Rosemary Collier – Page 8

Archi d’Amore Zelanda with delightful programme of New Zealand compositions, plus Bach

Posted on 14/06/201730/09/2018 by Rosemary Collier

Archi d’Amore Zelanda
Donald Maurice (viola d’amore), Jane Curry (guitar), Inbal Megiddo (cello)

David Hamilton: Imagined Dances
J.S. Bach: Suite no 1 in G major for solo cello
Michael Williams: Archi Antichi

St. Andrew’s on The Terrace

Wednesday, 14 June 2017, 12.15 pm

The ensemble brought a thoroughly delightful programme to an appreciative audience. What was unusual was that apart from the solo Bach work, the music played was contemporary, whereas one would expect that the viola d’amore would be playing music from a much earlier times. The programme notes included this comment ‘…the instrument has been enjoying a renaissance since the mid-twentieth century, with new works being composed and old works being adapted…’

Just over a year ago I reviewed a concert of Vivaldi music performed by Archi d’Amore Zelanda, which on that occasion consisted of eight players.

The common factor between the items was that all were suites of movements (almost all) based on dances.

The David Hamilton work suffered from the fact that all three instruments were stringed, whereas the composer’s original had been for flute, violin and guitar, though the composer had approved the version we heard. The original would have had more contrasting timbres than this version. Thus, in this version individual instrumental lines and characters did not always stand out; the closeness in pitch of the guitar to the viola d’amore was another factor. The Williams work, on the other hand, was written for these instruments, and it was constructed differently, with more solo, or solo and accompaniment passages.

Hamilton’s dances began with a pensive Sarabande, a slow dance. A flamboyant Tango followed, then a Waltz with a lilting melody; after a slow introduction, it was fast and rhythmic. The final Mexicana had stirring rhythms and repetitive phrases, with a shriek at the end.

Inbal Meggido made some introductory remarks, as did Donald Maurice at the beginning of the concert, but unlike him, she held rather than used the microphone, so I did not catch most of what she said. However, her performance of Bach’s first Suite for Cello was superb. Never have I heard it played with such variety of dynamics and tone. The opening Prelude was a statement in which her playing overcame familiarity; its freshness was a delight. There was a fine resonance, and very subtle bending of the rhythm.

The Allemande was gracious but at the same time rhythmically sparkling. Courante was a fast and spirited run. Meggido’s variety of tone and dynamics gave the music meaning. There was nothing mechanical about the playing.

The Sarabande, being slower and more thoughtful was an excellent contrast to its predecessors. Minuets 1 and 2 were bright and vigorous, working up to the lively Gigue that ended the Suite. This was a splendid performance.

Archi Antichi was written for Archi d’Amore Zelanda, and as the title indicates, was based on antique dances, to some extent. It consisted of Fugue, Cavatina, and Arrhythmia (though missing its first ‘h’; commemorating the heart condition the composer had experienced). As Donald Maurice said in his remarks opening the concert, it was somewhat ‘Lilburnish’ – particularly in the opening movement, I found.

Jane Curry introduced the work, and I was pleased to hear her pay tribute to Marjan van Waardenberg for the work she does organising these lunchtime concerts.

The Williams work began with the cello alone, in Bach-like manner. The others joined in with pizzicato. Moving into a minor key, the music became more complex, the parts following their individual lines clearly, but nevertheless making a pleasing and cohesive whole. A slower section again had each instrument complementing the others in a satisfying way.

The cavatina had a slow, undemonstrative start, followed by a strong but mournful duet for cello and viola d’amore. The guitar joined in after a time, in a beautiful piece of writing. The other instruments blended gorgeously in accompanying the melody. The “Arrythmia” featured pizzicato in an off-beat rhythms and good interplay between the parts before the music became agitated; it ended with a delicious little motif – perhaps saying ‘everything is all right now’, to end a fine concert of interesting and well-played music.

Choral singing flourishes in Wellington region Big Sing gala concert

Posted on 08/06/201712/06/2017 by Rosemary Collier

New Zealand Choral Federation Secondary Schools’ Choral Festival
Big Sing, second gala concert

Michael Fowler Centre

Thursday, 8 June 2017, 7.00pm

As I said in 2015 (in a review of the Big Sing National Finale concert), it is marvellous to find so many young people taking part in choirs and obviously enjoying it. Apparently there are more choirs in the 2017 Festival than ever before, and it seems to me that the standard is always rising. The fact that all the choirs learn all their pieces by heart is staggering to us mere adults who sing in choirs, to whom this is an almost overwhelming difficulty. An excellent effect of memorisation is that for the most part, words come over clearly – not always the case when singers are constantly glancing down at printed copies. Every eye here was on the conductors – except for those few choirs who were able to perform without anyone standing in front of them to direct things.

