not a particularly demanding song, but it was well sung.

Thomas Atkins followed, with Adieu by Fauré. After a good introduction, Atkins sang most appealingly. He has a lovely voice, and varied it more than did some of the other contestants, doing something with every note and syllable. His French was admirable, but the song was rather a short one.

A song by Delibes followed: Les filles de Cadix, sung by Rose Blake. This was a saucy song. Rose Blake put over both her humorous introduction and the song in a confident, self-possessed manner accompanied by Claire ? Her lively rendition incorporated quite a lot of gesture (meaningful this time). Blake had a pleasing tone; her voice was strong and well produced. The whole was performed with considerable aplomb.

The last performer was Fredi Jones, who sang Fauré’s charming Aprés un Rêve. Following a very good introduction, his singing demonstrated a very effective use of the language, and a light voice, reminiscent of the late great Gérard Souzay. Although he started very well, I felt that further on he could have varied the voice a little more, and lingered more over the ornaments in the melody; they seemed rushed.

There was a good selection of songs from a cross-section of composers. All the songs presented some difficulties. All the contestants had a good command of French pronunciation, and put the words over well.

The prizes offered were the same for each category, i.e. a first, a second and a third prize in each. The first prizes were $2000, plus a master-class at the Conservatoire Musique de Nouvelle Calédonie; second, $500 and one term of free French lessons at the Alliance Française; third, $250 and one term of free lessons at the Alliance. There were a number of sponsors for the Concours, including the French Embassy; the Ambassador spoke briefly at the prize-giving part of the evening.

Judges were experienced New Zealand singer Catherine Pierard, and M. Bruno Zanchetta, Deputy Director of the Conservatoire de Musique de Nouvelle-Calédonie, whose first words were to praise the excellence of Julie Coulson as accompanist.

The placings were: Chanson: 1st Kieran Rayner, 2nd Daniela-Rosa Young, 3rd Estere Dalton; Mélodie: 1st Bianca Andrew, 2nd Rose Blake, 3rd Fredi Jones.

Wellington Chamber Orchestra with Emma Sayers in Mozart

Posted on by Rosemary Collier

Debussy: Petite Suite (‘En bateau’, ‘Cortège’, ‘Minuet’, and ‘Ballet’)
Mozart: Piano concerto no.25 in C, K.503 (allegro maestoso; andante; allegretto)
Brahms: Symphony no.2, Op.73 (allegro non troppo; adagio non troppo; allegretto grazioso
(quasi andantino); allegro con spirito) 

Wellington Chamber Orchestra, Emma Sayers (piano), conducted by Kenneth Young

St. Andrew’s on The Terrace

Sunday, 3 July 2011,2.30pm

Another ambitious programme from Wellington’s major amateur orchestra was this time conducted by a leading and very experienced musician. His encouraging attitude was very apparent, and the orchestra responded well. Although this orchestra is named a chamber orchestra, it more often these days plays works for symphony orchestra, as in this programme.

Debussy’s Petite Suite, originally written for piano in the late 1880s, was arranged for full orchestra by Henri Busser (1872-1973). This delightful work is in four movements, each with music clearly illustrative of its title, the rocking of the boat in the first movement being the most obvious. The marching band in the second reminds the audience that it is a procession (only in English is the word cortège used solely for a funeral procession), while after the lovely minuet, the ballet is of an extremely energetic kind.

The first movement featured interesting and enchanting interplay between harp and flutes, in which a young harpist revealed a high level of competence. Throughout, the music was tuneful, joyous, varied, and unveiled the splendid orchestration. The brass finally got to contribute in the bouncy final movement. The playing was not faultless, but the band gave a good account of this attractive work.

The Mozart piano concerto called for a smaller orchestra, there being no harp, no clarinets, only one flute and fewer strings.

Emma Sayers played strongly, but with plenty of subtlety and light and shade, and a fine, light touch, appropriate for Mozart. At all times she played with clarity, as befits this composer.
The cadenza for the first movement was written by conductor and composer Kenneth Young. He made very appealing use of Mozart’s themes. This cadenza was not showy for the sake of it, but did incorporate some un-Mozartean harmonies to betray its recent origin.
After it, Young gave Sayers an appreciative smile.

