Category: Reviews – Concerts

From the Bush to the Ballroom: the NZSQ Plays Music from Aotearoa and Central Europe

Posted on by Rebecca Stanton

The New Zealand String Quartet

2021 National Tour –  Programme 1

HAYDN – String Quartet Op. 76, No. 4 “Sunrise”
FARR –  Te Kōanga
LIGETI –  String Quartet No. 1 “Métamorphoses nocturnes”
DVORAK –  String Quartet No. 10, Op. 51

The Public Trust Hall, Wellington

Friday, 12 November 2021

This concert was billed as a “Premium Concert Experience,” the kind of language that sets the teeth of a crusty old pedant like me somewhat on edge. It refers in this instance to a format involving tables instead of serried rows of chairs, with drinks and canapés served at the interval, a concept that also struck me initially as rather naff.  However, I ended up enjoying it thoroughly, partly because it was well done (the hall did not smell like a restaurant, the drinks and canapés were modest and discreetly served, and I didn’t hear anyone slurping during the music!), and partly because the elegant interior of the Public Trust Hall lends itself quite nicely to this atmosphere of discreet bourgeois luxury. The Haydn quartet that opened the programme completed the illusion of being, perhaps, a relatively anonymous guest at the Esterházy court enjoying the fruits of their musical patronage.  (In actual fact we were enjoying the fruits of the Turnovsky Endowment Trust’s patronage — the Trust has supported the Quartet for two decades as of this year — and the strong Austro-Hungarian orientation of the music programmed for this national tour of the NZSQ pays homage to Frederick Turnovsky’s Central European roots, with Czech composers especially featured.)  To my surprise, it was also easier to focus on the music while sitting comfortably at a table rather than in a row of seats; the sightlines were better, and one felt less like a sardine and more like a patron of the arts.  In short: five stars, would attend a “premium concert experience” again.

Of course it didn’t hurt that the music itself was exquisite. It is always a huge pleasure to watch the NZSQ perform; they are so attentive to one another, communicating through their body language both the mood of the music and the relationships within it.  The Haydn “Sunrise” quartet comes by its name honestly, opening with a warm, sustained B-flat major chord in the three lower voices from which the first violin takes off on a series of upward runs that immediately evoke the rising sun. The motif returns throughout the movement (occasionally inverted, sometimes in a minor key suggesting clouds over the sun) and gets passed around from instrument to instrument, while in between the four lines chase each other around in semiquavers that variously evoke running water, scurrying animals, chattering birds, etc. Much opportunity here to enjoy both the individual voices of the Quartet’s four excellent members and the various dialogues forming and dissolving between players, a texture the NZSQ performs brilliantly.  

This “Allegro con spirito” nature study was succeeded by a chorale-like Adagio that largely tethered the lower voices together in a chordal texture while the first violin again soared above in rippling arabesques — the Hungarian Count von Erdődy to whom the Op. 76 quartets are dedicated must have had a first violinist he enjoyed listening to.  The rising semitones from the first movement carried through the second and into the third, a robust and jolly Menuetto that transported the hearer straight to an Eastern European tavern and the very thick of a peasant dance. Strongly rhythmic, as if to evoke stomping feet, the Menuetto also features octave unisons in the violins over a bass drone in the cello that conjured bagpipes in our midst.  One often hears the expression “not a dry eye in the house,” but in this case I think there was not a wet eye in the house; the mirth and jollity of this movement was too contagious. A somewhat more aristocratic-feeling folk dance — say, a ballroom adaptation — formed the atmosphere of the Finale, with the four instruments again passing around fragments of the main theme, coalescing into brief and various alliances without sticking out from the collective.  An accelerating and intensifying coda brought things to a satisfying conclusion and left the audience in no doubt about when to applaud.

If the Haydn quartet transported us by turns to a meadow, a church, a tavern, and a ballroom, Gareth Farr’s 2017 work Te Kōanga took us to the Marlborough Sounds of the composer’s holidays as a teenager, when — according to the Quartet’s programme notes — he heard, and noted down, the song of a particular tui whose voice is immortalised in the piece’s opening bars. Rather than a stylized Classical impression of avian dawn choruses, then, Te Kōanga (“spring” or “planting season” in te reo Māori) offered direct transcriptions of native birdsong — specifically, two tuis and a weka — which gradually gathered into a rich, rhythmic texture in the top three voices while the cello provided a jazzy pizzicato bass line underneath.  The piece, commissioned as a memorial to Wellington luthier and cellist Ian Lyons by his family, is written to evoke, and celebrate, Lyons’ passion for the natural world, and specifically the wild outdoor spaces around Wellington. It was built around three main textures: a hushed, tremulous evocation of the native bush filled with birdsong; angular, airy percussive sections with (what the program called) “powerful plucks and snaps on the strings”; and more solid arco sections that often featured unisons diverging into Shostakovich-like dissonant harmonies. We visited each of these terrains several times, in various permutations, before vanishing once again into hushed space as the bird songs quieted.

It was back to Hungary for the last piece before the interval: György Ligeti’s String Quartet No. 1, nicknamed “Métamorphoses nocturnes.”  Helene Pohl, in her introductory comments, said the Quartet hear strong echoes of late Beethoven in the work, as well as the obvious influence of Bartók (whose works, however, Ligeti knew only insofar as they were approved for performance by the Stalinist government still in place when he was writing his first quartet; the works of other, more frankly avant-garde composers, such as Alban Berg, could not be heard at all, though Ligeti owned a score of Berg’s Lyric Suite and professed it as an influence on this work).  

If images of the natural world had provided the link from Haydn to Farr, the opening of the Ligeti hearkened back to Haydn via the motif of rising semitones. Here, however, far from the warmth of Haydn’s sunrise, chromatic scales — rising from a low C, beginning in the viola and gradually trickling into the cello and second violin — sounded spooky and, well, more Transylvanian (the composer was born in Transylvania in 1923) than plain old sylvanian. I found myself feeling glad that the scales were at least going up rather than down. From here, the first violin introduces the motif that Ligeti identified as the “concept” which “metamorphoses” rather than receiving conventional variations over the course of the piece, which is written as a single movement although distinct “sub-movements” are marked within it.  The texture ranged from delicate tremolo sections over melancholy harmonies to hyperactive fortissimo outbursts.  Though the overall effect was unconventional, formal conventions were not disregarded; the opening “Allegro grazioso” (with its unsettling rising scales) performed the traditional function of introducing the material to be developed; other sections recognizably included standard exercises such as a march, a waltz, a mournful adagio, etc. — but all knocked slightly askew.  

 

I thought the NZSQ played this superbly, with considerable humor, as well as energy and passion.  Both solo and ensemble playing were flawless. The music seemed to grow out of them more organically than the preceding two pieces (although I had no complaints about the preceding two pieces). From where I was sitting I happened to have a better-than-usual view of the inner voices, Monique Lapins on second violin and Gillian Ansell on viola; it was such a pleasure to watch them knit their lines together, as they were frequently called upon to do. All four players were fully involved in the music and obviously hearing and communicating with all three of their respective colleagues (at least, I am extrapolating in regard to Rolf Gjelsten, whose cello sounded terrific but of whom, from my vantage point, only a tidy haircut could be seen). Sometimes their playing and body language communicated deep empathy; sometimes, mutual hilarity (my notes single out “the bits where everyone is playing glissando and making each other laugh”: glissando was much to the fore, appearing in pizzicato and harmonic as well as arco sections). The “Tempo di Valse” section sounded irresistibly like a couple of Chaplinesque drunks trying to walk home (but was followed immediately by a ringing, urgent “subito prestissimo” lest we get too comfortable in our amusement). Perhaps under the influence of the “nature study” theme introduced by Haydn and Farr, I heard the alternations between prestissimo and allegro “giovale” in the last quarter of the piece as a tale revolving around angry bees; perhaps, those unsuccessfully hunted by Winnie-the-Pooh (who, under the name Micimackó, had been a beloved part of Hungarian children’s culture since 1935, so why not?).  My irreverence was, however, again stopped short by the sorrowful concluding Lento, tapering into silence (another aspect of performance at which the NZSQ excels: holding a silence for a decent length of time before relaxing for applause.)