This year, there will be 10 regional finales. 39 choirs participated in the two evening concerts (the other on Wednesday), from 22 schools in this region, plus one from Tauranga. As always, the excitement in the hall and the large, enthusiastic audience made for a memorable occasion. Compared with the first of these events I attended some years ago, not only is the number of participants much greater this time (choirs varied from about 20 members, to one of near 200), the audience is much larger. Each choir sang one item, chosen from the three it had performed in the daytime sessions.

Everything is run with almost military precision by excellent young stage managing staff, plus the very professional but friendly manner of Christine Argyle, the compère. The judge was well-known local soprano, Pepe Becker, who made helpful remarks at the awards presentation at the end, comparing attitudes required for singing to those for sport.

The performances were being recorded, so that the judges for the national finale later in the year could choose the best choirs from all the regional concerts.

The printed programme could not contain a lot of detail, but it would be an advantage to have the names of choir directors and composers printed in a less skinny, pale type-face, since during items the house lights are lowered completely, and in between items is a short space of time, such is the precision with which choirs move on and off the stage.

The first choir was Dawn Chorus from Tawa College – over 100-strong. Like a number of the choirs, it has taken part in most, if not all, the regionals since The Big Sing began 29 years ago. ‘The Seal Lullaby’, a peaceful song by American Eric Whitacre involved singing in both unison and harmony – the former is often harder than the latter. Sections of ‘oo-oo’ singing were excellently done; the choir’s tone was good.

Tawa’s Early Birds, a small all-girls choir with a student director, came next singing ‘Homeward Bound’ by Marta Keen. I found this song rather bland, and not the best suited to this group.

Yet a third Tawa College choir, Blue Notes, consisted of about 30 boys and girls. Their item was by New Zealand composer David Childs: ‘Peace, my heart’. This quite complex song was given a very restrained rendition. It was accompanied by solo cellist Benjamin Sneyd-Utting. It was a musically satisfying performance.

Whitby Samuel Marsden Collegiate’s 30-strong choir Viridi Vocem performed Gershwin’s well-known ‘Fascinating Rhythm’, the mixed choir employing actions to amplify the rhythm. Words were clear, but the tone left something to be desired, and there was little variety.

Wellington College, and one of the other choirs, employed a professional accompanist. Their chorale sang ‘Yo le canto’ by David Brunner, a contemporary American songwriter. The rhythmic clapping enhanced the good sound the 35 boys made. The harmony was extremely well rendered, and the intonation was spot on. There was a feeling of unanimity in this spirited performance.

Boys from this school then combined with girls from Wellington Girls’ College to sing a spiritual ‘How can I keep from singing?’. It was a very competent performance.

From across the city came 35-strong Wellington East Girls’ College Senior Choir. They performed the ABBA song ‘Super Trouper’ by Barry Anderson and Björn Ulvaeus, with a student director. I found the tone and dynamics unvarying. Although words and notes were very clear, it was a dull performance – though the audience was enthusiastic to be hearing something they knew

The same school’s Multi Choir, of about 60 singers, sang ‘Ki Nga Tangata Katoa’, by Lernau Sio, the choir’s student director. The performance was accompanied by guitar, and there was a student vocal soloist (amplified). The choir made a robust, authentically Maori sound, and matched their excellent ensemble with appropriate actions.

From the Wairarapa came two schools forming one choir: Viva Camerata, with students from Rathkeale College and St. Matthew’s Collegiate. They sang a traditional African Xhosa song, ‘Bawo Thixo Somandla’, transcribed by their director, Kiewet van Devente. The performance incorporated a lot of movement.

The singing was very good, with a strong, forward sound.

Next came the largest choir of the evening, Wellington Girls’ College’s Teal – reflecting the colour of their school uniform. Despite the choir’s large size, here was clarity plus, in the excellent performance of Gluck’s ‘Torna, O Bella’, the only truly classical piece we heard all night. It was a delightful performance of this piece from Gluck’s opera Orpheus and Euridice.

The Year 9 Choir from the same school was smaller, but still numbered about 80 members. They sang David Hamilton’s ‘Ave Maria’. The sound was a little too restrained, with insufficient variation of dynamics, and the piano sounding a mite too loud.

