Category: Reviews – Concerts

Roger Wilson’s and Guy Donaldson’s “Son vecchio ma robusto” tribute to age and experience at St.Andrew’s-on-The-Terrace, Wellington

Posted on by Peter Mechen

“Son vecchio ma robusto” (Seniors, but still in form)
Reflections on Maturity – a programme of songs presented by Roger Wilson (baritone) and Guy Donaldson (piano)

Music by Brahms, Schubert, Ravel, Poulenc, Stravinsky, Lilburn

St.Andrews-on-The-Terrace , Wellington

Wednesday, April 23rd, 2024

Judging from their bright-eyed and bushy-tailed showing at St Andrew’s on-The-Terrace Church in Wellington on Wednesday, baritone Roger Wilson and pianist Guy Donaldson seem all set to take Palmerston North’s Globe Theatre Matinee Concert Series presentation by storm this coming weekend when they repeat the occasion this coming Sunday afternoon. Here, their performance of the programme, “Son vecchio ma robusto”, a collection of various vocal-and-piano observations regarding age and experience, absolutely delighted a goodly number of regular St.Andrews lunchtime concert cognoscenti.

Jointly describing their presentation as “a whimsical approach to senior years”, the pair have ample cause to celebrate a fruitful musical partnership, which began as far back as 1976, Roger Wilson having since then frequently sung with Guy Donaldson as a piano accompanist and under his baton as a choral conductor. I did hear a stirring “Messiah” in Palmerston North (actually from the timpanist’s seat on that notable occasion when I too was a “performer”) featuring both musicians in their respective roles, but regret I wasn’t able to witness their later collaboration in Schubert’s iconic song-cycle “Winterreise” – still, the occasion obviously remains a vibrant memory for those lucky enough to have heard it.

How fortunate, therefore, to have something both different and innovative served up for our pleasure by these two experienced and ultra-capable musicians. There are plenty of songs, light and serious, about ageing, and music is obviously one of the most life-enhancing ways to help deal with the process, whether one is a performer or a listener – Wilson and Donaldson hit the spot almost invariably with their choices of repertoire, with only the strange Stravinsky song (augmented by a spoken narrative) about a Bear not doing very much for me at all.

The programme enterprisingly printed translations of the songs, putting us in touch with many of the varied, expressive nuances employed by the performers, which obviously enhanced our enjoyment. Thus, in the very first song, by Brahms, “Keinen hat es noch gereut” , one recounting an old man’s retelling of his youthful adventures, we could hear how the performers responded to the composer’s “bringing out” of the music’s energies and subtler nuances in the vocal narrative and in the piano’s use of different trajectories, both depicting different stages of life.

Two Schubert songs which followed markedly contrasted attitudes to life in general, the first “Greisengesang” (An Old Man’s Song), expressing forthright responses to both outward cold and harshness, and inner warmth and feeling, the voice expressing the territories covering these differences and the piano remarkably sentient in its response to the changes. Perhaps because I was so looking forward to the following “Der Einsame” (The Solitary One) I felt some disappointment in being able to relish so little of the character’s “enjoyment” Zufriedenheit) of his “single” life in the performance, here given at what seemed to me slightly too brisk a tempo for the song, and with little obvious self-satisfaction in his “gemutlich” contentment.

A different world was given us by the three Ravel songs which were the ailing composer’s final compositions, written for a film whose subject was Don Quixote, and in which the great Russian bass Fyodor Chaliapin was to play the title role. Ravel completed three of the four commissioned songs but his growing illness prevented him completing the project. The composer’s friend and colleague Jacques Ibert was able to write four new songs for the film, though Ravel’s work has remained in the repertoire.

The three songs present the knight of the sorrowful countenance firstly as a lover, then a principled hero, and finally even a joyful reveller. First came the “Chanson Romanesque”, a sinuously-rhythmed and suggestively-hued Spanish serenade, which was followed by an intensely-imploring prayer to Saint Michael for purity and chastity as a knight – singer and pianist at one, the voice conveying steadfast virtue, and the piano underlining the sentiment with gently sonorous organ-like tones. Finally, the knight declares his simple enjoyment of drink with some Falstaff-like roisterings, accompanied by suitably florid pianistic gestures – a great song, here lustily shared with an appreciative audience!

Ibert’s “La Mort de Don Quichotte” was no less involving, here – a sultry Habanera rhythm conveyed the song’s plethora of emotion, the singer having all the time in the world to reflect on the character’s delineation of the “happy isle of death” as conveyed by the famed book’s telling of the tale, and the pianist colouring, echoing and reflecting the words’ emotions through to a “time standing still” postlude – very beautiful!

Each of Francis Poulenc’s Two “Chansons Villageoises” (with words by Maurice Fombeure) presented old age in unvarnished terms via characters who had suffered hardship and loss – the first, “Le Mendiant” (The Beggar) is old Jean Martin, with his sack and gnarled dogwood stick, found dead on the ice, and is a kind of cautionary socialist-like tale warning people to take pity on those who have little or nothing – one day all such Jean Martins will rise in revolt and take revenge! Roger Wilson’s histrionic abilities made the most of this “day of reckoning” scenario, with Guy Donaldson’s pounding, vengeful piano sonorities similarly taking no prisoners! The second song “Le retour du sergent” painted a somewhat grimmer version of “Where have all the Flowers Gone?”, with the old soldier returned home and alternating between bitter anger and heartfelt sadness at the loss of his friends on the battlefield! – again vivid characterisation and remorseless silences at the end.

A third song by Poulenc, “La Carpe”, opened with a dark stillness whose constant repetition underlined the near-timelessness of the fish’s existence as observed by humankind – a somewhat odd choice for the recital but perhaps suggesting something of the tranquility/emptiness of an aged person’s world. It had a piquancy which in a sense qualified its presence to a reasonable extent. In terms of such a process I found myself unequal to the task of figuring out what Igor Stravinsky’s song “The Bear” was doing in such company, and decided I would leave the business of expressing its relevance to abler minds and cyber-pens! No such reservation accompanied my reaction to the inclusion of Douglas Lilburn’s well-known and quintessentially Kiwi song-cycle, “Sings Harry”, one which Roger Wilson has well-nigh made his own upon the occasions I’ve heard him perform the work.

Here, from the first, bardic-like piano notes was an evocation of an older, more rooted-in-the-soil rural New Zealand expressed in a characterful vernacular that owed its place to nowhere else and took pride in its self sufficiency. Roger Wilson and Guy Donaldson became, for a few treasurable moments, the authentic bringers and declaimers of these “once the days were clear” times, tracing and fleshing out those same moments as enduring memories and resonating self-truths. The heart of the cycle has for me always been “The Flowers of the Sea”, and the voice and piano became as one, here, with the tide and the wind as the composer unerringly “placed” all of us within something of an eternal action of being – to which the concluding song “I remember” took us in a return to the childhood farm, and the hill over which the hawk forever flies – very moving.

In one sense the Lilburn/Glover cycle was the perfect way in which to conclude the programme – but despite the outrageous nature of the iconically non-PC Flanders and Swann song “Have some Madeira, m’dear!”which followed as an encore, its Rabelaisian performance here was an unmitigated delight, with the performers literally giving it all they’d got in terms of characterful roguishness. It was in a sense a “Do not go gentle into that good night” gesture which rounded off the tongue-in-cheek “growing old disgracefully” aspect of the programme! Palmerstonians should on no account miss it when these splendid performers take the stage at the city’s Globe Theatre on Sunday 28th April at 2:30pm.

Circle Of Friends throws open the doors at St.Andrew’s

Posted on by Peter Mechen

Wellington Chamber Music presents:
CIRCLE OF FRIENDS
– an afternoon with Natalia Lomeiko (violin), Sarah Watkins (piano) and Yuri Zhislin (violin/viola)

CLARA SCHUMANN – Three Romances Op.22 (1853)
ROBERT SCHUMANN Phantasie in C Major Op.131 (1853)
KAROL SZYMANOWSKI – La Fontaine d’Arethuse (from Myths Op.30 – 1915)
Nocturne and Tarantella Op.28 (1915)
JOHANNES BRAHMS – Viola Sonata No. 2 in E-flat Op.120 No. 2 (1895)
DMITRI SHOSTAKOVICH – 5 pieces for violin, viola and piano (1955)

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

Sunday, 14th April 2024

The elves had been busy overnight at St.Andrew’s-on-The-Terrace, changing all the seating back to “normal” after the previous day’s Janáček / Dvořák choral concert, for which everything had been reversed in deference to the singers and instrumentalists who had filled to bursting the organ/choir-loft at the rear of the church’s nave – in the light of the normality now firmly re-established it might have seemed to those who had also attended the previous day’s concert like a “did we dream you or did you dream us?” situation.