In the andante there was much exposed playing for winds. The horns did not always come out of this successfully – a difficult instrument indeed (and presumably even more difficult if the musicians had been playing the valve-less horns of Mozart’s time). The sound was often rather heavy for the rest of the orchestra to compete with. The flute played frequently in concert with the oboes, making a most attractive sound.

While it is good to see children in the audience at an orchestral concert (no doubt they were family members of the players), it is a pity their carers think it necessary to give them sweets with noisy wrappers to rustle when the orchestra is playing something as delicate as the andante in Mozart’s concerto, thus interfering with audience members’ enjoyment.

The winds were able to let fly in the last movement, and they acquitted themselves well.

The final work in this appealing programme was a massive one. Perhaps this great symphony was a little too difficult for the orchestra. Intonation problems struck at the beginning: unfortunately the opening was not the horns’ best moment; later they had some better ones. There were four horns,
three trombones, and tuba. In the louder part of the second movement, and elsewhere, this brass choir was rather too noisy for the rest of the orchestra. The solo oboe theme in the third movement was beautifully played, as was the whole of that movement.

Trombones also had moments of difficulty, but they and the tuba came into their own in the last section of the last movement; they had plenty of power in the fortissimo passages. However, this venue is not really large enough to take the sound of a symphony orchestra playing at that level with modern brass instruments.

All of that said, the work developed well, and the extra strings contributed to a mainly admirable sonority in that department. Details and themes came through well, and syncopation at the end of the first movement and in the second movement was crisp and clear.

It was good to see and hear an amateur orchestra alive and well, and playing fine music. Obviously this was not a performance at professional level, but it was creditable nonetheless. Aberrations of intonation were the main problem; dynamics, themes, rhythm were all well observed, and the concert represented a considerable achievement.

Medlyn and Greager Liederabend at St Andrew’s

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Liederabend: A recital of Schubert, Wolf and Strauss

Margaret Medlyn and Richard Greager, accompanied by Bruce Greenfield

Hunter Council Chamber, Victoria University

Thursday, 23 June 2011, 7.30pm

An enthusiastic and appreciative, though not large, audience greeted these three very experienced and accomplished musicians.  It was a treat to have a substantial lieder recital like this – and only a day after senior students of the New Zealand School of Music performed lieder at St. Andrew’s on The Terrace.

The programme began with Richard Greager and Bruce Greenfield performing six of Schubert’s songs: some well-known, such as the opening An Sylvia and others less familiar.

In the carpeted Hunter Council Chamber, and with such experienced performers, the piano could be played with the lid on the long stick, in contrast to the different situation at St. Andrew’s on The
Terrace the previous day.

Greager sang An Sylvia apparently effortlessly, in most a musical performance, though perhaps lacking a little subtlety in this German translation of Shakespeare’s incomparable words.

The next song, Lied eines Schiffers an die Dioskuren (Boatman’s song to the Dioscuri) featured the lovely darker colours of Richard Greager’s lower notes, while Greenfield brought out much in the marvellous accompaniment.  It was interesting that this and three others of the six songs featured water, a point of comment in regarding the Schubert , the previous day.

Im Frühling sounded a little prosaic – as if the singer had seen many springs.  In contrast, I found latter part of the performance a little too operatic at times for an innocent song such as this.  Nevertheless, Greager demonstrated amply how to use words as part of the musical expression, yet not interfere with the flow of the music.

Fischerweise (Fisherman’s ditty) had both performers (Greager and Greenfield) giving a thorough exposition of the words, as set by Schubert, of another watery song – in subject, not in presentation.

Auf Der Bruck (At Bruck), being about a ride on a horse, naturally had the clip-clop of horses’ hooves in the accompaniment.  It was a strong and vigorous interpretation of this demanding song, from both musicians, who reached a considerable volume, compared with some of the more contemplative songs, such as the final Schubert one, Der Jüngling an der Quelle (The youth by the spring).  This was a real contrast.  Although the tenor’s voice is perhaps not what it was, the song was performed with real artistry.  The accompaniment, as elsewhere, was very descriptive and quite beautiful, though apparently simple.