This was a high note on which to adjourn for the interval (during which I was amused to be served hors d’oeuvres by shining lights of the Wellington Youth Orchestra, whose last concert I had recently reviewed).  On the programme for the second half was just one work, Dvořák’s  Tenth Quartet. This began tentatively but soon warmed up into the luscious and catchy folk-derived melodies for which Dvořák is known. Here as in the fourth movement of the opening Haydn, the folk dances felt less earthy than stylized; not so much an invitation to dance as an invitation to think about dancing. The opening polka is followed up in the second movement by a darker, more melancholic Andante (the “dumka” or folk lament, which is in turn contrasted by a lively Vivace section.  The third movement, labelled “Romanza,” is lyrical, yearning, and optimistic. Finally, the fourth movement returns to the stylized evocation of the dance hall with an exceptionally catchy and upbeat “skočná,” the fast-paced folk dance also used extensively by the composer in his Slavonic Dances. A meno mosso restatement of the main theme followed by a tiny, fast coda provided a final flourish to, as the programme notes suggested “send the listener on his merry way.” 

After such a programme, however, the listener proved not so eager to be sent. Applause continued until the Quartet returned to their designated performance spot in front of the windows to serve us “one more bonbon”: Rolf Gjelsten’s arrangement for string quartet of Janáček’s Znělka (“Sonnet”) in A Major, JW VII/1 (originally composed for four violins). The choice of a Czech composer for the encore was made in deference to Frederick Turnovsky’s original nationality, but also served as a fitting coda to a programme so firmly grounded in the Austro-Hungarian region (with even the deeply local Gareth Farr piece audibly connected by theme and technique to the “Hungarian” works placed before and after it). In all, I would have to say that not only the playing but the programme composition was superb; coherent, surprising, logical yet unexpected. The Haydn and Dvořák “standards” were meaningfully illuminated by juxtaposition with the less-known Farr and Ligeti works (and vice versa). While I may remain dubious about the terminology “Premium Concert Experience,” there is no doubt that this was, absolutely, a “premium” musical experience, and one I’m profoundly glad I had the opportunity to hear.

Dramatic and innovative Haydn in the Church from Camerata with soprano Carleen Ebbs

Posted on by Peter Mechen

Camerata – Haydn in the Church

HANDEL – Overture Berenice
HAYDN –  Scena di Berenice (from Metastatio’s “Antigono”)*
HAYDN – Symphony No. 14 in A Hob 1:14

*Carleen Ebbs (soprano)
Camerata
Anne Loeser (leader)

St.Peter’s-on-Willis-St
Wellington

Friday, 5th November 2021

At the end of a busy and distracted Friday I found myself headed for St.Peter’s-on-Willis-St Church for Camerata’s latest “Haydn in the Church” concert series, which I’d been looking forward to ever since attending and enjoying the last one, though on this occasion I’d not been as assiduous in my preparation for the evening’s music as per usual – I had seen the programme on-line a couple of days previously, and was, of course expecting the accustomed delight of an early Haydn symphony to match that readily afforded by others in the series thus far, but I found myself scratching all about my memory-banks to recall what else I’d glimpsed on the  items “list”. I definitely recalled a soprano’s name, and an operatic scene to do with “Berenice”, which I had always thought was a work by Handel! – so I think at that point I gave up the conscious struggle, and consoled myself at the thought of everything being “revealed” once I’d gotten into the church.

Even then I didn’t get my hands on an actual programme, but  did talk briefly with Greg Hill, who was sitting next to me in a socially-distanced sense, and who actually had written the programme notes for the concert – at the interval he was able to confirm that there had been both a Handel and a Haydn work, each with the name Berenice, on the items list! So I had been on the right track after all.

I knew the Menuetto from Handel’s “Berenice” as my parents had owned a 78rpm disc of the work which I’d often heard when a child, and still remembered. This was, however, the whole of the Overture, a sprightly beginning, with the dotted rhythms beautifully “sprung”, leading to an Allegro whose trajectory had a joyous kind of enlivening energy, the oboe attractively colouring the string textures. The Menuetto featured the oboe-and-string sound prominently at first, before the strings repeated the material, playing the concluding lines of the second part with a beautiful and graceful legato. A lively Gigue rounded off the Overture in suitably festive fashion.

The name of the soprano Carleen Ebbs was one to conjure with, as she had made a richly favourable impression on the one occasion I’d previously seen and heard her, as the nymph Calisto in Cavalli’s eponymous opera, performed in 2015 by Days Bay Opera – on that occasion I was moved to voice the opinion that “Ebbs’ is a voice to listen out for”. She’s now returned to New Zealand after being based in London for 15 years, training at the Guildhall in London and at the Cardiff International Voice Academy, and working with a variety of prestigious coaches and at the great UK Opera Houses.

On the strength of her performance this evening of Haydn’s 1795 Scena di  Berenice, that promise, evident in the Days Bay La Calisto, has been more than fulfilled – Ebbs took us right inside the character of Berenice’s plethora of moods from the outset, capturing our sympathies from the very opening recitative Berenice che fai?, in which she first bemoans her own fear and weakness at the prospect of her lover Demetrio’s death, then expresses a longing to die alongside her beloved, through to the first impassioned aria in which the singer begs to be allowed to “cross that river” with him; and, finally, in some kind of delirium, raging against the cruelty of the gods with a fiery vocal brilliance throughout a second recitative and aria, the music storming to a passionate (and virtuosic) conclusion – tremendous stuff!

It seems from her website information that Ebbs has commitments in the UK regarding ongoing tutelage, and has already made the most of freelancing opportunities with various UK companies, activities which would have established her as a “sought-after” performer, particularly with her avowed enthusiasm for Baroque and early classical repertoire – whatever the uncertainties of the present situation world-wide regarding opportunities for performing musicians, one hopes for her continued successes, including, wherever possible, more appearances back here in New Zealand.

While all eyes (and ears) were on the singer during the drama of Haydn’s “scena”, the ensemble again became the centre of focus for the performance of Haydn’s Symphony No. 14, the latest in Camerata’s exploration of the composer’s early symphonies. I note that, in a diverting on-line Classic FM post which featured a music critic asked to numerically “rank” the qualities of ALL of these  works, the hapless commentator gave this Symphony No.14 a high rating, after according some of the other “early” works what I thought were some unduly harsh verdicts regarding their “quality” – this A  Major work Hob 1:14 was actually placed 35th, ahead of many other “tried-and-true” works such as the “Military”, the “Farewell” and the “Surprise” symphonies – doubtless a case of “chacun a son goût” with the choices, as much as any other considerations!

This work’s high-spirited opening featured a repeated octave descent, followed afterwards by an even more vertiginous downward leap of a 10th (I think!), giving the music an attractively energetic character underpinned by the unrelenting bass line – I loved the horns’ ascents into high-wire material,  the oboes providing a less strenuous “echo” effect with their material, joining forces with the horns to great effect in the development, before the energetic rhythms marshalled their forces, the splendid playing driving the music to a part festive, part rustic conclusion.

The Andante moves a dignified but characterful processional along its course, the striding aspect of the melody augmented with graceful decorative notes upon repetition, the strings alone supplying the melodic interest. More fun was to be had from the Minuet (Menuetto)  with its ceremonial horns and chuckling winds, though the oboe introduced a sombre note with its minor-key melody in the trio – all very pastoral, with its hunting-horn ambiences and touches of out-of-doors melancholy!