Whether those same elves had remained hiding in the church’s nooks and crannies to get a taste of the beauties and excitements of today’s programme wasn’t obvious to the eye, but in retrospect the many delights and gratifications afforded by the playing of the three musicians throughout would have caused ripples of pleasure activating the sensibilities of all but the most inert life forms on hand this afternoon.

The programme’s “circle of friends” title encompassed not only the performers (the “wife-and-husband’ team of violinist Natalia Lomeiko and violist Yuri Zhislin in partnership with pianist Sarah Watkins) but three of the composers whose music was about to be performed, and whose ties have since become legendary – Clara and Robert Schumann, and their mutual friend and protégé, Johannes Brahms. However, the range and scope of the performers extended even further in the case of several other items, and most entertainingly with a near-riotous encore piece , about which you will have to read the rest of the review in order to learn more!

First up was Clara Schumann’s Three Romances for violin and piano Op.22, written in 1853 , a year of both triumph and troubles for Clara, touring successfully with violinist Joseph Joachim (to whom these piece are dedicated), but with her husband Robert’s deteriorating mental condition causing serious concerns. The pieces here seem like strands of hope stretching forth for a kind of deliverance, the first gentle and richly-toned, Lomeiko and Watkins moving gracefully as one through a beautifully-wrought sensibility; after which they brought out in the second piece a rather more sober and melancholy feeling, happier and even quixotic in places in the middle section’s major key, but inevitably drawn back to the opening’s darker mood. The third’s long-breathed melodies had a rippling accompaniment, Lomeiko’s violin ardent in song and Watkins’s piano mirroring every impulse – the latter’s able fingers as impish throughout her staccato passages as they were liquid and flowing at the piece’s beginning.

Dating from the same year was Clara’s husband Robert’s astonishing Phantasie in C Major Op.131, a work that had dropped out of the repertoire until reintroduced in a version for violin and piano conceived by Fritz Kreisler in 1937 (I can’t find any reference to the work having been performed by anybody earlier in this form, the Dusseldorf premiere having been played by Joseph Joachim with the composer conducting the orchestra). It’s an incredible piece of violin writing by somebody thought of as being in a state of mental duress and decline at that time, a one-movement work filled with contrasts of expression which here “marry” its composer’s often wildly-opposing creative personas in remarkably cogent ways. Most of the virtuosic fireworks came from the violinist, though pianist Sarah Watkins readily backed up Natalia Lomeiko’s more florid violin gesturings with appropriately orchestral tones and figurations at climactic points, the duo elsewhere “playing into” one another’s hands with some equally heartfelt melodic phrasings that in places made one hold one’s breath.

Other repertoire that’s been gradually re-establishing its place in musical history in recent times is the music of Karol Szymanowski (1882-1937), now regarded as one of the greatest of Polish composers. Included in his output are a number of chamber works for violin and piano, two of which Lomeiko and Watkins played – firstly we heard one of a group of three poems called Mythes, inspired by Greek mythology, with the title “La Fontaine d’Arethuse”. This concerns the story of the nymph Arethusa, fleeing from the attentions of the river-god Alpheus (those Greek deities were something of a randy lot, I must say – perhaps a case of “if it was good enough for Zeus, then….”) and being turned into the waters of a fountain to avoid capture.

We heard the piano notes shimmer and scintillate at the beginning, as the violin called forth the nymph Arethusa with its silvery, enchanting line – the music began to agitate with the appearance of the river-god, Alpheus, but the latter’s desire to ensnare the nymph was thwarted by the eerie stillness of the violin harmonics concealing her presence. The river-god renewed his desperate agitations (amazing pyrotechnic playing from both musicians!) and Arerthusa was snatched away and concealed by her protector, Artemis. Hearing Alpheus’s lament, the other gods allowed the fountain waters to mingle with those of the river (violin and piano mingled their sounds), and honour was satisfied.

Where the “myth” was primarily impressionistic and suggestive in effect, the following piece Nocturne and Tarantella Op.28, though dating from a similar period, inhabited a different sound-world, the introductory Nocturne evoking a more Iberian ambience, with sultry evocations of stillness set against episodes of vigorous Spanish dance-rhythms. By stark contrast, the following “Tarantella” was a riot of impulse, movement, and raw vigour which left us all breathless with amazement and stupefaction at both performers’ energy levels throughout!

Having taken all of these intensities in our listening stride, an interval gave us the chance to come up for some air before turning our attentions to the music of Brahms, via the playing of violist Yuri Zhislin with Sarah Watkins, in a work I’ve always loved in its original form, the second of two sonatas originally written for the renowned clarinettist Richard Mühlfeld, whose playing had inspired the composer to produce an unexpected “Indian Summer” of additional chamber music! Brahms (somewhat, it seems, against his better judgement) had subsequently produced viola versions of these two same sonatas.

Whatever the composer’s misgivings – “sehr ungeschickt und unerfreulich” (clumsy and ungratifying) was his comment to Joseph Joachim re the transcriptions – he would surely have revised his opinion had he heard Yuri Zhislin’s performance with Sarah Watkins, here – it really made me love the music all over again (I had, of course, heard recordings of the viola versions, but still preferred the original clarinet ones until now) – the eloquent ease with which Zhislin negotiated the lines was matched by his tonal range which for me “inhabited” the music’s character at every point of the discourse. Also, Sara Watkins’ playing similarly illuminated the music from within – the central interlude in the work’s middle movement Scherzo here wove a spell whose realms I’d never previously been taken into so deeply. Then, the “Theme and Variations” finale was a similar joy which the “hit-and-run” excitement of the final variation’s coda rounded off in exhilarating fashion!

I’d thought that, after these heady excitements, the concert’s final printed item, Shostakovich’s Five Pieces (a kind of “assemblage” work brought together by Lev Atovmyan from the composer’s various film and ballet scores) would prove to be somewhat “small beer” – but Lomeiko and Zhislin (the latter now playing a violin) found, with Watkins’ help, a lot more “character” in the pieces than did the somewhat bland rendition I’d previously auditioned on a “You Tube” clip. Where the trio REALLY set the usually staid and respectably-wrought venue alight was with the encore, a piece by Igor Frolov, a violinist in his own right (he was a pupil of David Oistrakh) who enjoyed a distinguished career in the Soviet Union as a teacher, artistic director and musical arranger, well-known for his composition of pieces written using what have been described by certain viewpoints as “forbidden” musical styles, such as jazz (there are various opinions regarding the much-vaunted “Soviet disapproval” of western-style forms of entertainment during the 194os and 50s). Whatever the case Frolov’s 1979 “Divertimento” with its outrageous juxtaposing of pastiche baroque-styled sequences alternated with jazzed-up and “swung” passages of tongue-in-cheek variants and vagaries of style, was all “turned” in what seemed like the manner born, with spadefuls of elan from the players! We loved them for it and made no bones about our appreciation of the whole afternoon’s feast of music-making!

Flavoursome Janáček and Dvořák from the Bach Choir

Posted on by Peter Mechen

The Bach Choir of Wellington presents:
JANÁČEK – Otče náš (Our Father)
DVOŘÁK – Mass in D Major, Op.86

Laura Dawson (soprano), Sinéad Keane (alto),
Theo Moolenaar (tenor). Simon Christie (bass)
Michelle Velvin (harp), Douglas Mews (organ)
Bach Choir of Wellington
Musical Director – Shawn Michael Condon

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

Saturday, 13th April 2024

I couldn’t recall a previous time I’d walked into St.Andrew’s-on-The-Terrace Church in Wellington and straightaway been confronted by an audience of faces rather than heads entirely – well in most cases! – of hair – as if in a dream I had suddenly and bewilderingly been thrust into the role of a performer or celebrant in what was to follow, instead of an accustomedly passive onlooker!

Of course this audience volte-face was arranged so that singers and instrumentalists in both works could be more closely arrayed than was often the case in works requiring the services of the splendid pipe organ and a choir of reasonable size, not to mention a quartet of solo singers and a harpist with her instrument to boot! It resulted in a different kind of “spaciousness” to that end-to-end kind normally afforded by the church for choral concert music accompanied by an organ.

Actually, the relative “novelty” of the arrangement further intensified the stimulation I’d previously noted in listening to recordings of these works which were entirely new to me! I put a lot of it down to the music’s distinctive “Czech” quality, present in spadefuls throughout Leos Janáček’s Otče náš (the setting of the prayer ”Our Father”) by dint of so many characteristic composer-fingerprints in the music’s making.

But even in the more conventionally-presented Dvořák Mass there were numerous aspects which proclaimed a kind of expression which, though influenced by, was nevertheless apart from most of the familiar stylistic formalities of the Austro-German tradition of church music, drawing instead from the composer’s folk-influenced roots with a plaintiveness and simplicity of utterance that readily evoked an awareness of and a feeling for the natural world and an ordinary, simple being’s place in it.