After the break we moved to Hugo Wolf’s settings of Eduard Mörike’s poems.  Wolf was far from being the only composer to set his perceptive and sensitive poetry. The music entailed a considerable change of character from that of Schubert.  Expressiveness poured from every syllable of Margaret Medlyn’s performance of Der Genesene an die Hoffunung (A convalescent’s address to hope). The clarity of the piano part was particularly notable.  Medlyn employs more facial expression and gesture than does Greager, and it seemed to me that this did not suit the songs well, nor did these songs suit her as well as did the later Strauss lieder. Richard Greager sang the following
Auf eine Wanderung (On a walk) with great liveliness.  The modulations in the piano part were largely responsible for making this a very varied song.  It was a wonderful, accompaniment,
walking quickly along with the singer; both introduced a variety of different colours.

The words of Gesang Weylas (Weyla’s song) spoke of radiance. Medlyn’s voice summoned that radiance as much as the arpeggio accompaniment did. Greager sang Der Tambour (The drummer boy); a highly wrought song that made me wonder if Wolf did not rather over-modulate, creating a fevered effect.  Greager sang the words so meaningfully that the audience was drawn in – a sign perhaps of his long experience as an opera singer.  He continued with Gebet (Prayer), which created a wonderful atmosphere through its solemnity, stillness, and four-part harmonies.

Margaret Medlyn returned with An den Schlaf (To sleep), in which the accompaniment pointed up the ambiguity of the words about sleep, dying and living.  She followed this with Elfenlied (Elf song), which featured rapid elfin-like steps in the piano part, requiring a lot of rapid finger-work.  Medlyn made the humour of the song very clear: the elf’s foolish mistakes because he had not had enough sleep.

Richard Greager’s Neue liebe (New love) in its contemplation of a relationship with God, I found rather too loud in the relatively small auditorium.

A very dramatic presentation by Margaret Medlyn of Erstes Liebeslied eines Mädchens (A girl’s first love song) seemed rather too biting for a first love song; I thought it should have been rather more innocent.  Granted, it had a startling accompaniment. Questioning innocence in both the
accompaniment and in Richard Greager’s eyes featured in Peregrina I, while in Peregrina II, there was the same questing figure in the dreamy accompaniment.  The singer used his breath as an expressive device to good effect.

The final song, Im Frühling (In the Spring) had an interesting piano part, easily as important as the voice’s music.  Medlyn was in great vocal form, the subtlety of her singing matching the
subtlety of the words and music.

Now for something completely different: Richard Strauss songs, all sung by Margaret Medlyn.  As her programme note pointed out, the piano parts seemed to be ‘conceived with an orchestral palette in mind.’  Who better than Bruce Greenfield, accustomed over many years to playing orchestral reductions of operas, to be the accompanist? Befreit (Release) had the singer carry the lines forward most beautifully.  The third verse, about being freed from sorrow at the death of the spouse, was very emotional, and very well sung.  The next was a more straightforward song: Gefunden (Found).  Like the other Strauss songs, this suited Medlyn.  This one gave lovely opportunity for her to journey through her vocal range.

In Blindenklage (Blind man’s lament) a dramatic song, I found Medlyn’s acting out the drama with gesture a little hard to watch; I would have preferred less gesture.  Greenfield displayed masterful playing of these difficult Strauss scores.

Mit deinen blauen Augen (With your blue eyes) was sung quite beautifully, and was a welcome pause between the two highly dramatic and fervent songs around it.  It was much simpler melodically and in the piano part, but quite delightful.  As elsewhere, Medlyn sang with emotional generosity.

Finally, we had Frühlinsfeier (Spring celebration).   The conflicting emotions portrayed were emphasised with switches between major and minor tonalities.  This made for complicated music, and operatic-style anguish.  The final sensational lines on the death of Adonis was an appropriate point of finality at which to end the recital.

This was a beautifully put-together programme of contrasting composers’ settings of fine poetry.  The singers used the printed scores for the most part.  But this in no way inhibited their fine performances.  The printed programmes contained translations of all the songs – and it was good to see the translators credited as well as the poets. 

The singers had also provided interesting notes about each of the three composers and their songs.  Illustrations comprised portraits of the three composers, and two apt paintings by Caspar Friedrich (1774-1840).  The recital represented  a tour de force on the part of accompanist par excellence, Bruce Greenfield.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Talented students in wonderful Lieder recital

Posted on by Rosemary Collier

Lunchtime Lieder : a concert of German Romantic songs by Mendelssohn, Schubert, Brahms

Bridget Costello and Amelia Ryman (sopranos), Kieran Rayner and Thomas Barker (baritones), Martin Ryman (piano)

St Andrew’s on The Terrace

Wednesday, 22 June 2011, 12.15pm

With an interesting programme, this concert had added appeal for the opportunity to hear and see students from the New Zealand School of Music performing lieder.