The finale builds its material almost entirely on a descending figure (the reason for the aforementioned “critic” rating the work’s cleverness and innovation so highly), giving the whole movement a festive, bell-like atmosphere. Here the playing imparted a real sense of “schwung”, the musicians seeming to make their instruments dance to the joyous strains of the figurations, alternating delicacy with delight, and grace with energy. As is often the case with delectable pleasures, it all seemed over in a trice – so it was a good thing that Anne Loeser bade us remain for an “encore”, one which happened to continue the concert’s connection with the story from which Haydn’s scena had been taken. This was an excerpt from Gluck’s Overture to his opera seria Antigono, one which again featured the character of Berenice, the Egyptian princess in love with Demetrio, son of the King of Macedonia, to which monarch Berenice had been “promised” in marriage. Being Gluck, the music had a lyrical “Dance of the Blessed Spirits” quality, the two flutes adding to the ethereal character of the string-writing, and the sensitive accompaniments similarly transported, the whole given a resonant “music of the spheres” kind of sonority, which continued to enchant the senses long after the sounds had ceased.

 

 

 

Transcending the Great Schism: Divine Orthodox Music at the Anglican Cathedral – from the Tudor Consort

Posted on by Rebecca Stanton

ICONIC
The Tudor Consort
Michael Stewart, director
With Andrew Joyce (cello soloist)

Wellington Cathedral of St. Paul

Saturday 24 July  (rescheduled from 26 June)  2021

Review posted 5th November 2021

What? A review of a concert that happened all the way back in July?? Appearing on Middle C in November???

Yes, the bad news is that your faithful reviewer overcommitted herself and failed to review this concert in a timely fashion.  The good news is that this luminous programme by the Tudor Concert is almost as fresh in my memory now as it was in late July, where it formed a highlight of the Wellington choral calendar.  The even better news is that The Tudor Consort has another concert coming up THIS VERY SATURDAY, November 6, so if you missed their foray into Russian Orthodox music — or are simply ready for their next outing — you can satisfy your appetite for their ethereal, impeccably tuned sound this weekend. (Tickets are available at their website: https://www.tudor-consort.org.nz/)

Full disclosure: I arrived at the concert with a vested interest of sorts, having consulted for the choir on the finer points of Church Slavonic pronunciation.  Let me therefore reassure readers that the choir’s Slavonic pronunciation — albeit of no great concern to anyone but myself — was excellent, with only one or two tell-tale “soft” Ls where “hard” Ls should have been.

On to the main event — the music!  The choir created a properly solemn and devotional atmosphere from the outset, by beginning with the ritually appropriate opening exclamation, glorifying the Trinity, shared between priest (bass) and deacon (tenor), and responded to by the choir with the “Amin'” that begins the actual published score of Rachmaninoff’s All-Night Vigil (Op. 37)  Coming at the beginning of the concert, this had the effect of an invocation, calling on the audience to attend to the music as sacred, not merely aesthetically pleasing.  Other audience members I spoke to shared my impression that this actually did deepen their focus on the music. Of course, hearing sacred music in a sacred space also contributes to the sense of atmosphere that the composers strove to create.

The choir continued with the two opening movements of the Vigil: Priidite, poklonimsia (Come, Let Us Worship) and Blagoslovi, dushe moya, Gospoda (Bless the Lord, O My Soul). These were taken a touch faster than I would have done them — it is quite tricky to give Rachmaninoff’s music time enough to breathe without letting it stretch so far that it attenuates.  (Robert Shaw’s much-admired 1990 recording, which introduced the Vigil to Western audiences, leans too far in the latter direction in my opinion.)  Apart from musical considerations, the music is physically challenging to sing and the singers, as well as the music, need time to breathe — so that the tempo is always, in some sense, a contest for oxygen between the score and its performers.  In conclusion, there is much to balance!  The Priidite lost a little of its majesty at the faster tempo, but this was compensated for by the choir’s meticulous attention to tuning and dynamics — the latter being awe-inspiring at any speed. In the Blagoslovi, the alto soloist seemed to want to move more quickly than the choir; an effect that was not entirely out of place with the mood of this movement as a whole, in which the alto soloist represents the earthly, restless and passionate voice of humanity framed by a celestial choir of sopranos, tenors, and the de rigueur Russian low basses, moving in a measured homophony above and below. The soloist, Anna-Maria Kostina, brought a suitably dark, embodied sound to her melodic line, based on the traditional Orthodox chant for this psalm, while the sopranos and male voices provided a transparent, ethereal harmonic backdrop.  The basses nailed their final low “C” (that’s the one two ledger lines below the stave, for those keeping score) to thrilling effect.

The stellar work from the bass section continued in John Tavener’s Song for Athene, where the basses have to maintain a solid drone on two Fs an octave apart for the entire duration of the piece — over 6 minutes. Incredibly difficult to do without wavering or passing out! This drone is one of two elements that can make or break the piece; the other is the rising and falling scales on “Alleluia” which must be justly tuned to the drone. Tuning is where the Tudor Consort shines brightest, and they absolutely hit this piece for six — anyone in the audience hearing it for the first time must surely have felt goosebumps as each new harmony was lifted out and presented clearly to our ears, the dynamics swelling from pp to ff to thrilling effect (in my notes I just have the word “DYNAMICS” in all caps with two happy faces next to it). Famously performed at Princess Diana’s funeral, this is probably Tavener’s best-known composition, but I haven’t heard a better performance of it than the one the Tudor Consort gave here.

Next up were two more obscure works by Arvo Pärt and Georgii Sviridov, respectively.  Pärt’s austere Summa (1977) — a setting of the Credo text in Latin — was sung by a smaller group drawn from the full choir.  This work also exists in an arrangement for strings, and I’m inclined to think its minimalism works better in that format; the music doesn’t seem to correspond to the text in any way, and I found the lack of correspondence somewhat distracting. The repetitious, episodic phrasing sounds weirdly inexpressive in the human voice, especially given a text as narrative as the Credo. Despite an excellent performance, this piece didn’t move from the “competent” into the “transcendent” column for me.  Sviridov’s Trisagion (“Holy God”/Svyatyi Bozhe), from his collection Hymns and Prayers (1980-97), was of greater interest.

Sviridov, a quintessentially Soviet composer strongly influenced by Shostakovich, composed primarily choral music but for political reasons could not write sacred music for most of his life. Nonetheless, Orthodox liturgical singing was a crucial source of inspiration for him — something critics have been able to discuss and analyse freely only since the fall of the Soviet Union in 1991 — and the post-Soviet resurgence of the Russian Orthodox Church allowed him, finally, to compose explicitly in the tradition that had inspired him for so long. The Hymns and Prayers thus stand in a kind of bookend relationship to Rachmaninoff’s All-Night Vigil (1915): one the last gasp of the Russian choral Golden Age before the Revolution, the other groping for reconnection to that severed tradition after a 75-year detour.  One cannot, of course, compare them: while Orthodox music is generally more homophonic than Western sacred music, Rachmaninoff’s choral writing is almost orchestral in its assignment of different roles and colors to different voice parts, and he uses polyphony to create narrative movement, often almost seeming to “translate” the text into musical language (in a completely different way from the word-painting of a Weelkes or a Monteverdi; Rachmaninoff depicts the mood of the text rather than concrete images). The Sviridov settings, on the other hand, are purely chordal; one feels they could be transposed up or down to suit whatever group of voices (women, men, children, etc.) one might have on hand.  The effect lies in the transparency of the harmony, the wide diapason (from angelic thirds in the upper soprano range to rumbly low Cs in the basses) and in the dynamics, all fully animated by the Tudor Consort both here and in the “Come Let Us Worship” movement, which they performed in the second half.

Though enjoyable, Sviridov’s Trisagion felt mostly valuable as an introduction to the text (in Slavonic, “Holy God, Holy Mighty, Holy Immortal, have mercy on us”) much more dramatically set by John Tavener in the piece that closed the first half, Svyati (1995). Almost seven times longer than the Sviridov setting, Tavener’s composition incorporates a solo cello (the incomparable Andrew Joyce) in the role of priest or cantor, playing a molto rubato, passionate but austere chant-like solo line over (yes) a bass drone on a low E. The rest of the choir gradually fills in, moving from a “tender, radiant” pianissimo to a “strong, but pleading” forte in 12 parts. I have Opinions about this piece and they did not always coincide with the performers’; Joyce added portamento touches to the cello line that felt a bit too Western-Romantic to me (Tavener notes that the cello should be “played without any sentiment of a Western character”), and some of the moving parts felt a bit lost in the vast space of the Cathedral. However, the performance was very effective and the ending in particular — with the cello playing impossibly high harmonics and the choir singing pianissimo — was absolutely ravishing.