New Zealand composer David Hamilton appeared again with yet another choir from Wellington Girls’ College – Teal Voices. They sang his beautiful ‘My Song’. And it was beautifully sung, with feeling, fabulous clarity and a great dynamic range.

Heretaunga College’s Phoenix Chorale gave us ‘Skyfall’ by Adele Adkins (not Atkins) and Paul Epworth. The song is based on the theme music from the James Bond film of the same title. I’m afraid I found it boring. It began quietly, but later the singers pushed their voices unattractively. The students’ faces showed no involvement or communication whatever.

Chilton St. James School in Lower Hutt has featured frequently in The Big Sing over the years. Its first choir to sing was I See Red. They sang ‘L’Dor Vador’, a Jewish song by Meir Finkelstein. The approximately 40 singers sang with delightful tone; both notes and words were very clear.

The school’s second choir, Seraphim, performed a Basque song, by Eva Ugalde: ‘Tximeletak’. Mastering the language must have been quite an assignment! Though we couldn’t understand the words, they and the music were clear; it was an interesting composition.

Another long-standing regular at The Big Sing, St. Patrick’s College’s Con Anima choir, sang Phil Collins’s ‘Trashin’ the Camp’, a song from the 1999 film Tarzan. It was accompanied by electric bass guitar and piano, and featured a brief vocal solo. The 30-strong choir’s rendition involved lots of movement; the piece was very popular with the audience and was sung with style, accuracy and splendid vocal tone.

To end the evening were performances from choirs at Samuel Marsden Collegiate in Karori. The first, Ad Summa, was directed by the student who composed the piece sung by the second choir. First up was ‘Te Iwi E’, transcribed by student Gabrielle Palado, who, Google tells me, is a champion golfer. The singing was accompanied by actions in the best traditions of the action song. A guitar was used to accompany this 90-strong choir. It was a fine performance.

The other choir, Altissime, was conducted by teacher (and distinguished soprano) Maaike Christie-Beekman. She gave a demonstration of active, intelligent, involving directing. The song ‘I am a sailor’ was by student Neakiry Kivi. It was an impressive composition for a student to have written. Its music was in places quite difficult. The composer herself narrated, using a microphone, through part of the song; the last part was in te reo. The 30 singers had wonderful tone, control and blend. The dynamics were superb. Perhaps this was the best item of the night. I rather think this is the same song, given now an English title rather than its Maori equivalent, with which Kivi won the Royal New Zealand Navy’s 75^th anniversary Secondary Schools’ Creative Competition.

Judging was on the basis of the day’s performances as well as those at the evening concert; the same went for the Wednesday sessions and concert – there were awards at the close of that concert too, though the printed programme did not distinguish as it should have between the awards given each night.

There were many certificates presented, but here I list only the cups. The Victoria University of Wellington College of Education award for the best performance of a New Zealand composition was awarded to Rathkeale College and St. Matthew’s Collegiate choir Viva Camerata. The Shona Murray Cup for classical performance went to Wellington College Chorale; the Dorothy Buchanan Cup for ‘other styles of music’ was won by St. Patrick’s Con Anima choir. The Festival Cup for ‘overall attitude to The Big Sing’ was awarded to Wellington Girls’ College. Finally, a new financial award from the Ministry of Youth Development, named ‘Spirit of the Festival’ Youth Ambassadors Award, presented in the form of a framed certificate, went to Heretaunga College.

Every choir member, director, trainer and accompanist deserves congratulations – not ignoring the fact that a number of the choirs sang unaccompanied, with accuracy and consistency, showing excellent musicianship. Let’s hope that the students will maintain their singing, through youth and community choirs, when they leave school.

Acclamation for Auckland Viva Voce’s remarkable performance of enthralling work on pilgrimage: Camino de Santiago de Compostela

Posted on 04/06/201707/06/2017 by Rosemary Collier

Viva Voce, conducted by John Rosser

Joby Talbot: Path of Miracles

St. Peter’s Church, Willis Street

Sunday, 4 June 2017, 4.30pm

The programme’’s sub-title for the work was “Joby Talbot’s stunning choral depiction of the Camino de Santiago pilgrimage.” The blurb was right; this was a truly remarkable work, of just over an hour’s almost constant unaccompanied singing (apart from the periodic use of 8 traditional small cymbals,or crotales), with no applause until the end.