So much the better that the singers were accompanied by an accompanist marked by sensitive and musical playing; the piano lid being on the short stick seemed just right when the accompanying was in the hands of Martin Ryman.

A first impression from the opening Mendelssohn duet, ‘Gruss’, sung by the two women, was the good projection of the voices and the excellent German words. I have an old and treasured, recording of Victoria de los Angeles and Elisabeth Schwarzkopf singing this duet with Gerald Moore accompanying. It would be hard to say that these young women were inferior!

The men sang ‘Wasserfahrt’ by the same composer as their duet. This introduced the subject of water, which was the theme of about half the songs on the programme. Rayner and Barker both have robust, well-produced voices. They made both these songs really alive.

We then turned to Schubert, beginning with the well-known ’Wohin?’ (surely ‘Whither?’ is a more poetic, if slightly archaic, translation than ‘Where to?’?). Kieran Rayner’s excellent diction and projection were complemented by lovely dynamic shading. A couple of times he sang a tiny bit sharp, but overall it was a great performance; he could teach some more experienced singers about enunciation.

I was pleased to find such an emphasis on getting the words over, and providing the meaning to the audience from very good programme notes, written by the performers. Some lieder singers (and audiences) think it’s all about music and melody, whereas lieder is a marriage between poetry and music. The music conveys the meaning of the words; it is not there just to make a lovely sound. Hence my dislike of being plunged into the dark, or semi-dark at some concerts, so that the words or the programme notes cannot be read. It would have been great to have had the words printed in full, but good programme notes are the next best thing.

‘Am Feierabend’ (not ‘Fierabend’ as in the programme) was Rayner’s next song. He characterised well the young apprentice lad, and then changed his tone and mode of delivery to be the master miller, most effectively.

Amelia Ryman sang ‘Im Frühling’ very feelingly. She has a clear voice and varies her expressiveness appropriately.

Thomas Barker followed with ‘Der Schiffer’ (The Boatn’), with great vigour. This was the only song where the performer had to rely to some extent on the printed music. Martin Ryman brought out the busy accompaniment superbly, as elsewhere.

Bridget Costello returned to sing the beautiful ‘Auf dem Wasser zu singen’. This was not quite so satisfactory. The note couplets were frequently rushed, and not made distinct as in the accompaniment. It’s great to get the consonants over clearly, but they should not cut up the legato of a song as they did here.

‘Am bach im Frühling’ was given very characterful singing by Thomas Barker, and his German pronunciation was excellent. Consonants were given their place, but they were not overdone.

The singers took a break while Martin Ryman played Brahms’s Intermezzo Op.118 no.2. It was delightful to hear one of these shorter piano pieces – and one of such charm; piano recitals tend to be made up of more substantial works.

Now we were in Brahms territory, and Bridget Costello was next up, to sing his Lament ‘Ach mir fehlt’. Consonants were not a problem this time. Some movement of the arms and legs seemed unnecessary to me (I known there are more than one school of thought about this semi-acting of lieder.) Altogether, the song was tellingly performed.

Now for a really humorous song, which could take its little bit of acting from Amelia Ryman: ‘Vergebliches Ständchen’, translated here as ‘The vain suit’. Nevertheless, most of the meaning and characterisation came through the voice. There was occasional variability of intonation, but it was slight, and the voice itself was very secure.

The concert ended with a quartet by Schubert: ‘Der Tanz’. It was a vigorous finale to a wonderful programme.

The voice students of the New Zealand School of Music seem to get better and better each year. They obviously have talent and work hard, and show what first-class teaching they receive.

The good attendance demonstrates that audiences want to hear lieder – many of the people were not St. Andrew’s ‘regulars’. Let’s have more!

Top German Youth Choir on tour – revelations

Posted on by Rosemary Collier

Youth choir concert: Christophorus-Kantorei from Germany

Tawa College Hall

7.30pm, Monday, 20 June 2011

Christophorus Kantorei is a choir from a high school in Altensteig in the Black Forest in Germany. The choir has become renowned for its excellence, and the singers tour overseas every four years. Our good fortune was that at present two of the 60 singers are from Tawa, while their father, who organised this tour, works in Germany.