The second half of the concert alternated bits and pieces from Rachmaninoff’s Vigil (Op. 37) and Liturgy (Op. 31) with further entries from Sviridov, Pärt, and Tavener. I’ve already mentioned the Sviridov “Come Let Us Worship” which opened this part of the program. This was followed by two hymns to the Virgin Mary, by Pärt and Rachmaninoff. The Pärt setting was unexpectedly fast, with something of the quality of a Christmas carol sung under one’s window by a group of singers trying to keep warm. In complete contrast, the Rachmaninoff setting (from the Vigil) approached the text with a gentle reverence much more typical of Orthodox treatments of this “feminine” hymn, but swelling to a majestic ff for the high notes on the final “Rejoice” before pulling back to a more lullaby-like pp for the final phrase.  Next came one more movement from the Vigil, “Kvalite” (“Praise the name of the Lord”): here as elsewhere, I felt the tempo was a little rushed, and this was the only time in the programme where I felt the sopranos were a little overtaxed, with fast-moving forte high notes in three-way divisi, but really it seems churlish to say so given how angelic they sounded for 99% of the concert.

A return to the Virgin Mary theme with Tavener’s Hymn to the Mother of God (this one sans bass drone, which must have delighted the basses, but the trademark dramatic dynamics and stained-glass harmonies were in full evidence) was followed by something completely unexpected: a Pärt setting of a Gospel text, The Woman with the Alabaster Box (1997; text from Mt. 26:6-13). I had never heard this before and found it very interesting. Unlike the other Pärt works on the program, this one seemed closely attentive to narrative structure, moving in three sections; first, the opening story about the woman’s actions, carried mostly by women’s voices; second, the discussion between Jesus and the disciples about it, carried mostly by men’s voices with the basses voicing Jesus, touching off isolated syllables like phosphorescent traces in the upper voices; and third, the “Verily I say…” peroration, given by the full choir in stately descending chords.  I don’t know that this was necessarily my favourite piece from the second half, but it was the most surprising and made me want to take a closer look at Pärt’s many settings of Gospel texts (I had only been familiar with his Passio previously).

Finally, two movements from Rachmaninoff’s Liturgy of St John Chrysostom rounded out the program.  The Liturgy feels more domestic to me than the Vigil and in that sense these felt slightly anticlimactic (and the Russian in me felt mildly scandalized that singers were allowed to take breaths in between phrases — totally normal in Western singing but strongly discouraged on the other side of the Great Schism!).  The “Tebe poem” (To Thee We Sing) is a gorgeous, hushed wave of choral sound from which emerges a soprano soloist (name not listed, alas) somewhat like a mermaid, momentarily embodying the prayers of the masses. Michael Stewart enhanced this effect by having the choir hum rather than sing under the solo line. A small disagreement over timing saw the soloist reach the finish line ahead of the choir.  The concert closed on the Cherubic Hymn from the same work, which performs the opposite trick; instead of a soprano voice arising from the harmonies created by the choir, here the harmonies gradually unfold from a single unison “D” in the upper voices, which unfurls through cascading downward scales in the second soprano and alto parts until the tenors and, finally, the basses are swept into the harmony.  At the end, everyone stays in, but the scales rise again until the sopranos are back on their original “D.”  In a way, it tells the whole story of sacred music — from monody all the way to jubilant 9-part harmony with operatic-sounding sopranos and back again. In that sense, it formed a fitting capstone to a lovely concert.  Everyone I spoke to afterward felt, with me, that we had been treated to a very distinguished example of what a concert of sacred music in a sacred space can be.

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

Posted on by Anne French

Family Lockdown Quartet

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

St Andrew’s on The Terrace, Wellington

Wednesday 20 October 2021

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

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

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

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

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

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

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

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

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

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

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

 

Individual and ensembled tributes to JS Bach from Pohl-Gjelsten and Friends at an inspired St.Andrew’s Lunchtime Concert

Posted on by Steven Sedley

J.S. Bach: Chaconne from Partita in D minor
Helene Pohl, violin

Eugene Ysaye: Sonata No. 5 for solo violin
Peter Gjelsten, violin

Johannes Brahms: Sonata in E minor
Rolf Gjelsten, cello, Nicole Chan, piano

St Andrew’s Lunchtime Concert Series 2021

Thursday 14th October

J.S. Bach: Chaconne from Partita in D minor
A well planned concert has an underlying narrative. In this case it was twofold, Bach, and the scope of a solo violin. Bach’s Partitas and Sonatas for solo violin are landmarks in the violin repertoire and indeed in the development of the violin as a solo instrument. The Chaconne is the final movement of the second Partita. The great violinist, Yehudi Menuhin, describes it as “the greatest structure for solo violin that exists”  (Menuhin, Yehudi. 2001. Unfinished Journey,) It involves a set of variations based on a simple phrase repeated in harmonic progression in the bass line, but for the present day listener it evokes a whole world of emotions, and for the performer a whole array of technical challenges. Although by Bach’s time works for solo violins were well established, with Biber and Telemann among others writing pieces for solo violin, there was nothing comparable to this monumental work. Bach develops 64 variations from the simple basic theme of four measures. These become increasingly complex of increasing emotional intensity. It may, or may not have been written in memory of Bach’s first wife, Maria Barbara, who died during a time while Bach was away, but there is no historical evidence for this apart from the date of composition. Helen Pohl’s performance was absolutely convincing. Her playing was clear and unforced as she did justice to the contrasts within the piece and played with a beautiful rich tone. It was a moving performance.

Eugene Ysaye: Sonata No. 5 for solo violin
Although Ysaye was quite a prolific composer, he is now mainly remembered for his six solos sonatas for violin, each dedicated to an eminent violinist, No. 5 to Mathieu Crickboom, second violin of the Ysaye Quartet for a time. Ysaye himself was one of the great violinists of his era, an exponent of the French- Belgian school of violin playing of the tradition of Wieniawski and Vieuxtemps. He was a friend of Debussy and César Franck. Ysaye’s solos sonatas are fiendishly difficult. No.5 is in two sections ,L’Aurore, atmospheric, evoking the mood of the dawn, and Danse Rustique, with its strong rhythms, that of a peasant dance. The piece has a whole bag of tricks, double stop chords, harmonics, fast passages on top of held notes, plucked pizzicatos marking the melodic line of double stops, demonstrating what is possible to play on a violin. It is a great challenge for a young violinist on threshold of his career. Peter Gjelsten coped with these difficulties amazingly well. He gave a convincing reading to this seldom-heard piece .

Johannes Brahms: Sonata in E minor
This is a passionate and lyrical work, written when Brahms was 30 and had just arrived in Vienna. It is one of the few memorable cello sonatas of the nineteenth century. Brahms thought of it as a homage to Bach, and indeed he quotes from the Art of Fugue in the fugal passage of the third movement, but Brahms’ world is very different from that of Bach. This a world in which the emotional world of the artist is paramount. Although the form of the piece is strictly that of classical sonata, it is far from the restrained expression of Bach’s age. It is a very captivating work that calls for a deeply felt response from performer and listener alike. Rolf Gjelsten and Nicole Chao played it as a like minded partnership. Gjelsten played with a lyrical singing tone beautifully balanced by the piano. Emanuel Ax, the great American pianist, wrote in his notes for his recording of this work with Yo-Yo Ma that “The cello is often the bass support of the entire harmonic structure, and the piano is often in the soprano in both hands. This constant shifting of registers, with the cello now above, now below, now in between the hands of the pianist, creates an intimate fusing of the two instruments, so that there is no feeling of a more important voice that is continuous – the lead is constantly shifting.”