Talbot is a 46-year-old British composer who has written in many genres, including opera and ballet, and for film and television. This work was composed in 2005, a setting of a commissioned text from Robert Dickinson. Although the printed programme has a photograph and note about Talbot, there is nothing about the poet, but John Rosser did tell us a little about him in his excellent introductory remarks. The text is quite astonishing, not only for the fact that 7 different languages are used. Rosser believes that the three performances by the choir (Auckland [the choir’s home city] and Napier before this one) are the first in the southern hemisphere.

Wikipedia gives little information about Dickinson, who is a British novelist. The work traces both the story of St. James, who tradition says returned from martyrdom in Jerusalem to Galicia where he had previously preached, and that of walkers on the renowned (and now revived) walk to Santiago de Compostela, where the martyr’s bones were found 800 years later. Dickinson created a brilliant text, printed in full in the programme – though not always easy to follow, due to the variety of languages, and much repetition, particularly of refrains.

Rosser informed us that there are now approximately a quarter of a million people walking the Camino each year; I know people who have done it, and I have stayed in an ancient village in southern France that was on one of the many routes through that part of the country, and bore on a wall the scallop shell symbol of the pilgrimage.

The men of the choir entered the church first, vocalising on low notes. They walked to the front and stood in a circle, round a circle of stones. The notes very gradually rose in pitch until they became high, reaching a scream as the women joined in from the back of the church, and the cymbals joined in.

The women advanced up the church, led by a solo voice. The singing at this stage was quite loud, but dynamics varied throughout the work The voices were very fine, and the resonance superb. All were very precise both musically and in incisive enunciation of all the languages, in this sometimes intricate work. The musical style in this early part was medieval. This first part was entitled Roncesvalles, the name of the place in northern Spain where the Camino starts, though many started in times past in southern France. As the pilgrimage progresses, marked by the choir by numerous episodes of walking slowly around the church and into different positions on the platform. The other parts are named Burgos, Leon and Santiago.

Walking and repositioning were not the only choreographed parts of the performance; part way through the first section the choir began swaying. Then a bass with a very deep, fruity voice intoned from the pulpit while the choir sang pianissimo. That was followed by a soprano and tenor duet. The use of the cymbals was quite beautiful here.

In the second section there was a change to a modern style of composition. The mood here was more conversational, as though the pilgrims were recounting to each other some of the trials of the journey (apparently ‘the English steal’), the tone being more mellow, with a prayerful quality. Some of the more ghoulish sections of text conveyed a desolate sound, through both vocal tone and the intervals employed.

A reduced choir sang some of the text, and this produced an effective contrast. Louder passages followed towards the end of the Burgos section and the deep bass made further utterances.

The women began the Leon movement (of which there was plenty) at the back of the church, intoning much repetition of the opening refrain. Then the men, describing the land they walked through, sang loudly. Rich harmony ended this section, at the words ‘We pause, as at the heart of a sun that dazzles and does not burn.’ Here as elsewhere there was consistent tone and pronunciation, and the blend was superb.

In Santiago there was more virtuosic singing All of it was dynamically interesting and varied. The first passage in Latin sounded like a chant, but was sung in harmony. With the concluding words the choir faced and looked directly at the audience, singing ‘Holy St James, great St James, God help us now and evermore.’ The choir walked off, each picking up a stone from the stone circle and placing it with the others in a cairn at the foot of the platform. They continued singing the last passages from memory, fading as they made a wonderful conclusion to the work as they continued to walk into the porch, still singing.

This was a real choir, unlike TV’s ‘Naked Choir’ contest, of which John Rosser is a judge. What with mikes and costumes, they are not as naked as Viva Voce, which really does rely solely on its voices.

The choir returned to repeated enthusiastic acclamation, some in the audience rising to their feet in tribute to this outstanding and remarkable performance of this complex but enthralling work, which my mere words cannot hope to adequately describe. This was a unique experience.

For a very cold late Sunday afternoon, there was quite a sizeable audience in the church. There was some heating on, but it was insufficient on such a cold day.

Renowned Bach scholar and conductor Suzuki with fine baroque ensemble Juilliard415

Posted on 30/05/201702/06/2017 by Rosemary Collier

Masaaki Suzuki & Juilliard415
(Chamber Music New Zealand)

J.S. Bach: Orchestral Suite no.1 in C
Concerto for 2 violins in D minor
Cantata BWV 82a, Ich habe genug
Orchestral Suite no.3 in D

Michael Fowler Centre

Tuesday, 30 May 2017, 7.30pm

It is wonderful for audiences in New Zealand to welcome back Masaaki Suzuki, this time with an ensemble of students from the famous Juilliard School based at the Lincoln Center in New York. The 18 instrumentalists came from 8 different countries.