The conductor, Michael Nonnenmann, is a tall, genial gentleman, who had the singers at the tips of his fingers. With the choir and their conductor (all of whom are billeted locally while on their New Zealand tour) were their voice trainer, a tenor, and his wife, a pianist and organist. As well as these tours to other countries, the choir sings many times each year in Germany, has won many international competitions and made numerous CDs.

The choir has a large and very varied repertoire; out of an extensive list of works in the printed programme, in which the German items were translated into English, a selection of 19 was performed, all a capella.

First up was William Byrd’s ‘Sing Joyfully’, one of quite a number of items in English. (As well as German and English, we heard items in Latin, French and Maori). Immediately one was struck by the very clear but full-toned sound, the immaculate rhythm and how all the singers started and stopped absolutely together. The voices were well produced and resonant.

After a short item in Latin by Viadana, we heard a very effective and dramatic piece by Rudolf Mauersberger, written after the destruction of the beautiful city of Dresden toward the end of World War II. The words were taken from the Old Testament book of Jeremiah, but were utterly apt for the desolation left by the bombers. The choir began with an appropriate covered, mournful tone. The singing was very precise, and there were some very fine solo verses.

‘Laudate Omnes Gentes’ by Jacques Berthier, who died in 1994, followed. For this piece the singers were spread round the perimeter of the hall. A solo soprano started and others joined in, part by part, from memory. Its simple repeated phrases led my companion to surmise that it was a Taizé chant, and Wikipedia confirms that the composer wrote much for the Taizé community. It was followed by a very gentle ‘Notre Père’ by Maurice Duruflé, also sung from memory. The singing was well forward in the mouth, and the balance, as elsewhere, was splendid. The piece featured delicate pianissimo singing of great beauty.

I did not know the name Z. Randall Stroope, but he is a contemporary American composer, and ‘The Conversion of Saul’ is a very recent work. The choir rearranged itself for this song, and for many of the items; sometimes this was done in less than a smooth, well-organised way. The piece’s words described Saul’s mission before his conversion “Murder, harass, bind into chains”; these were set in most dramatic fashion, at first in what sounded to me like mediaeval Latin (reminiscent of language in Orff’s Carmina Burana.) There was plenty of fortissimo and emphasis.

This was followed by a ‘Kyrie’ not found in the printed programme. It was apparently by a modern composer, and demonstrated well the choir’s great control of dynamics, and its exquisite tone. Here, the wonderful blend of the choir was especially on show, and the strong movement between chords, which included many discords. The unanimity of sound was achieved by all vowels being absolutely matched; never tight, but open sounds. This was not through unnecessarily wide open mouths, but by the careful shaping of sounds and the use of resonance.

Not every choir sings so well when singing loudly, but here it was excellent, as in the next item ‘Daemon Irrepit Callidus’ by György Orbàn, a Romanian contemporary composer. This started with staccato singing, later alternating with legato. In the men’s solos I heard almost the only slight lapse from good tone and intonation. Generally, the excellence, liveliness, and total commitment of the choir members were exemplary, given that this was their eighth concert around the North Island in nine days. There will be one on each of the next three days; one day off, then three more!

One of the longer pieces came next: ‘Warning to the Rich’ by Thomas Jennefelt, a Swedish composer, written in 1977. This was in English, but it was very useful to have the words printed. It employed sprechgesang (ironic to use a German term for a performance in English by a German choir!) or speak-singing. At the beginning, it was in whispered tones, becoming louder from the men, while the women changed to an Aw sound from their earlier humming. In the second verse all sang the words; later there was sprechgesang again. This was not the only item to make great technical demands, but the singers knew the work very well, and most glanced at their printed scores only occasionally. It was an extremely telling and thrilling work, based on verses from the New Testament: James chapters 4 and 5.