We have heard Nicole Chao as half of the delightful Duo Enharmonics, a piano duo with Beth Chen, Peter Gjelsten was the soloist with the Wellington Youth Orchestra, playing Tchaikovsky’s Violin Concerto last week, while Helen Pohl and Rolf Gjelsten are half of the the NZ String Quartet. Like many of the St. Andrews concerts, this lunchtime concert celebrated the vast pool of musical talent in Wellington.

 

Wellington’s Ghost Trio’s flair and brilliance concludes an eventful 2021 for Chamber Music Hutt Valley

Posted on by Peter Mechen

Chamber Music Hutt Valley presents:
The Ghost Trio in concert

Joseph HAYDN – Piano Trio in G Major, Hob.XV:45
Josiah CARR (NZ) – time and glue 2017
Gabriel FAURE – Piano Trio in D Minor Op.120
Antonin DVOŘÁK – Piano Trio  No. 3 in F Minor Op.65

The Ghost Trio :
Monique Lapins (violin). Ken Ichinose (‘cello), Gabriela Glapska (piano)

St. Mark’s Church, Woburn Road, Lower Hutt

Wednesday, 13th October, 2021

What a year for Chamber Music Hutt Valley! – a glance at my season ticket brings back ripples of musical pleasure as memories crowd in of concert following extraordinary concert, with only one pang of disappointment clouding the glow of satisfaction generated by the Society’s 2021 series. This was the cancellation of August’s “Sweet Chance” Vocal Duo presentation – Morag Aitchison (soprano), and Catrin Johnsson (mezzo), with Rachel Fuller (piano) and Serenity Thurlow (viola)  – due to Covid-19 restrictions. One can only hope that audiences get a “Sweet SECOND Chance” in the not-too-distant future to experience what had promised to be an intriguing and unashamedly entertaining evening’s music-making.

Though the shadow of the pandemic took its effect on this, the final concert in the series (masks, social distancing, audience numbers reduced, and the cancellation of post-concert supper), those who attended revelled in an evening’s music-making which fully reinforced the high-watermark standards of achievement set by these 2021 performers. I’d actually reviewed an earlier concert this year by the same performers at the NZ School of Music, and did try to arrange for one of my Middle C colleagues to take this concert – but came the time and nobody else was available (to my secret delight, I freely admit – though, I did wonder what the musicians’ reaction might be to having the same reviewer’s opinions regarding their playing and interpretations “served up” for two concerts running!……)

Fortunately the repertoire in each occasion’s case was “chalk-and-cheese” different, which helped my reviewer’s cause a great deal! – this latest concert was a veritable “showcase” of the art of the Piano Trio, beginning with a work from Joseph Haydn, the composer who had virtually “invented” the present-day version of the genre, before contrasting this with a contemporary work by a New Zealand composer, Josiah Carr, and continuing with two vastly different pieces from more-or-less contemporary figures written at different times in their careers, Gabriel Faure and Antonin Dvořák, each contributing his own individual stamp to the form and creating something uniquely characteristic in doing so.

I felt a tad perplexed when, before writing this review, “looking up” the concert’s opening Haydn item, as listed per the programme note – I was surprised at finding the Hob. Number of the work played not aligning to what I heard the Ghost Trio perform for us – so I remain mightily confused as to just where the work is “placed” in the composer’s oeuvre (in my list of Haydn’s Piano Trios there is no “Hob.XV 45” mentioned, for example, and “Piano Trio No.45”  is actually “Hob: XV 29 in E-flat major”, again, according to my source). Somebody reading this will know, and sort out the correct numbering and key so that I can actually track down a recording……

Monique Lapins introduced the concert for us, her choice of descriptive imagery relating particularly to, and illuminating aspects of both the Josiah Carr and the Faure works for us – I particularly enjoyed her equating the Faure Trio’s sounds to “a warm bath of colour”, a quality that the subsequent performance realised most gorgeously, reinforcing her point about the composer’s instinctive use of harmonic variation determining the music’s character more significantly than did its structure.

First up was the Haydn, however, a work in which the piano dominated, though the strings invariably brought their colours and textures, as well as a sense of interplay, to the music. The work’s development section climbs into different tonal regions, the violin occasionally giving an exuberant “whoop” via accented single notes, while the ‘cello keeps the contrapuntal textures simmering away in tandem with the keyboard. I’d heard it said that the ‘cello part in many of the early examples of Haydn’s Piano Trios is reduced to a kind of “filler” function – but seemingly not here, in most places, and even more not-so with a ‘cellist of Ken Ichinose’s elegance.

The work’s Menuet has a fetching minor-key sequence. Lapins’ violin giving this great poignancy, and Gabriela Lapska’s playing allowing her plenty of ambient space, highlighting  the ensemble’s marked quality of “listening” to one another, something which the following Adagio also readily brought to the fore throughout the music’s journey of enchantment, every note made significant. The finale, too, exudes character, with a rustic “thwang” on the violin’s note-attack, Lapins seeming to “pizzicato” one of these ejaculations at one point, whether by accident or design! – whether bowed or plucked, it all worked just as engagingly!

New Zealand composer Josiah Carr’s “time and glue” employed, through the poetry of Aucklander Emma Harris, a fascinating analogy with the creative process in presenting fragments of sound that become “associated” through interaction. The work provides a time-frame, and the piano the “glue” (the composer helpfully provided a programme-note!), into which scenario the strings contribute ideas and impulses that struggle to “mend” as required along the lines of the piano’s framework. I enjoyed this process, especially the trenchant episodes during which the instruments appeared to “confront” one another, perhaps out of sheer frustration at meeting resistance rather than co-operation! I fancied the idea the sounds then suggested of the piano next “stalking” the strings, which had taken stratospheric “refuge in the treetops”, and gradually enticing them down once more, the violin prevaricating with lurching slides (spanning sevenths?- ninths?) before slowly capitulating, the ‘cello more circumspectedly keeping a pizzicati eye-out for trouble, but eventually making its own connections. A stimulating, thought-provoking piece!

From this we were then taken into the very different world of Gabriel Faure, whose D Minor Piano Trio Op. 120 was written during his final years (he produced only one other work, his single String Quartet, before his death in 1924) and allowed us to savour a unique musical aesthetic, characterised by a quiet strength and truly original attitude towards form and structure. We heard in the first movement of his Piano Trio the mature composer’s obvious delight in daring harmonic modulation, his invention seemingly unconstrained by any “tyranny of key-signature”, and his imaginative fancy transforming convention into something almost child-like in its spontaneity, the results exciting and absorbing!

The Andantino brought us more of these “impulses of delight, the players etching out the composer’s tender dialogues between piano and strings, and violin and cello in turn, the themes allowed to resonate and echo, with the piano sometimes the accomplice, sometimes the leader in the process. There’s a breathtakingly beautiful piano solo from Glapska mid-movement which the strings briefly “touch” with comments, adding their intensities of feeling to the already burgeoning contents of the phrases; and subsequent sequences which once again begin climbing and festooning the music through key-changes into what Robert Schumann used to call “other realms” when sounds seemed to magically transform themselves – did someone mention a “warm bath of colour” at one point?……..

The strings and piano squared off at the finale’s beginning, the piano sparking with excitement in reply to the strings’ dotted-rhythm challenges, until the music disconcertingly skipped away, the players again floating their harmonies freely upwards as the dance energised our listening-pulses! A couple of unison shouts from the strings were peremptorily dismissed by keyboard flourishes, and the dancing continued, the players at first delighting in the music’s hide-and-seek-like harmonic shifts, but gradually “toughening up” on the folk-like ambiences, so that as the music modulated upwards the excitement grew accordingly!

So we came to the concert’s second half, whose music generated its own distinctive energies and tensions, Antonin Dvořák’s first widely-recognised “great” chamber work, the Op.65 F Minor Piano Trio. It’s often described as the composer’s most “Brahmsian” work, referring to  the older composer’s friendship with and frequent advice and encouragement to the younger man at the time this work was written – as with the D Minor Symphony, also composed at around this time, Op.65 seems more-than-usually “European” in its formal and thematic expression, as if Dvořák was emphasising “mainstream” modes ahead of his native “Czech” instincts. Fortunately, his native gifts as a composer were exceptional and distinctive to the point where any such “models” or “influences” didn’t diminish his own achievement – though Brahms’s influence is apparent in this work, it’s still “Czech” enough to be judged on its own merits and enjoyed as such.