Suzuki, as well as running his own choral and orchestral ensembles and teaching in Tokyo, teaches also at Juilliard. He is a renowned Bach scholar and conductor, and Wellington audiences delighted in his performing with his musicians two Bach concerts in the 2014 Arts Festival. His Bach Collegium Japan echoes Bach’s Collegium Musicum in Leipzig, for which some of these works were written.

The ensemble was led by Cynthia Roberts, a noted American baroque violinist. She bowed, as did some of the other musicians, in baroque style, but I could not tell from where I was sitting if period-style string instruments were in use; the bows did not appear to be, and there was nothing in the extensive printed programme to inform the audience on these points, beyond reference to the historical performance program at Juilliard.

Perhaps this is an academic point; the playing under Suzuki’s hands was crisp, pointed and always strongly rhythmic, and undoubtedly historically informed.

The first orchestral suite was one I was not familiar with. Its various movements, based on dances, numbered 11 (taking into account that there were two Gavottes, two Menuets, two Bourées and two Passepieds). Bach added so much to these traditional forms; his musical invention made something new out of something old. Their traditional metres and structures were preserved, making a work that provided great delight to the audience, and doubtless to the musicians also.

The concerto is a delightful three-movement work that provides plenty of challenges to the soloists, and much pleasure to the listeners. The features of returning phrases (ritornelli) sections for the soloists and the intricate counterpoint made for a work of constant freshness and colour through the three movements: vivace, largo ma non tanto and allegro. The conversations between the soloists were always full of interest, but I found their tonal qualities distinct from each other, with that of Karen Dekker, who played second violin, more pleasing than the thinner, at times even metallic, sound from Isabelle Seula Lee. Nevertheless, their performance, and that of the ensemble, was always vigorous, with plenty of dynamic contrasts

The cantata was for me the highpoint of the concert. It was first performed in Leipzig in 1727 and was written for a bass singer. It is this version with which I am familiar, having a fine recording of the lovely aria ‘Schlummert ein, ihr matten Augen’ with Rodney Macann singing. Bach did later versions for soprano and alto and substituted the flute for the original oboe. The soloist, Rebecca Farley, is a Juilliard graduate, and has a lovely and expressive voice. I felt that some sections of the music were a little low for her, and there, the notes did not carry well through the auditorium. There was a short section where the soloist got slightly out of time with the players, and needed Suzuki’s particularly close attention. By and large however, it was a superb rendition, the words beautifully articulated, and the sentiments of the three arias and two recitatives communicated without seeming effort. A short vocal encore was a reward for the audience’s enthusiasm for the performance.

It was good to have the lights left on in the Michael Fowler Centre so that the printed words, with translations could be read (it doesn’t always happen!). Throughout, the ensemble’s playing was sympathetic and supportive, the flute (baroque flute) obbligato in this version for soprano being a characterful contribution, from Jonathan Slade. The programme note stated that this version ‘…retains the unfathomable yet affirming qualities of the original.’

The last work, consisting of five movements (or 7 counting two Gavottes and two Bourées) was more familiar territory. After the stately Ouverture, came the well-known Air (often mistakenly called ‘Air on the G String’). It is deservedly popular, its calmly beautiful procession of notes is supremely serene and exudes quiet confidence. I did miss the brass in the later movements – our ensemble consisted of strings and woodwind plus harpsichord.

The woodwind players at all times made a huge and delicious contribution to the works in which they played. All the players made a big contribution to a concert of rich music that entranced the audience, but it is perhaps not unfair to credit particularly the guiding hand and ideas of their distinguished conductor.