First up, however, was the Janáček work, opened by the organ and harp, and joined by the voices, firstly the basses, and then in canonic imitation, the altos, a strong, simple and beautiful effect, with both vocal strands drawing resonances, it seemed, from one another, as with the lighter and no less beautiful exchanges between tenors and sopranos which followed. Tenor soloist Theo Moolenaar brought a wonderful fervour to his first solo, his ringing top notes creating a frisson which was carried forward by the entry of the choir in reply. A rhapsodic instrumental interlude for organ and harp paved the way for another solo from the tenor, beautifully echoed by the choir and by the organ, joined by the harp for further rhapsodising (delightful playing, as throughout, from both Douglas Mews and Michelle Velvin!)

What a contrast, then, came with the choir’s tumultuous entry imploring our “daily bread”, with particular insistence upon dnes, the word for bread, flung upwards and outwards into the spaces overhead! – and how readily the tenor then implored the choir’s responses to his plea for forgiveness of humankind’s trespasses, with organ hand harp adding their own heartfelt contributions. Finally, a particularly “grunty” organ passage heralded a vigorous and even biting response from the voices in matters pertaining to temptation and evil before assenting the prayer’s plea further and finally with a number of ringing and rousing “Amens!”

My delight in recent discovery concerning the Dvořák Mass which followed was happily taken further by this performance, complete with the “togetherness” of the entire ensemble crowded into the St.Andrew’s organ-loft doubtless reflecting the circumstances of the work’s premiere. Dvořák’s original commission for the work had come from one of his patrons, the architect Josef Hlavka, and involved the inauguration of a small chapel in the Bohemian village of Lužany, the place which gave the Mass its nickname.

I was able to savour all over again those sweet opening phrases of the work in the “Kyrie”, here beautifully floated by the choir, with conductor Shawn Michael Condon beautifully controlling the “ebb-and-flow’ dynamics of the lines, creating an almost lullabic sound around a crescendo of tones and associated emotions. The “Christe” passages made a telling contrasted effect, especially when the Kyrie refrain returned at the end, plus some briefly reiterated “Christe christe” murmurings.

A vigorously-begun, declamatory “Gloria” took us to a stately and lyrical “Et in terra pax hominibus”, which grew back the music’s jubilation through the following “Laudamus te”, before reaching a splendid choral climax at “Glorificamus te”. The most moving sequences for me came with the interplay of the soloists and choir throughout the “Domine Deus” sections where first the choir, and then the soloists brought out the beauty of the exchanges, the choir then excitingly bringing out the music’s energies at “Suscipe deprecationem nostrum”, and continuing with a robust “Cum Sancto Spiritu’ followed by resoundingly satisfying “Amens”.

Another moment to savour was the surprisingly lyrical and serenade-like opening to the “Credo”, the women’s voices sweetly alternating with the rest of the choir – by contrast, the “Deum de Deo” sections brought forth some unexpectedly explosive interjections, with the organ’s chording in places bordering on the discordant. A pause gave us breathing-space for the contrast at the soloists’ taking up of the “Et incarnatus est” with beautiful work from all concerned, beginning with alto Sinéad Keane and bass Simon Christie, and followed just as effulgently by soprano Laura Dawson and tenor Theo Moolenaar, who, together with the choir, brought about a palpable sense of peace with the gently-breathed “Et homo factus est”.

Dvořák doesn’t disappoint with the contrasting force of his setting of “Crucifixus etiam pro nobis” – the voices unsparingly produced fierce and harrowing tones, while the following “Passus et sepultus est” expressed the grief in a vastly different way, with hushed tones and ever-increasing resignation. How appropriate, then was the different kind of contrast again wrought by “Et resurrexit tertia die”, one expressed with lilting rhythms and ascending lines blossoming with the help of the organ. The rest of the setting seemed to me to emulate a pealing of church bells expressed in vocal terms, an effect accentuated by the “swinging” trajectories of the music and the “folksiness” of the organ’s squeeze-box-like timbres, leading inevitably to the joyously-voiced “Amens” at the end.

Bells were again brought to mind by the opening of the Sanctus, the voices enchanting us with a well-nigh irresistible carillion of sounds and resonating “HJosannas” at the end. Came the “Benedictus” with its piquant organ solo at the beginning and “entranced” vocal entries, producing slow-moving near-oceanic waves of sound – a wonderful sequence, broken by the joyous return of the Sanctus.
It was left to the “Agnus Dei’ to conclude the work, simply and sonorously sung by the soloists in turn, beginning with the tenor, and then the alto, soprano and bass. After repeated and affecting soundings of the words “Miserere nobis” from the choir, the tenor then introduced the words “Dona nobis pacem”, echoed with most affecting beauty by the choir, the word “pacem” seeming to ring in our ears as a haunting message, indeed, even a directive, for our time……

Very great credit to all concerned with the Bach Choir of Wellington for a well-planned and engagingly-delivered concert, eminently worthy of ongoing memory…….

Handel’s “Messiah” – stimulation and distinction for 2023 in Wellington from the Orpheus Choir and Orchestra Wellington

Posted on by Peter Mechen

Photo credit "Latitude Creative"

Photo credit “Latitude Creative”

Orpheus Choir of Wellington and Orchestra Wellington present:
GEORGE FRIDERIC HANDEL – MESSIAH HMV 56
Madeleine Pierard (soprano), Margaret Medlyn ONZM (alto), Frederick Jones (tenor), Paul Whelan (bass)
Orpheus Choir of Wellington (Brent Stewart, director)
Orchestra Wellington (Amalia Hall, concertmaster)
Jonathan Berkahn (continuo)
Brent Stewart (conductor)

MIchael Fowler Centre, Wellington

Saturday, December 2nd, 2023

At the Interval, during the Orpheus Choir’s recent “Messiah” performance at the Michael Fowler Centre, I took stock – all very thought-provoking so far, the concert having begun promisingly by conductor Brent Stewart with a soberly-delivered but well-rounded orchestral Overture, grave, but not too solemn, and jaunty without being too punchily “born-again-authentic”, and the orchestra proceeding to confidently work its way through the chameleon-like contrasts of  character required to support each of the oratorio’s items.

We heard several distinctive soloists’ turns that conveyed the spirit and essence of the notes and texts, balancing the requirements of the score with the theatricality of the subject-matter, and in almost every case rising splendidly to the challenges suggested by the texts, braving a couple of low-octane moments with enough resolve to hold words and music together. And there were the choruses which explored their own heights and depths of situation and emotion, the voices seeming to me to “sing themselves in” more surely as the sequences proceeded, as did the players with their instruments in like manner.

Highlights of the first half included tenor Frederick Jones’s persuasively prophetic declamation in his opening recitative “Comfort Ye”, pleasingly emphasised by his continuo-only accompaniment for “The voice of him that crieth in the wilderness”, with only the long runs in “Ev’ry Valley” which involved the word “exalted” and “plain” seeming to affect his powers somewhat. Bass Paul Whelan seemed to have limitless reserves of strength, pinning back our ears with his “Thus Saith the Lord” and his near seismic runs on the word “shake” later in the recitative. I thought his response at “For Behold” curiously neutral at first, eschewing a growing intensity of tone leading up to the words “light” and “glory”, but admittedly making amends in the aria that followed with his sonorous utterance of the words “have seen a great light”.

Margaret Medlyn in the mezzo part made the most of her word-pointing with “Behold, a virgin shall conceive”, and then in the aria “O Thou that tellest” coped with a cracking pace, investing the words “Arise” and “Shine” with suitable radiance as an incentive for the chorus to follow with their even more vigorous incitements of “Arise!” and “Behold!”. And with her colleague, Madeleine Pierard, Medlyn contrived to charm us with the lullabic tones of “He shall feed his flock”, preparing the way for the soprano’s transcending upward-lifting entry with the same melody – always a beautiful moment! Early, the justly famous “Pastoral Symphony” had paved the beguiling way for the soprano, Pierard’s voice as angelic as I previously remembered in this music,  making her words tell in announcing the heavenly hosts’ presence, the chorus’s celestial “Glory to God in the Highest” underpinned by some superb trumpet playing!

Here, the chorus work was enchanting – earlier I’d thought that Brent Stewart’s tempi for his forces were too rushed to allow “And the Glory of the Lord” its proper “glory”, and “And He shall purify” its captivating deliciousness in the lines’ effervescent intersecting, like strands of impulse in a bubbling brook! What I admit then bewitched my ear was the first half’s concluding item, the chorus “His yoke is easy”, with Stewart’s tempo quick enough to challenge his voices, but spacious enough to allow the phrases to both bloom and catchily syncopate on the word “easy”.  Handel had devised a kind of fugue which plays beautifully with the phrase, before mercilessly subjecting the word “light” to a state of sudden ambivalence – is it a reference to Christ’s teachings and their liberation for all peoples from the laws and strictures of the Pharisees? Or is it an ironic comment upon Jesus’s intention to suffer and die for our sins so that we may be redeemed? The performance illustrated the salient characteristics of the setting in all its contradictory splendour.