The Ghost Trio readily took up the work’s challenges, recreating at the outset the music’s dark, serious purpose via the sombre themes and the terse gestures, though with the occasional touches of Slavonic harmony in places suggesting that this piece has roots in a specific kind of soil. And the second subject, played firstly on the cello and then the violin (Ken Ichinose and Monique Lapins respectively) had a freshness and ardour to the melody that for me proclaimed its Dvořákian provenance in the lilt of its last few bars – and the quasi-martial aspect of the episode immediately following straight away brought to mind a similar sequence in the composer’s later ’Cello Concerto…..

A similar “haunted” quality hung about the Allegretto grazioso second movement, the triplet accompaniments to the melody having to my ears a suggestion of unease amid the thrusting orchestral-like writing, as did the piano’s haunting oscillations a little later – the trio section is more flowing and atmospheric, like “music from another room”, the violin’s and piano’s tender figurations beautifully augmented by the ‘cello’s contributions. And I loved the frisson created by the opening’s return, the cross-rhythms at first hinted at, then suddenly released, the ensemble building the excitement with trenchant rhythmic interjections from all the instruments. The contrasting Poco Adagio slow movement felt like a tranquil woodland recollection in places, before the piano delved into the music’s darker, more troubled side, the strings taking refuge with gorgeous interchanges, the violin soaring, the cello musing and the piano simpatico. The composer’s rich re-imaginings of his material seemed to release a spontaneity of fancy to the journey, the performance here reaching a point of rapture, with the piano’s breathcatching modulations prompting the tenderest response from the strings that one could wish for.

After this the finale puts on dancing shoes, the players making the most of the somewhat angular “falling octave” figure at the beginning, before relaxing into a second minor-key melody with great charm and point, Dvořák imbuing this episode with an inimitably nostalgic, almost “homesick” quality. Vigour and tenderness continue their interplay, the music twice seeming to grow towards a kind of peroration before breaking off for some further reflection – the sounds then become almost confessional in these interludes, the composer unable to resist revealing to us a further precious glimpse of his heart-felt longing – be it mere convention, or a deeply-felt burst of resolve, the work ends with a triumphant flourish, one that on this occasion sparked rapturous acclaim from an appreciative audience.

 

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

Posted on by Anne French

Wellington Chamber Music presents:
Amici Ensemble

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

St.Andrews-on-The-Terrace

Sunday, 3rd October

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sounds of friendship from Vieux Amis at Wellington Chamber Music’s St.Andrew’s concert

Posted on by Steven Sedley

Wellington Chamber Music presents:
Vieux Amis (Old friends)

Arvo Pärt Für Alina / JS Bach Viola da Gamba Sonata in D Major, BMW 1028

Arvo Pärt mozart adagio / JS Bach Violin Sonata in E Major, BMW 1016

Dmitri Shostakovich Prelude and Fugue in E minor, Op. 87.No. 4 /

Piano Trio No.2 in E minor Op. 67

Vieux Amis –
Justine Cormack (violin) / James Bush (’cello) / Sarah Watkins (piano)

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

Sunday, 15th August 2021

Vieux Amis (Justine Cormack, James Bush and Sarah Watkins), are old friends indeed. They grew up together in Christchurch, they were neighbours and long-standing colleagues, and their bonds run deep. They put together an innovative programme of music that is, apart from the Shostakovich Trio,  seldom heard in concerts. To add to the innovative aspect of the programme, they asked the audience not to applaud between the Arvo Pärt and the Bach works, and between the Shostakovich Prelude and Fugue and the Trio, so that these pieces became introductions to what followed.

Arvo Pärt Für Alina

This is a simple piece, but its simplicity is deceptive. The music follows strict mathematical rules, the melody grows by one note in each bar, reaching its maximum of eight notes, then it begins to diminish again. The free-flowing melody is united throughout the piece with the so-called tintinnabuli, bell like voice. The long pedalled and held notes are separated by significant pause. This is considered to be one of the most significant works of all Arvo Pärts oeuvre. Its performance requires very sensitive reading attuned not only to the changing notes, but also to the silences separating them. It was a very appropriate introduction to the Bach Sonatas, preparing listeners for the subtleties of the complex baroque works that folloowed.

Johann Sebastian Bach Viola da Gamba Sonata in D Major, BMW 1028

Although this sonata was written for the viola da gamba, it was played by James Bush on a modern cello, with its more powerful tone. He played it with a beautiful, rich, romantic, sound, and the performance was more pleasing for that. The sonata starts with a gentle adagio and a lovely interplay between the cello and the keyboard. The second movement is an unhurried dance movement, the third is a meditative slow movement with keyboard and cello evaluating each evolving phrase, while the last movement is again a relaxed joyful dance. Parts of this sonata were used  in Bach’s St Matthew Passion [https://en.wikipedia.org/wiki/Sonatas_for_viola_da_gamba_and_harpsichord_(Bach)]

Arvo Pärt mozart adagio

This is an arrangement, or more appropriately, a reinterpretation of the second movement of Mozart’s Piano Sonata in F minor, K. 280. Pärt explores new sonorities between the strings and piano.

Johann Sebastian Bach Violin Sonata in E Major, BMW 1016

Like the viola da gamba sonatas, these sonatas with keyboard are, unlike the solo partitas and sonatas, seldom played in concerts. They follow the pattern of sonatas by Corelli and Handel, but are more complex, more ornamented. The second movement of this sonata echoes Bach’s earthy cantatas such as the Peasant Cantata. Like James Bush on the cello, Justine Cormack made no concession to the tradition of authentic baroque performance. She played with a vigorous, full-bodied violin tone and her performance was more interesting and enjoyable for that, and appropriate for present day musical tastes. She shed a contemporary light on this seldom heard work.

Dmitri Shostakovich Prelude and Fugue in E minor, Op. 87.No. 4

It was inspired programming to follow the Bach Sonata with one of Shostakovich’s Preludes and Fugues, which were tributes to Bach’s 48 Preludes and Fugues. But these were written in 1950, in the shadow of the Second World War and the brutal twilight years of Stalin’s reign. Although the form is Bach’s, the language is very much Shostakovich’s Russian idiom. No. 4 of the Preludes and Fugues is full of despair and sorrow which served as a very appropriate prologue to the great Piano Trio No, 2 that followed without a break.

Dmitri Shostakovich Piano Trio No.2 in E minor Op. 67

This Trio is one of the greatest chamber music works of the twentieth century. It was written in 1944 in the midst of the Second World War. Right from the barely audible harmonics on the cello, followed by the violin then the piano, we know that we are in for music that captures the profound sadness of the time. The earthy themes would have sounded corny in anyone else’s hands, but in Shostakovich’s hands they make a point about the universality of the message of the music. One can read all sorts of things into the manic second movement, but there is no doubt about the tragic sadness of the third movement. The last movement uses a klezmer theme, stated by pizzicato on the violin and then elaborated until the sad yet jaunty music dissolves into the final tragic adagio, the violin reiterating tearfully the klezmer theme. Shostakovich was said to have said “The distinguishing feature of Jewish music is the ability to build a jolly melody on sad intonations. Why does a man strike up a jolly song? Because he is sad at heart.” Shostakovich was aware of the fate of the Jews and the Babi Yar massacre, but this music is not just about Jews. It is about the great tragedy of the war and perhaps of the Russian people. This is overwhelming sad music.

These three musicians, Vieux Amis, old friends, growing up in peaceful Christchurch, had the empathy to do justice to this profound work. It was deeply felt, profound performance.

The Shostakovich Trio was received by a resounding applause, quite out of character for the largely elderly audience. For an encore Vieux Amis played the Largo from Bach’s Trio Sonata.

This was an outstanding, fine concert, and the Wellington Chamber Music Society deserves our appreciation for bringing  to Wellington this group of fine artists, with their imaginative programme.