Interesting organ programme from Tom Chatterton at St James, Lower Hutt

Posted on 28/05/201730/05/2017 by Rosemary Collier

St James Sunday Organ Recital Series 2017
(St. James’s Church and Wellington Organists Association)

Tom Chatterton (organ)

Elgar: Imperial March (arr. G. Martin)
J.S. Bach: Prelude and Fugue in C, BWV 547
Mozart: Adagio from Serenade no.10 in B flat, “Gran Partita” K.361 (arr. Tom Chatterton)
J.S. Bach: ‘Komm Heiliger Geist’, BWV 651
Londonderry Air, arr. J. Stewart Martin
Vierne: Allegro first movement from 2nd Organ Symphony
Purcell: ‘When I am laid in earth’ (arr. Martin Setchell)
Jehan Alain: Litanies

St. James Church, Lower Hutt

Sunday 28 May 2017, 3pm

Tom Chatterton, a fairly recent arrival from Britain (where he attended Uppingham School, where Professor Peter Godfrey taught before coming to New Zealand), was heard by upwards of 40 people, on the impressive three-manual organ. His mixing of shorter, more lyrical pieces between longer, more serious ones was good programming. It was a shame that the Bach Prelude and Fugue was a substitute for Toccata in C, BWV 564 (i), a brilliant work I am particularly fond of, and the Vierne for Bach’s Concerto in A minor BWV 593 based on Vivaldi. The organist explained that lack of sleep occasioned by his young daughter’s teething necessitated the changes. However, no loss of technical ability was apparent in the works he played.

Chatterton’s introductions to pairs of pieces were informative, genial, and easily heard. He introduced the Elgar as being bombastic – but the opening wasn’t, and elsewhere I found it lacking in this characteristic also. I did wonder if moving the console into a central position on the platform (rather than being on the side, where it sits for church services) meant the organist was hearing the pipes more strongly than the audience was. However, I did not find this effect in any of the later pieces. However, in this one I did find the arrangement of the orchestral piece rather restrained for an Imperial March, much of the time.

The Bach Prelude and Fugue was very clear; each part could be distinctly heard, the notes being detached, but not too much.

The Mozart arrangement was interesting, calm and peaceful – but I must admit to preferring the original!

The Bach chorale prelude was a very sprightly one, played presto, its unstoppable momentum employing reeds, had pedals intoning the chorale melody underneath throughout. It was a masterly performance.

The Londonderry Air worked well as ‘something completely different’. Lovely flutes with plenty of ‘chuff’ were used to open the piece; later, plenty of variety of registration was used to enhance this beautiful air.

The Vierne movement opened spikily, then there followed passages for full diapason organ; loud episodes were followed in turn by episodes that sounded to me as if rather too great a mixture of stops of different tonal qualities were being employed. It is a very inventive work (written in 1902), using all three manuals and pedals, with much variation of registration.

Purcell’s beautiful aria gave another quiet interlude. This was an excellent arrangement, and made a very effective contrast to its predecessor. It is interesting that arrangements of orchestral and vocal pieces seem to have returned recently to the organist’s palette; for a long time they were frowned on as Victorian and Edwardian excesses not needed in these days of orchestral concerts and recordings; organists should stick to what David Briggs described in a broadcast from Auckland played on RNZ the previous day as ‘indigenous’ organ music (he didn’t).

The final work was the only one to have some notes in the printed programme – without mentioning the composer’s famous organist sister, Marie-Claire Alain, who visited New Zealand. The plain chant-style opening melody returned frequently sustained through many variations, changes of registration and harmonic shifts. It was always interesting and at times, arresting.

The whole made up to a varied and pleasing concert.

Woodwind students present entertaining, varied music at St Andrew’s lunchtime concert

Posted on 24/05/201725/05/2017 by Rosemary Collier

Wind Ensembles of the New Zealand School of Music

St. Andrew’s on The Terrace

Wednesday, 24 May 2017, 12.15 pm

To hear young performers is always a pleasure; here we had seven young woodwind players, along with three pianists. The first piece used a student pianist, and the Bach work was unaccompanied. Hugh McMillan and Kirsten Robertson were authoritative pianists for the other items.

Bridget Douglas, principal flute with the NZSO is acting Head of Winds, and she introduced the concert. After that, the players introduced their items, and it was pleasing that all used the microphone, so their words could be heard clearly.

A trio opened the programme: Leah Thomas and Laura Brown (clarinets) and Tasman Richards (piano), playing Mendelssohn’s 2^nd Concert Piece. Grove tells me that this was written in 1833, for basset horn (a close relative of the clarinet) and piano. The excellent introduction from Leah Thomas explained that the players decided to use two clarinets. They alternated the music between them, and this worked well. The presto opening movement was lively and played with flair, with a good variety of dynamics.

The following andante included passages for clarinet alone; these were played with gorgeous subtlety. The allegro grazioso last movement again had beautiful parts for the clarinets, but the piano was rather ‘rum-te-tum’. The clarinettists produced wonderful tone, and were accurate and confident.