I should say at this point that the sum total of what I had heard thus far was disposing me towards looking forward to the second half! – and my expectations were set alight by the opening chorus of the Second Part of the work, “Behold the Lamb of God” the effect of which was hypnotic and compelling to a degree I hadn’t previously registered. Then it suddenly struck me that all the chorus members had closed their scores, and were obviously singing from memory! – it was such a focused “moment” of both sight and sound, and was somehow signalling to us that what we were about to hear was worthy of every skerrick of our attention from this moment on.

And so it proved – Margaret Medlyn again seemed to “own” the words in “He was despised” – no morbidity or sentimentality, here, but somehow pure emotion, expressed by a storyteller in real human terms for another human being – the added force of her articulation of the words “despised” and “rejected” (the latter here almost “sprechgesang”) was a moment of unique feeling, powerful in its conveyed spontaneity.

Then came another of the work’s great sequential sections, one which for me lifted conductor Brent Stewart and his voices “up on high” for a few exalted moments – the chorus “Surely He hath borne our griefs” expressed with such shock and anger as to its significance, with the orchestral support here almost percussive in its attack by way of reinforcing the notes’ jagged angularity – incredible emotion! From this “full frontal” assault sprang the similarly austere “And With His Stripes” whose rigour and severity seemed to bind the music’s course with strong, impenetrable bonds, before Handel suddenly disarmed the exactitude of such sounds at a stroke, with “All We like sheep”, the voices suddenly freed from constraint and revelling in their dynamic contrasts and energies. Handel again here makes inspired and mercurial use of the words’ seeming caprice as a ploy to suddenly plunging our short-lived exuberances into a state of shame and sadness, with the words “…has laid on him the iniquity of us all”, a moment almost stupefying in its effect….

The music’s inexorable ebb-and-flow strength continued with Frederick Jones’s stentorian “All they who have seen him” provoking a derisive “He trusted in God” response from the choir, one then eloquently lamented with Jones’s “Thy rebuke hath broken his heart”, and the accompanying “Behold and see”, with Christ’s sufferings and punishment on humankind’s behalf further emphasised by the singer in a remarkable and well-sustained sequence. And a slight rhythmic stumble along the way didn’t deter Jones in his defiant “Thou shalt break them”, the power of God sustaining the music’s and the singer’s determination.

Margaret Medlyn’s “How Beautiful are the Feet” made an appropriately meditative contrast to the travails of Christ’s trials and sufferings, with its intimately–focused solo string accompaniments, a moment of meditation then swept away by the whole orchestra’s whirlwind introduction to Paul Whelan’s rousing “Why Do the Nations”, and with the choir goaded into a kind of similar frenzy in its frantic “Let us break their bonds asunder”, the flailing lines spectacularly dovetailed! The redemption to all of this came surely and squarely with the deservedly beloved “Halleluiah” chorus – of course, we all leapt to our feet (isn’t it, by this time, in our DNA to do so?)! Terrific stuff from all concerned, voices and instruments, and especially the brass and timpani – though a friend of mine afterwards complained that conductor Brent Stewart seemed to “play” with the dynamics too much instead of really “letting ‘er rip!”. You simply can’t please some people, no matter what!

It was left to Madeleine Pierard’s supremely confident and appropriately celestially-bound “I know that my Redeemer liveth”, Paul Whelan’s authoritative “The trumpet shall sound” (supported to the hilt by his trumpeter!), and the Orpheus Choir’s by this time almost transcendental range of articulations, tones and dynamics in taking us through the well-wrought certainties of both “Since by man came death” and “Worthy is the Lamb”, to reach the work’s final “Amen” chorus. I loved the latter’s  “building blocks” aspect, rising inexorably from the opening phrase with the voices, and being drawn skywards by the orchestral instruments before the clouds rolled back to reveal its completed grandeur. Great honour and praise are due to conductor/choir director Brent Stewart for his work in enabling and then taking us through such an inspired and far-reaching journey.

Robert Wiremu’s REIMAGINING MOZART – a mind-enlarging expression of human tragedy in music

Posted on by Peter Mechen

Robert Wiremu’s REIMAGINING MOZART
(dedicated to Helen Acheson)

Presented by Chamber Music New Zealand

Karanga to the Composer – Melissa Absolum (Voices Chamber Choir)
Composer – Robert Wiremu
Instrumental Ensemble – Liu-Yi Retallick. Joelia Pinto (violins), Johnny Chang, Helen Lee (violas)
James Bush, Sarah Spence (‘cellos), Eric Renick (vibraphone)
Voices New Zealand Chamber Choir
Music Director – Karen Grylls

St.Mary of the Angels Church, Wellington

3:00pm Sunday, October 29th, 2023

 

Apart from it all having  a superlatives-exhausting effect from a critical point of view, I found as an audience member, composer Robert Wiremu’s “reimagining” of sequences from Mozart’s final work, his “Requiem”, a profoundly engaging and deeply moving experience. It was thus on so many levels, though naturally the presentation exerted its fullest and deepest effect with all things considered – the atmosphere of the venue (the beautiful St.Mary of the Angels Church in Wellington), the cultural merging of ritualistic procedures, European and Maori, the idea of a “requiem” in the presence of karanga (call), kaupapa (matter for discussion) and poroporoaki (leave-taking) relating to and delivered by the composer in relation to  his subject matter, the use of both specific and “re-presented” parts of the Mozart work, both the overall and specific parts of the presentation’s “narrative”, the technical prowess of the performers, the beauty of their singing and playing, and, of course the skills and complete authority of Music Director Karen Grylls. All of these things interacted to present a work whose range and scope was breathtaking, both when experienced in situ and in subsequent resonant reflection.

Earlier this same month (October) Wiremu had outlined in a radio interview certain aspects of the presentation which conveyed a real sense of what we would subsequently hear in its performance – and to the production’s credit the printed programme available at the venue further enabled the listener to clearly follow the general organisation of the work. Wiremu recalled that the idea of using Mozart’s Requiem as a kind of “starting-point” was part of the commission given to him by CMNZ’s chief executive at the time, Gretchen la Roche, and that he was able to then sublimate the kind of universal human grief for the dead in Mozart’s work as a statement focusing on a more specific and immediate tragedy involving this country, the Mt.Erebus plane crash which claimed 257 lives late in 1979.

Wiremu was given certain specific directives regarding the commission. because the piece was going to go “on tour” – his resources were limited accordingly, thus  the use of a chamber choir and a limited-sized instrumental ensemble . Along with a small group of strings Wiremu chose the vibraphone as an ideal instrument of evocation particularly as the thought of the Erebus happening took shape in his mind.  Though he himself remembered the news of the actual incident (he was nine years old at that time), Wiremu decided he would make no reference in the work to any specific person or organisation involved in the incident in any way, his purpose being to emphasise the idea of sorrow and grief in universal human terms of loss connecting the Mozart work and the Erebus disaster. He also resolved that he would not change the actual notes of Mozart’s that he used,  instead adapting different instrumentations from those of the original.

Interestingly Wiremu developed in his mind a tenuous link between Mozart’s work and the Erebus accident via a tape cassette player called a “Walkman” (available in 1979) and the Requiem thereby being recorded on a cassette and becoming part of the event of the plane’s destruction and the deaths of the plane’s occupants – all of which regarding the player and its cassette being pure conjecture on the composer’s part, with no ACTUAL evidence of a tape of any of Mozart’s music on the plane. However Wiremu imagined the notes of the music on the mythical tape carried into and through the same “fractured, scattered, broken, distorted, twisted (and) disfigured” process as all else on the aircraft, and in places the notes are thus subjected to similar kinds of treatment. At the beginning and end of the piece there is birdsong reproduced by the instruments and by the choir members actually whistling some of Mozart’s own notes from the work as they walk to and from their places – in Wiremu’s schema the piece also features a dedication, remembering a singer in the group, Helen Acheson, who was involved with this project but who died earlier this year – this was Mozart’s last completed work, and Wiremu introduces its performance by the choir with 43 bell-notes played by the vibraphone and accompanied by major-minor chordal undulations from the strings, a note for every year of the dedicatee’s all-too-short life.

Each of the seven movements of Robert Wiremu’s  piece was given a Maori name, the opening KARANGA here performed arrestingly and sonorously by alto Melissa Absolum from the Voices New Zealand Chamber Choir, welcoming the composer to the place of performance and inviting him to speak about what we were going to hear this afternoon. Wiremu then greeted us, explaining something of the grieving ethos of human loss in Mozart’s work as being redirected and reimagined to reflect a tragedy in the South Pacific in similarly non-specific terms.