 

 

Musicam scribo cogito ergo sum! – with a vengeance! – from the remarkable Ghost Trio

Posted on by Peter Mechen

Te Koki NZ School of Music presents:
The Ghost Trio –
Monique Lapins (violin), Ken Ichinose (cello), Gabriela Glapska (piano)

BEETHOVEN – Piano Trio Op 1, No.1 in E flat major (1793)
KELLY-MARIE MURPHY – Give Me Phoenix Wings To Fly (1997)
RODION SHCHEDRIN – Three Funny Pieces (3 heitere Stucke) (1981/1997)

Adam Concert Room, NZ School of Music, Victoria University of Wellington

Friday, July 13th, 2021

This was a concert that packed a great deal into a short time, an out-and-out “moments-per-minute” affair which encouraged and repaid the listener’s active involvement, but also “came to get you” if you had any thoughts of hanging back as if you were some kind of passive observer! Each of the three composers with the help of some extraordinarily dynamic and impactful, infinitely varied playing from the musicians of the Ghost Trio had things to say that seemed to variously brood, seethe, bubble and burst forth all about the available spaces, so that there was nothing for it but to allow oneself to be taken up and possessed accordingly!

The three works chosen by the Trio to perform each shared something of the “no holds barred” character of the music-making, if markedly contrasted in other ways – ‘cellist Ken Ichinose briefly but succinctly introduced the Beethoven work to us as the latter’s Opus One, remarking that it was obviously chosen by the composer to make the most distinctive and memorable effect on the musical world of that time. In fact Beethoven with these three Op.1 works placed the piano trio on a higher “plane” far removed from the domestic music-making aspect the form had previously occupied, adding a “scherzo” that both expanded the form’s parameters and intensified the dynamism of the music.

Straightaway, Beethoven employed simple means with the greatest possible effect,  a strong opening chord leading to various assertive treatments of a rising arpeggio from all the instruments underpinned by virtuoso runs from the piano. All the while the players emphasised the robust nature of the dialogue, very much an “as equals” kind of discourse, the second subject’s engaging contrasts dynamics and phrasings deliciously enjoyed by all. In the development the Trio enacted the “rising arpeggio meets rising scale – will it work?” scenario with characteristic relish, taking us to the recapitulation, where the music beautifully restated and unravelled, Beethoven having a lot of fun with his “concluding” gestures (Haydn’s influence, here?), telling us “this is it – but not yet!” repeatedly, the playing beautifully po-faced throughout!

Gabriella Glapska’s beautifully-played piano solo at the Adagio cantabile’s beginning made me long to hear her play one of the composer’s sonatas – Monique Lapins’ violin solo and cellist Ken Ichinose’s reply carried the mood forward fetchingly, then continued into ghostly minor-key realms of wonderment, the music “rescued” by a kind of “fanfare of being” from all the instruments. Beethoven allowed us further enjoyment of Glapska’s solo playing and of Lapins’ heartfelt delivery of the violin’s emotive phrases – so much light-and-shade, here! – and with Ichinose’s more circumspect ‘cello tones, putting me in mind of a Florestan/Eusebius kind of contrast between the two (yes, it’s the wrong composer, I know!). And what elfin magic there was in the tenderly-sounded concluding piano/pizzicato notes!

One wonders what this music’s first listeners made of the following Scherzo, with its “Minuet-gone-wrong” opening measures, and the roisterous “all together, now!” passage that followed. The players gave the music all the rustic vigour it needed, particularly digging into the “drone” passages which, here, almost made me laugh out loud! – and then, in complete contrast , the Trio seemed to draw back a curtain on a different scene, a dancing piano set against sostenuto string lines, like a butterfly gently hovering over a sleeping child. Tremendous vigour marked the scherzo’s return – but the players wound down these energies at the dance’s end with disarming ease and charm.

The playfulness of the Presto finale’s “ready – steady – go!” beginning, sounded by the piano’s mischievous “tenth” jumps, wound itself into almost frenetic activity from all of the players, with Glapska in particular hugely enjoying the virtuoso piano writing in general, introducing at one point (and revisiting) an uncanny pre-echo of Liszt’s Second Hungarian Rhapsody! Both Lapins and Ichinose joined in with the helter-skelter of the writing to stunning effect, the music generating tremendously fiery interchanges before breaking off, becalming, and then reintroducing the “starter’s gun” for another round of fun and games! The music also paid direct homage to Haydn near the end with the piano unexpectedly dancing away in a different key, before all the instruments broke into a cheekily raucous “fooled-ya!” kind of rejoiner and set the trajectories to rights! In all, a tremendously enjoyable and engaging performance of some ground-breaking music!

The name Kelly-Marie Murphy was new to me before I heard this performance of her 1997 piece for piano trio Give Me Phoenix Wings To Fly. She’s a Canadian composer currently based in Ottawa, one whose works have achieved international status, winning prizes in competitions around the world with pieces such as From the Drum comes a Thundering Beat (1996), Utterances (1999), Departures and Deviations (2002) and a Harp Concerto And Then at Night I Paint the Stars (2003).She’s currently writing a Double Concerto for piano and percussion for the Ottawa-based SHHH Ensemble, and has been commissioned to write a Triple Concerto for Trio Sōra and Mikko Frank’s Radio France Philharmonic  Orchestra during 2022.

In a programme note accompanying a previous performance of Give Me Phoenix Wings To Fly Murphy outlined her sources of inspiration for the work alongside the age-old Phoenix from the Ashes myth, each drawn from poetry – firstly, John Keats, from his poem “On Sitting Down to Read King Lear Once Again”….

    But when I am consumed in the fire,
Give me new phoenix wings to fly at my desire

And then, Robert Graves, in a poem “To bring the dead to life”, one I confess I didn’t know….

To bring the dead to life
Is no great magic
Few are wholly dead:
Blow on a dead man’s embers
And a live flame will start.

Murphy elaborated on her fascination with the myth of the Phoenix, and its ability to rise again after its immolation from its own ashes. Describing it as a powerful and relevant image for contemporary life as we humans perceive it, she characterised the process as a kind of way forward, and set out to render it in composition terms. She structured the piece in three movements, calling them fire, bleak devastation and rebuilding – and so emerged the Piano Trio Give Me Phoenix Wings To Fly.

It was only after hearing the music that I came upon Murphy’s programme notes, so that the impression the work made upon me at the concert as outlined below was formed almost entirely through the spellbinding efforts of the Ghost Trio in bringing this extraordinary work into being,  apart from my hearing beforehand pianist Gabriela Glapska’s brief summary of the music’s three-movement scheme. The opening gestures, strident and gripping, transfixed one’s attention, as did the rhythmic trajectories that sprang up almost straight afterwards, at once urgent and oppressive, and with each of the players physically involved in what seemed either like desperate gestures of flight or of falling out of control. The piano’s lowest registers took us to the darkest places, the music’s visceral aspect then burgeoning physically and psychologically with a conglomeration of cacophonies that gradually rose up and suddenly exploded and crashed down onto a single held piano note resonating in the shockingly near-empty aural spaces!

Over these spaces drifted bleak, desolate piano tones, joined by the ‘cello in its high register and then the violin, with stricken and forlorn harmonics. Stratospheric piano-note-clusters floated over low, cavernous held notes, the strings sounding piteously-wrought harmonics, and then ghostly col legno tremolandos – music devoid of shape or living substance. Pitiful  impulses of repeated notes from the piano were answered by heartfelt stratospheric cries from the violin, joined by the ‘cello – the piano chimed and shimmered softly as the strings joined to play long-held mantra-like figures, with time seeming to drift almost into a state of negation or non-being…..

The violin suddenly dug into a three-note repeated figure, joined by the cello, giving the impression of something trying to reactivate or revive – the music began a kind of danse macabre pizz-and-arco-with-piano, the rhythms angular and asymmetric, the instruments wrestling with the material – effortful unisons become exchanged figurations,  everything sounding like desperate attempts at reconnectiveness. The piano danced as the strings interchanged motifs – this phoenix was evidently not one for grand perorations of rebirth, but instead a feisty bird, whose refurbishment was an intensely-wrought, obstreperous and defiant process – making for, in Monique Lapins’ words afterwards, “a wild ride!” And here, what a performance it was of that ride!