There was no interval as such (we could have done with time to stretch the legs, being seated on school plastic chairs), although the choir had a break. During it, the choir’s voice tutor, Eberhard Schuler-Meybier, a tenor, sang lieder, to his wife Susanne’s excellent piano accompaniment. It was wonderful to hear the opening few songs and a later one from Robert Schumann’s cycle Dichterliebe. Unfortunately we seldom hear lieder these days. I’m told it’s true of big cities like London also, not just Wellington. These songs were preceded by a German setting of ‘The Lord is my Shepherd’, and followed by Schubert’s famous ‘The Trout’. The tenor has a fine voice if not the smoothest tone, and communicated the songs well, singing the words sensitively. The higher notes in ‘The Trout’ were a little strident at fortissimo.

Shorter items followed in the second half, which began with Ward Swingle’s exciting arrangement of ‘Pastime with good company’. One young man imitated a shawm while all processed in. All items in this half were sung without the scores.

Next was ‘Il est bel et bon’, a delightful sixteenth century piece which incorporated some ‘choralography’ (choreography for singers; a term I learnt at The Big Sing ten days ago), as did many of the items in this half.

Two German folksongs were similarly treated to actions, and were sung in very lively and interesting arrangements. ‘Als wir jüngst in Regensburg waren’ was very rhythmic, with tricky timing. The young woman from the choir who announced the items gave us the ‘low-down’ on the story of this song, which involved quite a lot of acting on the part of the choir.

Mike Brewer is a British choral conductor who has visited New Zealand many times; his intriguing arrangement of ‘Pokarekare ana’, was a pleasure to hear. Even if all the vowels were not quite Maori, the choir members all made them the same way, resulting in their usual purity of tone.

We then visited the USA for Leonard Cohen’s ‘Hallelujah’, which was sung in an authentic American accent and manner, solo and all.

Now for some humour: ‘Short People’ by Randy Newman, arranged by English choral conductor and former King’s Singer Simon Carrington (in New Zealand eighteen months ago for ‘Sing Aotearoa’ in Rotorua) was very slick, incorporating two male soloists, and entered into fully by choir and audience, thanks to very clear words.

The concert ended with some magic: ‘The magic paint brush’ by contemporary Danish composer John Høybye, a brilliant, intricate piece, superbly sung, incorporating a lot of clapping, slapping and stamping, and ‘Magic Song’ by Ray Murray Schafer (a prolific Canadian composer, born in 1933), which incorporated a lot of different techniques, both vocal and physical.

Finally, a hotly demanded encore: Moses Hogan’s quite complex arrangement of ‘Joshua fit the battle of Jericho’ sung with huge energy and style.

It is a pity there was not a larger audience to hear this superb concert, especially that there were not many more students from Tawa College, whose choirs did so well very recently in the Wellington Region Big Sing. They could have been inspired and educated by hearing such accomplished choral singers as the members of Christophorus-Kantorei.

If you are in Wellington and read this in time, do go to St. Peter’s Church on Willis Street Tuesday, 21 June at 7.30pm, when the choir will perform again. Or hear the choir in Nelson, 22 June; Blenheim, 23 June; Dunedin, 25 June; Timaru, 26 June; Christchurch, 27 June.

Innovative, impressive concert by Brentano Quartet

Posted on by Rosemary Collier

Chamber Music New Zealand

Renaissance pieces by Byrd and Gibbons (arranged for string quartet by Mark Steinberg): Haydn: String Quartet in D minor Op.103; Haydn: Chorale, Der Greis, Hob. XXVc:5 (arranged for string quartet by Mark Steinberg); Hartke: Night Songs for a Desert Flower; Beethoven: String Quartet no.15 in A minor Op. 132

Brentano String Quartet (Mark Steinberg and Serena Canin, violins, Misha Amory, viola, Nina Lee, cello)

Wellington Town Hall

Sunday, 12 June 2011, 5.00pm

The first surprise in this concert was that the quartet was to play arrangements of works for voices by Byrd and Gibbons. Never fear, this was no romantic send-up; the musicians played their instruments as if they were viols. The lack of vibrato and the method of bowing made them sound like authentic instruments of the composers’ time. As Mark Steinberg’s programme note pointed out, playing from a chest of viols was a pastime indulged in by Elizabethan friends, and vocal music must have often been played in this way in private homes.

The simpler, more austere plainchant-based Byrd works contrasted with the freer, inventive Fantasias of Gibbons. Their more active, dance-like quality was most enjoyable. It was delightful to hear these works in a ‘regular’ concert. They were tuneful, sprightly and thoughtful by turns.