The instrumentalists began the work, creating eerie harmonies from “bowing” the keys on the vibraphone, the sounds of birdsong realised in a variety of ways, from glissando notes on the string instruments to vocalisings (whistlings) from as the singers as they entered down each of the side-aisles and congregatged with the instrumentalists at the front, followed by Music Director Karen Grylls. Amidst these ambiences the strings and vibraphone began the instrumental introduction to the Requiem, joined by the choir, the singing sonorous and clearly-lined, with the Kyrie Eleison fugue gloriously articulated, those treacherously dramatic ascents thrown off with great elan, leading to the powerfully dramatic concluding ELEI-SON!

The opening having captured the growing excitement of the plane nearing Antarctica, the following RERENGA (flight) features the driving rhythms of Confutatis Maledictis depicting the aircraft’s propulsion, with contrasting emotions represented by the interspersed, gentler Voca me cum benedictis from the choir. A culmination came with the ecstatic response of the voices in their great, unaccompanied cries of Sanctus! as the icebergs were glimpsed from the aircraft, along with the breathless exultation of the unaccompanied Hosanna fugue. By contrast the HINGA (descent) which followed used part of the Recordare in a blurred, unclear way as the flight entered a clouded-over unknown world, the strings expressing confused, discordant progressions, with downward glissandi depiction a descent into the gloom. The vibraphone briefly evoked dislocation and confused suspension before the strings plunged the scenario into darkness and confusion, unisons attacking and blurring each other’s lines, the sounds strained, stretched, stressed and tortured until the process gradually abated, the punishing clashes and dissonances drawing  back, and leaving only confused silence – TE KORE, the emptiness, is all that is left…..

Into the silence burst the Dies Irae, here fantastically realised, the lines at once powerful and knife-edged, with both instruments and voices throwing themselves at the notes Mozart wrote! The vibraphone’s sudden interspersed moment of terrible nothingness and emptiness compressed and eventually fractured the Dies Irae utterances, the words broken up into whisperings and single word gesturings, the chant then reduced to ghostly, spectral whisperings of both the Dies Irae and Quantus tremor verses. It is over – there are no survivors of the crash.

In the ensuing silence the vibraphone played the Lacrymosa, joined by the voices only, the strings silent, the voices rising in grief and sorrow and anger – the vibraphone took us to strange tonal realms as if the music was denying its own home key and annihilating its own essence, the voices sounding similarly estranged, with individual notes stuttering and halting, and the vibraphone having to reinvent harmonies for the voices’ melody. As for the choir’s singing of the “Amen” – such a cathartic moment, sounding a kind of run-through realisation of an awful finality.

MUTUNGA stands for completion, here accompanied by anguished string chords and bell-chiming descants from the vibraphone as the chorus sang the Agnus Dei, alternating forthright opening phrases with gentler replying Dona eis Requiem utterances, to which the instruments played a gentle contrapuntal accompaniment. We were led back to the beginning, with strings and bowed vibraphone notes joined by the choir, the plaintive vocal lines turning vigorous as the words Requiem and Dona eis Domine were repeated, all so very wondrously and ardently realised. The awful inevitability of nature’s processings of the tragedy were duly acknowledged by Wiremu as Mozart’s response to the words in the Requiem seek to console all those who suffer the anguish of loss in all its forms.

As if bringing into individual human focus these archetypal processes of grief, Wiremu concluded his work with a Dedication given the title MARAMA (light), with a performance of Mozart’s last “finished” work, his “Ave Verum Corpus”, one integrated into the earlier-expressed, more collective consciousness of tragedy through a kind of “summons” via bell sounds, here given no less than the 43 strokes in commemoration of the life of Helen Acheson, a friend and colleague of Wiremu’s who as previously mentioned died earlier this year. Strings and vibraphone played a contrapuntal accompaniment of some glorious singing from Voices New Zealand under Karen Grylls’ inspirational direction, leaving all of us in no doubt that we had witnessed something unique and special, and to be remembered and appreciated for a long time to come.

Haydn and Mozart Camerata’s perfect fellow-churchgoers at Wellington’s St.Peter’s-0n-Willis

Posted on by Peter Mechen

Camerata presents: HAYDN IN THE CHURCH 2023

Josef HAYDN – Symphony No. 17 in F Major Hob.1.17
Wolfgang MOZART – Sinfonia Concertante in E-flat K.364

Anne Loeser (violin) / Victoria Jaenecke (viola)
Camerata Ensemble

St.Peter’s Church-on-Willis, Wellington

Friday, October 20th, 2023

Sometimes one goes to a concert which by dint of the music and the playing seems  not a moment too short or too long – this evening, with merely two works on the programme (one of which took  less than two thirds of the time of the other), it felt as though we were transported from one to the other by a kind of osmosis, as there was no “proper” interval between the two, merely what felt like a “luftpause” to allow the slightly different arrangement of the two works to be set up.

The programme opened with a Haydn symphony (No.17 in F Major), part of a series that has been a feature of the ensemble’s presentations of late. This was an early work of the composer’s , and not unlike some kind of extended three-part operatic overture in effect – certainly a grand and varied beginning to one’s listening for the evening.

Straightaway I was transported by the openness of the sound during the work’s first few bars, with the horn timbres taking the music al fresco, and the joyfulness of the dancing rhythms doing the rest  As in some of the earlier Mozart symphonies, the winds also frequently coloured the texture with long but supple lines –  so although the strings had the bulk of the melodic material, the winds  (including the horns) frequently “coloured’ the ambiences, which in this symphony were lively and not a little exploratory, developing both the theme’s upward-rushing muscularity and making use of numerous “offshoots” of impulse in unexpected ways.

The slow movement was graciousness itself at the beginning, its sequences seeming to weave an endless continuation of variants of the opening – I became lost in its enchantment and its apparent inexhaustibility – no contrivance or striving for effect, but simply creativity being given quiet but purposeful energy. As with the previous two movements, the finale finds ways of making the expected unexpected – the triple-time Allegro turns, twists, runs and jumps, and generally led our ears a merry dance! Again, the horns open up the spaces suggested by the music’s energies, and the winds’ rustic colourings delight the sensibilities. Despite the movement’s brevity, Haydn’s seemingly boundless invention seemed to once more carry our interest along with the sounds’ continued delight in discovery.

Nothing could have better prepared us for the delights that were to follow, with Camerata leader Anne Loeser and violist Victoria Jaenecke entering to play for us Mozart’s adorable K.364, the Sinfonia Concertante in E-flat for violin and viola. From the beginning the sound was lovely, with especially telling dynamic variation from winds and horns and lower strings – the violins themselves seemed a trifle overwhelmed by their colleagues’ characterful strains at first, though the wonderful “Mannheim crescendo” that Mozart gives us in this first tutti here really made an exciting impact. Both soloists with their first notes were silver-toned and ethereal, each more so than I expected they would be, even though their passage-work was exemplary. Anne Loeser led the way into the beautiful minor-key development, each soloist making the most of the music’s pathos, and supported by the orchestra players so well. And their teamwork during the cadenza was exemplary, playing into each others’ music with real aplomb, though both gave me a start by plunging back into the allegro more quickly with their concluding trills than those on my favourite recording (the Oistrakhs pere and fils).

I couldn’t imagine the slow movement being better done than here, with each of the soloists seeming to “play out” more than in the first movement, while integrating their tones clearly and sensitively in the exchanges, the cadenza passage a highlight of the performance with its heart-stopping sense of time almost standing still. And the finale reinforced this “playing as one” kind of Elysium-like culmination of energies and purposes throughout the work – we all  enjoyed the  tidal ebbing and flowing between violin and viola, and also soloists and orchestra, as the work arched upwards towards its culmination in a final grand accord.

Anton Webern steals the show! – Orchestra Wellington and Marc Taddei with “Pharaoh”

Posted on by Peter Mechen

ORCHESTRA WELLINGTON presents “PHARAOH”
GEMMA PEACOCKE – Manta
(with Arohanui Strings)
ANTON WEBERN – Passacaglia Op.1
JOHN PSATHAS – Concerto for Timpani and Orchestra  “Pharaoh”
(with Tomoni Nozaki – timpani)
BRIAR PRASTINI (vocalist) – White, Red, Black
WOLFGANG MOZART – Incidental Music to “Thamos , King of Egypt”
(with the Orpheus Choir of Wellington – Brent Stewart, Director)

Orchestra Wellington
Marc Taddei (conductor)

Michael Fowler Centre, Wellington

Saturday, 7th October, 2023

Programme-holding audience members at Orchestra Wellington’s Saturday evening concert “Pharaoh” at the Michael Fowler Centre might have been a little confused upon turning to the opening page of a publication to find the heading “Prophecy” at the top of the page containing the evening’s listed items – hang on! – wasn’t “Prophecy” the title of the previous concert? There was also some disagreement in print regarding John Psathas’s scheduled Timpani Concerto – was it called “Planet Damnation” as on that introductory page with the programme listing? Or was the work’s name actually “Pharaoh”, which stood at the top of the section in the booklet devoted to each individual item, and which gave “Planet Damnation” as the name of the concerto’s third movement?