A Bach Cello Suite on saxophone!!? Peter Liley explained that the range of pitch of the baritone saxophone he was using was the same as that of the cello. But I have to say that I found the tone in his ‘Allemande’ from the Suite no.1 a bit weird, so different is the timbre from that of a stringed instrument. There is not the variety of tone colours as are attainable on a cello. Nevertheless the higher notes can be very sweet, and the player was well in command of his instrument.

Telemann followed; his Sonata for Oboe and Continuo in A minor began with a lovely andante from oboist Finn Bodkin-Olen. Kirsten Robertson’s was a very busy part, played judiciously and producing a fine tone, as indeed did Bodkin-Olen’s oboe. The vivace second movement was clear and joyful. This was a splendid performance.

For something completely different, Billie Kiel played on clarinet Malcolm Arnold’s Sonatina for clarinet and piano, Op.29. This was a challenging selection, with snappy melodies and delightful quirky passages and techniques, all of which Kiel played with the competence of a professional. The piece’s two movements were both fast.

However, the reliance of the accompanist on reading his music on an iPad or similar had an obvious disadvantage when it seemed that his foot-pedal for the device didn’t work, and he could not continue, making an unwritten break in the piece. From there he had to rely on a finger to stab the screen in order to turn the pages.

I was not familiar with the name Gaubert (and nor is Grove), but Google is. Philippe Gaubert lived from 1879 to 1941. Like many French composers, he was obviously keen on the flute. His Madrigal for flute and piano was a complete change of mood from the Arnold work, being calm and pastoral. The flowing accompaniment had its own charm. It was a thoroughly enchanting performance by Samantha McSweeney and Kirsten Robertson.

The concert ended with the Rondo: allegretto from Weber’s Clarinet Concerto no.1 in F minor, Op.73. As Frank Talbot, the performer, explained in his introduction, Weber was using the concerto to demonstrate the latest improvements to the clarinet. This third movement was a spirited piece, full of interest and liveliness, and played with assurance and technical mastery. While the soloist had pauses, Hugh McMillan was kept busy substituting for a symphony orchestra. It was a good work with which to end the concert.

Peter Walls steps in to conduct Bach Choir in Vivaldi and the Bach family

Posted on 18/05/201718/05/2017 by Rosemary Collier

Bach Choir of Wellington, conducted by Peter Walls, with The Chiesa Ensemble, Douglas Mews (organ) and vocal soloists

Vivaldi’s Gloria, RV 589
Johann Christoph Bach: Fürchte dich nicht.
Johann Ludwig Bach: Das ist meine Freude.
J.S. Bach’s Kyrie-Gloria Mass in B minor of 1733

St. Andrew’s on The Terrace

Sunday, 13 May 2017, 3.30pm

Great praise is due to Peter Walls for the success of this concert; previous conductor Peter de Blois had departed overseas leaving rather short notice for the preparation of the music. Without this explanation, the audience would hardly be aware that ample time was not available for rehearsal, such was the high standard of most of the music presented. One item originally scheduled, by J. Christian Bach, was dropped. This was no bad thing; the concert was of a more than adequate length with the remaining items. The church was almost full.

It was good to see (for the first time in New Zealand, in my experience) reproduced in the printed programme, words from the programmes at the Royal Festival Hall in London, regarding the decibels produce by an uncovered cough. Indeed, I noticed no coughs during this concert. Notes in the programme were informative, and the words were printed, along with English translations.

First up was Vivaldi’s well-known Gloria, RV 589. This was taken at a slick pace, but The Chiesa Ensemble, notably the trumpets, were up to it. The attack from the choir was excellent, as were the gradations of dynamics. The choir threw themselves into this lively work with vigour, and communication was good, with most singers watching the conductor well.

There were some rough sounds from basses, but generally, balance and blend were admirable. The quieter second sentence ‘Et in terra pax’ was a beautifully calm contrast to the lively opening ‘Gloria’. The women soloists (Nicola Holt, soprano, and Megan Hurnard, mezzo-soprano) were animated and well-matched in their ‘Laudamus’ duet. The soprano solo ‘Domine Deus’ was delightful, not least for the wonderful oboe solo. The staccato bassoons below the vocal part added clearly articulated character.

The instrumental ensemble, of 22 players, was made up to a large extent of professional musicians from both Wellington-domiciled orchestras, and along with Douglas Mews on the baroque organ, contributed very largely to the success of the performances. As did the acoustic of St. Andrew’s Church, aiding the choir in achieving a big sound when required.