Perhaps the concert’s third work was less of a “no-holds barred” than an “unbuttoned” experience, a piece by Russian composer Rodion Shchedrin, who will be celebrating his ninetieth birthday this year. Whimsically titled “Three Funny Pieces” for Piano Trio,  and written in 1997, the pieces are arrangements of earlier works, a 1957 “Humoreske” and two pieces from a “Notebook for Youth” dated 1981, the first of these here called “Conversation” and the second given the title “Let’s Play an Opera by Rossini”. Together, they made a riotous trio! Monique Lapins, who introduced the work, even promised us some singing, which, quixotically, did NOT happen in the Rossini piece but in the final “Humoreske”.

The first piece “Conversation” was a series of desultory exchanges between instruments which seemed determined NOT to communicate or even co-operate, each bent on doing its “own thing” – though at least each waited for the other to complete their “fragment” before beginning each new seemingly random, spur-of-the-moment impulse-gesture. The following “Let’s Play an Opera by Rossini” at first mimicked an operatic “Recitative / Aria” sequence, complete with heroine (violin) and hero (‘cello), – though whether one lampooned or truly invented by Shchedrin, I’m not entirely sure – then suddenly “morphed” into what sounded vaguely like the crescendo sequence from the “La Cenerentola” Overture, at the end of which the ensemble  seemed to fall down a flight of stairs and the playing come to an inglorious stop! Lastly, the “Humoreske”, a mock-processional piece of drollery taking the original “humorous” meaning of the term to bizarre extremes, the players bursting into boisterous song for one of the sequences, and concluding the piece with a loud unison in the wrong key!

All in all, it was one of those occasions at the end of which one might have been tempted to pinch oneself and rhetorically ask in tones of wonderment and disbelief, “And we saw and heard all of that for free? – goodness! – What an absolute privilege!” Indeed!

The Queen’s Closet at St.Andrew’s – a window into a seventeenth-century world of music

Posted on by Steven Sedley

St.Andrew’s on-The-Terrace Lunchtime Concert Series presents:

The Queen’s Closet – For the Chapel at the Table

Agostino Steffani Sinfonia from Niobe
Pavel Josef Vejvanovsky Sonata Tribus Quadrantibus
Johann Heinrich Schmelzer Serenata con alter arie
Heinrich Ignaz Franz Biber Sonata VII, Tam Aris Quam Aulis Servientes
Philipp Jakob Rittler Ciaccona a 7

St.Andrew’s-on-The-Terrace

Wednesday, 11 August 2021

The Queen’s Closet is a baroque orchestra that uses historically inspired performance practice, on period instruments at baroque pitch. Their concerts at various venues have been reviewed on Middle C, but this is the first time that I had heard them play as part of the regular Wednesday Lunch Time Concert series at St Andrews.

The music in this programme was pleasant occasional music, but it also represented the musical world of the late seventeenth century, which was the soil from which sprouted the great works of the next generation, Bach, Handel, Vivaldi, Telemann and other notable early eighteenth century composers. It was a rare opportunity to hear this music, performed by such highly skilled professional musicians.

For those used to the standard concert repertoire, this was a journey of discovery. Steffani, Vejvanovsky, Schmelzer, Rittler, and even Biber are hardly household names. The theme of the concert was music ‘for chapel and table’, music that is suitable for all occasions. The common bond of the composers was that they all worked in Hapsburg lands. The program featured works that were written for the trumpet especially. The court trumpeter was a person of significance with special privileges at the time when these pieces were written.

Agostino Steffani’s Sinfonia from Niobe featured the following musicians:

Sarah Marten, Emma Brewerton, CJ Macfarlane (violins),Sharon Lehany (hoboy), Nick Hancox (viola), Jane Young, Robert Ibell cellos), Kris Zuelicke (harpsichord), Gordon Lehany, Chris Woolley, Peter Maunder (trumpets) and Sam Rich – (timpani)

Steffani was a cleric and a courtier, but he was also a prolific composer, who wrote sacred works, numerous operas, songs and cantatas. This Sinfonia was from Niobe, one of his operas. It is scored for a chamber orchestra with three trumpets with a prominent timpani part.

Pavel Josef Vejvanovsky’s Sonata Tribus Quadrantibus followed, with Gordon Lehany (trumpet), Peter Maunder (sackbut), CJ Macfarlane (violin), Robert Ibell  (cello) and Kris Zuelicke (harpsichord).

Vejvanovky was one of the outstanding trumpet virtuosos of his age. One of his more remarkable talents was the ability to play certain chromatic passages on the trumpet, which is not normally possible on the largely diatonic natural trumpet.  He wrote this piece while employed at the Court of Kromeriz where he was librarian of music and music copyist as well as composer.

Next was Johann Heinrich Schmelzer’s Serenata con alter arie, with CJ Macfarlane, Emma Brewerton, Sarah Marten, Gordon Lehany (violins), Nick Hancox (viola), Jane Young and Robert Ibell (cellos), Kris Zuelicke (harpsichord, Peter Maunder (guitar) and Sam Rich (percussion).

Schmelzer was one of the most important violinists of his time and made substantial contribution to the development of violin technique. He was composer and musician at the Habsburg court where he was appointed Kapellmeister and was ennobled by the Emperor Leopold 1. This piece was for strings, harpsichord and percussion and song-like passages contrast with orchestral tutti.

A more familiar name is that of Heinrich Ignaz Franz Biber, who contributed a Sonata VII, Tam Aris Quam Aulis Servientes to the concert, played by Gordon Lehany (trumpet), Sharon Lehany (hoboy), Sarah Marten and CJ Macfarlane  (violins), Jane Young (cello), Kris Zuelicke  (harpsichord)and Sam Rich (percussion).

Biber, like Schmelzer, was an outstanding violinist and was influenced by Schmelzer. He is now mainly remembered for his works for violin, with his sonatas seen as precursors of Bach’s solo sonatas. This sonata written for a group of instruments that includes a trumpet, and percussion is one of a set of 12. As the title suggest, these are occasional pieces that can be used in the chapel or around the table.

Finally we heard the music of Philipp Jakob Rittler – his Ciaccona a 7. This was performed by CJ Macfarlane, Sarah Marten, Emma Brewerton (violins), Nick Hancox (viola), Jane Young and Robert Ibell  (cellos), Kris Zuelicke (harpsichord), Peter Maunder (guitar),Gordon Lehany, Chris Woolley (trumpet), Sharon Lehany (hoboy) and Sam Rich hPercussion).

Rittler was a priest as well as a composer. He composed primarily instrumental music before 1675 and after this time he composed mainly music for the church. His instrumental pieces are distinguished by their inventive orchestration and demanding solo parts. This Ciaccona for seven parts grows from a simple ground bass that circles gently in continuo instruments, the work expands outwards, adding ever thicker and more exuberant instrumental embellishments from trumpet and strings, to turn a graceful dance into an ecstatic musical celebration, before reversing the process and dying away to nothing [https://www.hyperion-records.co.uk/dw.asp?dc=W20784_GBLLH1852607].

The Queen’s Closet, under their musical director, Gordon Lehaney may be the only baroque orchestra in Australasia using authentic instruments, for example natural trumpets. Their presence enriches and expands the musical experience of the people of Wellington. I cannot do better than quote from the group’s website, which states their goal thus: “….TO BRING MUSIC OF THE BAROQUE ERA TO LIFE IN WAYS WHICH ARE FAITHFUL TO THE PERFORMANCE PRACTICES OF THE TIME AND MAKE IT RELEVANT AND ALIVE FOR MODERN AUDIENCES……TO PROVIDE A TRULY IMMERSIVE AND AUTHENTIC EXPERIENCE OF THIS WONDERFUL MUSIC.”