These things were, of course, minor hiccups which distracted little from the concert’s overall impact, which was considerable, and, thanks to Music Director Marc Taddei’s extraordinary empathy with young musicians demonstrated a heart-warming variety of delights throughout the presentation’s opening segment of music-making. Wellington’s long-established youth programme for aspiring string players, Arohanui Strings, were there in force, from tiny tots to teens, and obviously bursting to play their part in the concert’s opening item, Kiwi composer Gemma Peacocke’s beautiful, multi-stranded instrumental response to the subaqueous world of manta rays who populate the waters of the Outer Hauraki Gulf Tikapa Moana, as characterised in a story by Wiremu Grace, called Whaitere, the Enchanted Stingray.

Peacocke’s piece seemed wrought from sounds at once pulsating with movement and endlessly regenerating, beginning with attention-grabbing soaring and descending lines, a seascape with something of the quality of Sibelius in “The Oceanides”. The supporting winds and brasses sounded repeated figures and long-held pedal notes, with the youthful string-players steadfastedly holding their own lines as the creatures of the deep in the music reaffirmed possession of their world. A solo violin characterised for a moment something of a single creature’s adventure and undertaking, as the oceanic frisson with which the piece began rose and fell impressively once more before the waters resumed their preordained rituals of ceaseless movement.

Marc Taddei then took the opportunity to allow the youngsters their moment of glory, encouraging them to join in with a simplified version of Mozart’s “Eine Kleine Nachtmusik”. After starting them all off, the conductor stood motionless, leaving them to it,  exclaiming to us “Don’t they all sound better when I stop conducting them?” to great amusement all round! Then it was the “Tiny Tots” turn to impress (with even more than their obvious cuteness!), coming on stage with their tiny instruments and playing a folk-tune, then playing it again much faster, to breathless effect! After a lullaby restored composure, Taddei proceeded to give all of us a hint regarding one of the pieces of music scheduled for the as yet unannounced 2024 programme for Orchestra Wellington, telling us the Arohanui Strings will play a tune that “will give the show away!: – which it certainly did! And with that the youthful players took their leave……

What then was wondrous was how such heartwarming vignettes of youthful musicians playing what might in some cases have been their first-ever concert notes then “morphed” into the spectacle of the full Orchestra Wellington on the platform with their conductor tackling a score which truly represented a kind of acme of orchestral execution and epoch-making-and-breaking composition – this was the 1908 Op. 1 Passacaglia of Anton Webern, the composer’s simultaneous tribute and farewell to Romanticism in music, his only composition to be performed in public that was written under the tutelage of his teacher at that time, Arnold Schoenberg.

The 20-plus variations of this work (a Passacaglia traditionally consists of a short theme in the bass which becomes a foundation for a set of variations on that theme) use a brilliantly-worked array of sounds, often lush in the manner of Mahler but at times hushed and sparse, with brilliantly inventive combinations of instruments – Webern organises his variations into an almost symphony-like plan of movements, with a central slow section and contrasting scherzo-like textures, all concluding with a ghostly epilogue. Listening to the players negotiating this tightly-worked scheme with what seemed like absolute confidence and conviction, I found myself simply taking off my mythical hat to both conductor and players – I knew the work reasonably well, but couldn’t remember hearing on record or seeing on film a more exciting and involving performance!

I must confess to finding John Psathas’s Timpani Concerto which followed a bit perplexing in contrast to what I’d just heard – and unfortunately my seat was in a place where my view of the timpanist was obscured by the conductor, so I missed some of the visual excitement of the soloist’s obviously virtuosic command of the instruments. As it wasn’t a work I’d heard before I figured earlier I might find a You-Tube performance with which to familiarise myself regarding the piece – and I found a clip which bore the title “Planet Damnation”, featuring a most exciting performance by Larry Reese, the NZSO timpanist. I didn’t know I was hearing and getting to know only the final movement at that stage, so the onset of the first movement nonplussed me for a while, as did what seemed like an over-insistence of the percussionist playing the woodblocks! The slow movement, when it came, was something of a blessed relief.

Though it was just as unfamiliar, I really enjoyed the slow movement, as it gave the timpanist, Tomoni Nozaki, a beautiful young Japanese woman, a chance to demonstrate the skill and variety of her touch and her ear for all kinds of sonority, instead of her being often drowned out by the rest of the orchestra (I found the woodblock part for one far too insistent!). Then came the movement I’d already heard, and I was able to better relate to the plethora of percussive irruption that the first movement had seemed to unfetter upon our sensibilities. I don’t think it’s a work I shall ever love, but the skills on display by the soloist were sufficiently interesting to make the piece work throughout those two latter movements.

We had a different running-order to that of the printed programme, so we got Briar Prastiti’s “White, Red, Black” after the interval. I liked this work a lot, admiring the composer’s orchestrations of her material, the wind-blown ambiences of the opening carrying my sensibilities along with the music’s trajectories, sharpening my interest more with bird-song-like figurations suggesting in places things coming into focus. What I found slightly disappointing was not being able to hear a single word of the vocalist’s line (despite a microphone being used) from where I was sitting (and my companion similarly reported that he could not hear the singer, and nor could somebody else I spoke to afterwards)….the accompaniment was invariably beautiful, but whenever the song’s intensities sharpened or  grew in body, so did the accompaniments! For this reason, the most telling vocal moments for me were towards the end, when the voice became as an orchestral instrument, the wordless vocalising as haunting as any other of the sounds we were hearing.

Before the final item of the evening, Marc Taddei announced certain salient details of the Orchestra’s 2024 programme, certainly whetting our appetites with some of the detailings – it seems to be a kind of survey of masterpieces representing different eras of artistic creativity, beginning (if I remember correctly) with the Baroque era, and finishing with a contemporary work (I didn’t write all the “clues” down, but Taddei assured us that full details would be released at the Orchestra[‘s final programme for the year, “Red Moon”, on November 11th.

And so to the evening’s final item, which, though splendidly performed and presented, with resplendent singing from Brent Stewart’s Orpheus Choir, and, by turns, stirring and meltingly beautiful orchestral playing, either in support or leading the way, I thought it all essentially lacked the last modicum of focus and interest to be truly engaging. Perhaps if we had had the words, the extra focus would have enlivened the undoubtedly “Game of Thrones” like scenario for which Mozart produced this music. Or, perhaps we needed a narrator with a suitably theatrical “presence” to knit the scenario together more readily –  In reality, everybody – choir and orchestra – did their best with the material, but for me it never really caught fire! I found myself wishing at times that the orchestra was instead giving us the G Minor Symphony K.183, which was what the music occasionally sounded a bit like. And, as I walked to my car after the concert, the thing I found myself wanting to do the most was to get home and play that sensational Webern work again! It was , for me, the evening’s indisputable highlight, and I remain grateful to Marc Taddei and his players for THAT most of all – a truly remarkable experience!

 

 

The New Zealand String Quartet at Waikanae – Emperors, dictators and husbands in music

Posted on by Peter Mechen

Waikanae Music Society presents:
The New Zealand String Quartet with Diedre Irons (piano)

JOSEF HAYDN – String Quartet in C Major Op. 76 No.3 “Emperor”
DMITRI SHOSTAKOVICH – String Quartet No. 5 in B-flat Major Op. 92
AMY BEACH – Piano Quintet in F-sharp Minor Op.67 (1907)

The New Zealand String Quartet – Helene Pohl (leader), Monique Lapins (violin), Gillian Ansell (viola), Rolf Gjelsten (‘cello)

Waikanae Memorial Hall,

Sunday 8th October

Straightaway one felt something out of the ordinary as soon as the NZ String Quartet players took the Waikanae Memorial Hall stage and put their bows upon the strings to begin their concert – there was resonance in the voices, spring in the rhythm, and fluency arm-in-arm with an ease of variety and contrast – and to think I had thought beforehand, to my shame, “Oh, not another “Emperor! – with almost seventy other Haydns to choose from!” , when as it turned out, this was one which the playing made me really want to hear!

All of the above was part of the build-up to the great moment in the first movement that cellist Rolf Gjelsten had gotten his fellow-players to demonstrate for us in his introduction to the work – that plunge into the full-blooded rusticity of the dance, with strings suddenly becoming pipes and drones and stamping feet – outlandish, even gawky at first hearing, but so organic in the playing’s wider context that it placed the composer entirely at home in the scenario – It’s in this almost incomparable fusion of aristocratic and peasant-like that Haydn’s genius shines as brightly as anywhere else in his oeuvre!

Magic of a different kind was wrought by the Quartet’s hushed intensities with the slow movement’s beginning, lifting the much-vaunted melody far above cliché and commonplace utterance, and proceeding to ennoble it further with different voices for each repetition, the players in the final variation “centring” their tones as to produce a kind of extra-terrestrial expressive world reminiscent of Tchaikovsky and Borodin almost a century later.