The bouncy and jubilant ‘Domine Fili’ chorus was for the most part carefully articulated as well as being lively. The contralto solo (sung here by mezzo-soprano) opened with a sombre cello solo, accompanied by the organ’s flutes. Megan Hurnard’s voice was beautifully produced, and her tone appropriate to the sense of ‘Misere nobis’. The choir’s uniform pronunciation of the words was an exemplary feature of their interjections.

It was strange not to find the soloists’ names listed in the programme, but there were biographies at the back.

The final sections of the piece where sung and played with verve – though a little strain showed in the tenor parts. Again here, the trumpets excelled.

A complete contrast followed, with an unaccompanied motet by Johann Christoph Bach (1642-1703): Fürchte dich nicht. It began rather hesitantly but warmed up, and ended well; not an easy piece.

Then it was the turn of Johann Ludwig Bach (1677-1731); the motet Das ist meine Freude. I have heard this fine choral work for double chorus sung by the New Zealand Youth Choir. It was sung with vigour, but some of the many runs were not executed convincingly. However, the German words were well enunciated.

Following the interval, we heard J.S. Bach’s Missa from 1733, better known as the ‘Kyrie’ and ‘Gloria’ from his Mass in B minor, where they were reused. The opening ‘Kyrie’ had the choir faltering a little. The Chiesa Ensemble again were in superb form, led by Rebecca Struthers.

For the choir’s part, it cannot be said that intonation never wavered, but by and large they did splendidly, and communicated the majesty and drama of this great work. The duet ‘Christe eleison’ by the two women soloists was sung with absolute unity and concord, strings and organ accompanying.

The second ‘Kyrie’ began, and continued, confidently. The complex fugal setting of ‘Et in terra pax’ likewise was accurate, the choir displaying pleasing tone and attention to dynamics. Here, the brass were in their element, well supported by the other players. The highly decorated ‘Laudamus te’ was handled with aplomb by Megan Hurnard. ‘Gratias’ from the choir was very fine. The timpanist was able to let fly. ‘Domine Deus’ with the tenor soloist, Ken Trass followed. He was not as strong as the soprano with whom he shared the duet, but nevertheless, his singing was accurate and he made a pleasing sound. A lovely flute obbligato embellished the singing.

It was good to have no break between the sections; it made sense to carry straight on, and this heightened the contrasts in tempi, orchestration and dynamics. After singing ‘Qui tollis’ the choir at last got to sit down for the first time since the interval, during the delicious contralto solo ‘Qui sedes’, accompanied by gorgeous oboe, and the following bass aria (David Morriss): ‘Quoniam tu solus sanctus’, accompanied by a magnificent solo horn. The bass voice did not come through the orchestral texture as well as the other soloists did, though there were fine notes and passages. The intricacies of the horn part did not have difficulty in communicating.

The final ‘Cum Sancto Spiritu’ was magnificent.

It seemed odd to me that the male soloists wore open-necked shirts, when the men of the choir wore bow-ties. Women soloists take care with their dress, which could not in any way be called informal. True, the orchestra men had open-necked shirts also, but these being black were not so obvious. The previous evening I attended Orchestra Wellington’s fine concert. They dress in much less formal fashion than does the NZSO, but nevertheless, the men all wore ties. I believe it is a matter of respect to the music as well as to the audience.

Once again, St. Andrew’s proved itself an ideal venue for this type of concert. And once again Bach proved to be the superbly inventive composer of choral music. No-one in the audience could be anything but satisfied with what they heard. Much credit must go to Peter Walls for his direction of his forces in this dynamic and musically alive concert, that was nevertheless taxing for the choir. Bravo, all!

Renowned Bach scholar and conductor Suzuki with fine baroque ensemble Juilliard415

Posted on 03/05/201702/06/2017 by Rosemary Collier

Masaaki Suzuki & Juilliard415
(Chamber Music New Zealand)

J.S. Bach: Orchestral Suite no.1 in C
Concerto for 2 violins in D minor
Cantata BWV 82a, Ich habe genug
Orchestral Suite no.3 in D

Michael Fowler Centre

Tuesday, 30 May 2017, 7.30pm

It is wonderful for audiences in New Zealand to welcome back Masaaki Suzuki, this time with an ensemble of students from the famous Juilliard School based at the Lincoln Center in New York The 18 instrumentalists came from 8 different countries.