An interesting facet was that Steinberg held his violin more like the usual way a treble viol is held, throughout the concert – but he gets a wondrous sound, in no way restricted or less than full.

The quartet as a whole makes a splendid sound. A quote form a review in 2010: “Their tones match perfectly, and they play seamlessly – handing off melodies to one another so that you can’t tell where one instrument stops and the next starts. They play as if listening to one heartbeat.” The most distinctive sound in the group was the viola, played by Misha Amory. His rich, bewitching sound had character and depth.

‘Der Greis’ (the old man), is a song that Haydn wrote late in his life. At the informative pre-concert talk by Kate Mead of Radio New Zealand Concert, we were told (also in the programme notes) that Haydn had recently had a line of the song printed on his visiting cards, saying that he was old and weak. The lines of the text were also printed at the end of the second movement of the Op. 103 quartet, hence their inclusion in tonight’s printed programme. Another symptom of his age was that he could not manage to write the more demanding first and last movements of the quartet, but we can feel very glad that he sent the two completed movements to his publisher, for they are inventive, and full of interesting and enjoyable music.

The slow movement of this quartet could be a Renaissance mass, played on the viola, while the menuetto featured agreeable contrasts, and both were played with gorgeous tone. The slow chorale that followed was magically still and quiet, with little decoration; instead it was spare and peaceful.

However, this is not the sombre music of an old man; it is mainly fresh and cheerful, like so much of Haydn’s music. These players found the essence of Haydn – robust and delicate by turns, with no nuance missed. Vibrato was used subtly. This was the complete ensemble, in every sense. It was a wonderfully satisfying performance of a thoroughly satisfying work of musical genius.

Hartke’s music is somewhat Messiaen-like. It is harmonically interesting and adventurous throughout, but always musical. While undoubtedly contemporary music, the piece was very accessible. It began with a very attractive high-pitched opening with flowing, intertwining lines. Indeed, much of the work was in the higher register for all the instruments.

The first movement, Madrigal (allegretto grazioso ed amoroso) used harmonics, first on the second violin contrasting with the low tones of the viola and cello. Later, there were harmonics on the viola, which had a wonderfully sweet tone, and on the other instruments. Here, as elsewhere, there was much sensitive playing.

The second movement was titled ‘Lament (mesto)’. The latter word means sad, sorrowful, dejected. It was a lament all right, beautifully played.

Next was ‘Intermezzo (lontano, dolcissimo)’ Lontano means distant, remote, as indeed desert flowers are for most of us. It began with a sublime cello solo. Nina Lee produced a lovely sound from her cello, not a deep and throaty sound, but one which blended beautifully with the other instruments.

Finally, there was ‘Réjouissance (allegro vivace)’, French for rejoicing. This was a technically demanding movement, with much use of ponticello (playing near the bridge) and col legno (playing with the wood of the bow – for which the musicians provided themselves with their second-best bows). These were not techniques for their own sake, but were part of the joyous dance that comprised most of the movement.

Despite the titles, the work was not excessively emotional in character, but delightfully attractive.

Beethoven’s late quartets are probably the mightiest in the whole chamber music repertoire. One of the first things I noticed was that the Brentano String Quartet are not afraid of pianissimo. The solemn opening of the first movement demonstrated their sensitive playing and their perfect ensemble. The viola particularly had a beautifully rich, intense sound in solo passages. But obviously all four are in great accord.

The second movement was played with clarity and distinction.

In the third movement, molto adagio, the music had reverential intensity – a quiet, still and slow chorale, austere yet rich, spare and ascetic yet monumental. There was little vibrato to relieve the direct message of this music in the Lydian mode, which made its long-drawn-out music harmonically interesting. Some phrases were almost sweet agony. It was sparingly impassioned; the players let the music speak for itself.

Despite the comparative brevity of the fourth movement march, there was a lot of contrast packed into it. A solo passage for violin was very impressive, revealing a very warm tone from Mark Steinberg.

The allegro appassionato finale was played with-energy plus, to make an exhilarating end to this marvellous work.

One does not always want an encore after something as magnificent as the Beethoven quartet, but on the other hand, the audience was eager not to let the musicians go. They gave us a Dvořák waltz, Op. 54, which was charming and lively.

We revelled in an impressive and satisfying concert.