The players danced the Menuetto through the music’s wry asymmetries, allowing a droll pesante touch with the slurred-note cascading passage that answered the opening set of phrases. How beautifully we were eased into the minor key Trio, with its briefly nonchalant shift to the major and back again to the minor, a “did we dream you or did you dream us?” moment! Far more volatile was the finale, with its three opening whiplash chords and scurrying minor-key presto figures making a helter-skelter impression, the players demonstrating spectacular fingerwork, in places excitingly tossing impulses from instrument to instrument, and bringing honour and acclaim to the music’s arrival at its eventual major-key conclusion!

On paper it seemed like something of a quantum leap from Haydn to Shostakovich, but the players seemed at the outset of the latter composer’s Fifth String Quartet of 1952 to straightaway forge links between the clarity and focus of the sounds created by each of these two masters of the genre. Shostakovich’s work and its predecessor, the Fourth String Quartet each had their genesis from a time in Russia (immediately post-Second World War) when, along with fellow-composers Prokofiev and Myaskovsky, he had been castigated by the authorities for not creatively responding as whole-heartedly as was expected to marking the thirtieth anniversary of the 1917 Revolution. Shostakovich was unnerved by these attacks to the point where he held back publication of several of his major works of that time until after Stalin’s death in 1953.

The Quartet’s music grows out of a five-note motif which the composer developed in imitation of JS Bach, who featured his own name in his music via the notes representing B-A-C-H, Shostakovich using the notes C-D-Eflat-B-Csharp derived from his own D-S-C-H motif. He also quotes from another source in this work, a Clarinet Trio written by a student of his, Galina Ustvolskaya, whose friendship Shostakovich valued and whose work he admired. At the outset his Quartet intersperses the five notes of the motif with obsessively-driving rhythmic figures before quoting Ustvolskaya’s contrasting waltz-like theme, and then exploring various permutations of the latter interacting with his own five-note motif, all the while intensifying the trajectories and accretions of the music’s forward movement.

The NZSQ players, to whom these kinds of musical intensities always seem meat and drink, held all of this together superbly, setting the beleaguered lyricism against the savageries with unfailing focus as we ran the emotional gauntlet towards the movement’s sudden de-escalation and eerie transition, via purposeful pizzicato passages and a spectral solo violin line, and found ourselves taken to mysterious places wrought by the second movement’s wraith-like fugal musings. These growing intensities with their “time standing still” aspect were steadily and patiently transporting us to “different realms” when the lines were strangely augmented by “wailing” sounds, at which point  the quartet stopped playing to listen to the intrusion with evident bemusement! (The locals, however, were not perturbed – these were the Waikanae volunteer fire brigade’s summonsing calls, a delicious irony being that a wartime photograph of the composer as an actual volunteer fireman does apparently exist somewhere  – giving rise to the thought that this interjection was meant as some kind of token of kinship!)

With the air of a group steadfastedly maintaining its own shared vision, the players picked up their journeyings through the music’s ambient wastes and continued their peregrinations – a “return to life” set of impulses became a kind of  “way through” and took us far from the initial conviviality of the finale’s opening jogtrot rhythms and into places where the five-note motif’s appearance and insistent repetitions reawakened tensions aplenty, the players running the music’s energies ragged, and spectacularly bolstering some of the more assertive figures with forthright pizzicati echoes of “belonging”, which, when done with led to some of the epilogue’s most heartfelt utterances – how piquant were those final pages, with the cello’s and solo violin’s laments comforted by the middle voices’ sustained life-lines.

Footnote: I decided, simply out of interest at first, take the opportunity to find out more concerning the background to the composer’s relationship with the aforementioned Galina Ustvolskaya, whose music Shostakovich quotes several times in the first movement of this quartet. I was greatly surprised to find a fierce controversy had arisen after Shostakovich’s death from various published interviews and dismissive statements made by the younger composer about her supposed “mentor”, giving rise to some of Ustvolskaya’s supporters adding to what amounted to a “denigration” of Shostakovich, both as a man and as a composer. All I can say in response is that, whatever reasons people might have had to cast aspersions upon the idea of a composer’s greatness, in this instance their comments and viewpoints ran counter in no uncertain terms to my own previous experience of Shostakovich’s music and, not least to what I’d just come from here regarding the NZSQ’s staunch, unswerving  journeyings through an “inferno” of angst-ridden outpourings from a truly creative soul.

So to the concert’s second half, the subject of which was the incredible American-born Amy Beach (1867-1944), a quintessential nineteenth-century woman composer who eventually overcame societal obstacles and made a career for herself as a performer and composer. One wonders what she might have achieved had her circumstances allowed her talents to flourish at a much younger age! – though it’s arguable, however, whether Beach’s situation led to musical deprivation or fulfilment on her part, as her husband’s insistence that she restrict her performance activities did lead to an intensification of her composing abilities, which itself has left an important legacy.

Dating from 1907, Beach’s Piano Quintet owed a lot to Brahms’s Piano Quintet, which she herself had performed with the Kneisel Quartet in 1900. Hearing its dramatic opening straight away reminded me as much of the sound-world of Cesar Franck as that of Brahms – the romanticism of the work’s dark, mysterious beginning has a kind of charged quality expressed in chromatic terms that’s similar to Franck’s, further expressed by the rippling piano part, though the excitingly assertive piano octaves that followed, full and rich under Diedre Irons’ fingers immediately brought Brahms back to mind, as did the swaying second subject presented by turns by the strings and on the piano (the tolling bell a feature of the keyboard writing). I thought the players relished the stormily dramatic string unison that began the development section, matched by the piano’s equally commanding reply (amazing piano playing!), all of which morphed into a reprise of the lovely second subject with bell-like piano sonorities, and a quiet, brooding end to the movement.

Firstly the strings, then the piano ravished our senses with the slow movement’s opening melody, the strings musing for a while afterwards, then the violins repeating the melody, Monique Lapins whole-heartedly with the theme and Helene Pohl tenderly descanting overhead – a series of intense interchanges culminates with a virtuosic outburst from the piano, and a deep, rich rendering of the melody from the cello, Rolf Gjelsten giving the lines full play and stimulating the other voices to full-throatedly take the melody to the heights of expression.

The finale’s vivace opening waltzed in to great effect, with an impish agitato character stalking the dancers every which way and all very chromatic, Gillian Ansell’s gorgeous viola solo providing much-appreciated if temporary respite! The agitato impulses returned, the strings exhausting their lyrical capacities over the next little while, and nervously taking refuge in tremolandi, then playing hide and seek with an agitated fugal passage kept most excitingly kept on the rails right through to the last flourish!! The players then gingerly picked their way through the myriads of spent intensities, the piano leading the way and the strings rhapsodising – then the music surges again, the players giving the composer’s unquenchable romantic spirit here full rein. And the work’s coda is spectacular, by turns, headlong and unrepentantly rhapsodic – and finishes with a flourish! – cor, blimey! I’m still feeling exhausted by it all as I write this! The NZSQ musicians (and the indefatigable  Diedre Irons) certainly gave Amy Beach her dues, and we loved them and her for it!

Evocations of Spain, from Ewan Clark and the Wellington City Orchestra

Posted on by Peter Mechen

Wellington City Orchestra presents:
CHABRIER – Espana
TURINA – Danzas Fantasticas
BIZET – Carmen Suite No. 1
RODRIGO – Concierto de Aranjuez
(Owen Moriarty – guitar)
BIZET – Carmen Suite No. 2

Wellington City Orchestra
Conductor – Ewan Clark

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

Saturday, 16th September 2023

There were probably quite a number of people attending this concert who were in exactly my situation regarding our relationship with the music we were about to be served – the Chabrier, Bizet and Rodrigo Items I had heard many times before and knew reasonably well, but the Turina work,  Danzas Fantasticas, never.

Audiences are more often than not disparate and largely unconnected fraternities, but here from the outset one sensed a kind of “anticipatory listening camaraderie” hovering about St.Andrew’s Church  in view of the afternoon’s programme. I liked imagining that it promised both the pleasure of hearing so many well-known items, and the thrill of discovering and getting to know at least one work of Turina’s – whose title alone promised more of the same qualities as its companions in the programme.

Well, I can’t speak for my companions in the church this afternoon, but by the time the Danzas Fantasticas had strutted its stuff, I was flabbergasted! I kept on thinking, listening to conductor Ewan Clark’s expert “putting the players through their paces” reading of the work, why have I never before investigated this music ? What a peach of a work! I had actually heard of it (probably the only Turina work I could name if pressed to do so), but it didn’t for me provoke anything like the “instant recognition” that any of the other pieces on this afternoon’s listening menu did. It would therefore be fair to say than Joaquin Turina isn’t as yet a “single-work composer” in the popular regard of things, as one could say about Chabrier with his Espana” or Rodrigo with his “Concierto  de Aranjuez” – and, in many people’s minds, perhaps even Bizet with his “Carmen”.

However, it wasn’t for me the only reason that this Wellington City Orchestra concert gave such particular pleasure on this occasion – though not yet entirely consistent in its responses to the demands of the music, I felt that the band under conductor Ewan Clark had captured the character of every piece we heard, from the vibrancy of rhythm and colour evident in Chabrier’s Espana” to the sheer variety of emotion and situation portrayed for us in Bizet’s music for his opera “Carmen”. A friend afterwards remarked upon the vividness of the playing’s recreation of the opera’s powerful atmosphere and intensely dramatic situations. And besides the vividness of Turina’s picture-postcard evocations of Spanish life, the playing of guitarist Owen Moriarty brought home to us the intensely-wrought emotion embedded in the famous “Aranjuez” Guitar Concerto, the orchestral response to the soloist’s and his heartfelt ruminations impressively of a piece with the music’s character and depth of feeling.

A few remarks regarding what I heard here and there in the music and its playing – at the very beginning of “Espana” there were a few tentative moments with the difficult syncopations between strings and wind (I played in this work once in my halcyon days as a percussionist, and remember never feeling entirely sure of what I was doing in relation to my fellow-musicians, including the conductor! – AND I also remember not being able to get Perry Como’s famous “Hot Diggety Dog” song out of my head for some time so I could properly concentrate on Chabrier!). Here, the introduction came together beautifully as the players overcame these uncertainties and started to develop the music’s engaging feeling of “schwung”, the piece’s occasional “rolling crescendi” also carrying us along with great exhilaration! Ewen Clark got a treasurable moment from the strings with a “comma” inserted at one point just before the players’ big-hearted taking-up of the juicy lyrical theme! – and I also liked the elan with which the brasses made their alternating calls just before the coda.

Next up was the Turina work, about which I must report that my anticipation was all the more whetted by the appearance on the platform at that point of a contrabassoon that seemed twice the size of the player who was carrying it! Despite my slight bewilderment at the programme note not being entirely “on the button” with its descriptions of the openings of each of the first two movements, I still thoroughly enjoyed the sounds that I heard! The first opened with mysterious string chordings, followed by a sudden irruption, stimulating rhythmic sequences of sounds by turns lively and sultry, with a lovely, romantic melody dug into by the strings varied by some beautiful lines from a cor anglais  – then the strings returned with their mysterious opening chords before bidding us a kind of sweet and nostalgia-ridden series of “adios”. A bracing call to attention began the second movement, which then morphed into a more relaxed and somewhat angular 5/4 rhythm with beautiful writing for both strings and winds. Yes, the finale was indeed of a “lively and rhythmic character” – very Spanish, with the themes contrastingly sultry and charming, with an exciting coda, a brief cello solo, and a coruscating orchestral pay-off!

We then got the first of the two Carmen Suites from the opera, beginning most appropriately with the baleful “Fate” theme (which I recall never before hearing until I encounted the opera proper!) – great brass and lower strings here! The Aragonaise theme came next, delivered with great brilliance and atmosphere – it was followed by the beautiful “Intermezzo” a moment of flute-and-harp calm in the opera amidst a sea of troubles! Carmen’s tempting invitation to Don Jose, the Seguedille followed – after a slightly shaky start, oboe and strings nailed it! Les Dragons  d’Aicala, Don Jose’s marching tune, featured both bassoon and clarinet in fine fettle, while the suite’s most popular number Les Toreadors made an excellent first-half concluding piece, not too rushed, but delivered with real swagger!

After the interval Owen Moriarty took the platform with his guitar, to perform the much-played but ever-enchanting “Concierto de Aranjuez” by Joaquin Rodrigo – this occasion was no exception, as the soloist despatched his part with a remarkable amalgam of spontaneity and fluency throughout – did the wind players occasionally get slightly ahead of the soloist at times when he seemed to “give space” in  the turning of a phrase-end? – even if such was the case, no violence to any particular bar or phrase that I could pinpoint was enacted by any of the players in the making of this music! A deservedly-mentioned highlight of the performance was the playing by Rodney Ford of the cor anglais solo in the second movement, for which the latter received acknowledgement at the work’s end – the playing had a plangency I couldn’t remember being bettered in any previous performance I’d heard. In fact the “live” occasion gave the music an extra level of intensity throughout that made a huge difference to how one responded to the work as a whole, the occasion thus more deeply “touching” my sensibilities than has been usually the case with the music.

Nothing could have “rounded off” the concert better after this than the second of Bizet’s “Carmen” Suites – though Owen Moriarty did his best to help us return to our lives with an encore by a Serbian composer Miroslav Tadic – a most entertaining and vigorous piece called “Walk Dance”, which certainly “cleared the air” of any Iberian excess that may have hung around after the concerto’s final notes had died away. Then it was all orchestral hands on deck again for the Bizet, beginning this time with a more-than-usually circumspect piece for this opera, the Marche des Contrebandiers  (Smugglers’ March), but whose relative unfamiliarity was made up for in spadefuls by the deservedly famous Habanera. Afterwards came some of the most beautiful music from the opera, that given to Micaela, Don Jose’s would-be sweetheart, in the throes of searching desperately for him in the mountains – lovely horn-playing, at first, followed by the solo violin with the melody, the Concertmaster Paula Carryer here doing an excellent job!

More familiar to those who hadn’t yet seen the opera would have been the following Chanson du Toreador (Song of the Toreador) expressing the necessary courage and bravado of Escamilo, the bullfighter, with solo trumpeter Neil Dodgson making a brilliant job of it, as do the brass in general in the following La Garde Montante (The Changing of the Guard) together with the winds, giving the scene plenty of ceremonial elan! Finally, we heard one of Bizet’s most exciting creations, the Danse Boheme, sung in the opera by Carmen and two of her gypsy cohorts in a vivid description of a wild and abandoned gypsy dance, Ewan Clark and the orchestra responding by pulling out all the stops, as they say in the classics, and bringing the concert to a suitably brilliant conclusion. We clapped and shouted our approval of it all, a great and deserved success for all concerned – well done on all counts to guitarist Owen Moriarty, to conductor Ewan Clark and to the stalwart players of the Wellington CIty Orchestra.

 

 

 

Cantoris Choir resonant in Rutter and determined in Durufle….

Posted on by Peter Mechen

Cantoris Choir presents:
DARK AND LIGHT
JOHN RUTTER – Gloria
MAURICE DURUFLE – Requiem

Cantoris Choir,
conducted by Thomas Nikora
with Jonathan Berkhan (organ)
and Samuel Berkhan (‘cello)

St,Peter’s-on-Willis Church, Wellington
Saturday, 9th September 2023

Two markedly different but satisfyingly complementary works were presented at St.Peter’s-on-Willis on Saturday night by Cantoris Choir, conducted by Thomas Nikora. The concert had been plagued with difficulties, due to various people’s unexpected incapacitation for various reasons, but the show went on in the time-honoured manner, to everybody’s great credit under the circumstances!

The first half consisted of John Rutter’s “Gloria”, which I had seen and heard  Cantoris perform before – in April of 2019, to be exact – a concert I remember had the choir in confident and vigorous form on that occasion. I’m presuming that tonight’s concert was affected by the difficulties alluded to above, though Thomas Nikora was able to steer his voices safely and sonorously through all but the most angular and demanding moments. Rutter’s three part work emphasised the joyousness of the text at the outset, Joinathan Berkahn’s organ-playing at the beginning setting the scene with a couple of majestic irruptions of sound and adding resonance to the choir’s opening unison “Gloria in Excelsis Deo”, I liked the composer’s differentiation between celestial splendour at the outset and the “more suitably earthbound” contrast with the humbler “et terra pax” , and also the jazzier return to the opening, with an emphasis upon the word “Deo” at the end.

Straight away the piping organ tones at the beginning of the next part reminded me of Christopher Smart’s cat Jeffrey, in Britten’s “Rejoice in the Lamb”. The voices rose with the words “Domine Deus Rex Caelestis” while the organ tripped merrily on, (in places the work almost had an “organ sonata with vocal obbligato” kind of effect!) before the vocal lines descended nicely with hushed tones at “Qui tollis peccata mundi”, including a “splinter group” of voices who had retreated to give an evocative  “cry from the wilderness” impression. Together with the words “Qui sedes ad Dextram Patris ”, the sweetly-intoned “Miserere nobis” hauntingly echoed to the end.

The vigorous opening of the finale, underpinned by the organ, featured the “Quoniam” with its repeated “tu solus” acclamations of “You alone” driving the music on, the phrase tossed about the choir with surety in preparation for the build-up to the “Cum Sanctu Spiritus” and leading on to the fugue-like Amens”, the dancing rhythms propelling everything forwards, conductor and singers finding more radiance as the music proceeded, if also showing the stain of Rutter’s insistent demands in places. However,  over the final pages of the work and concluding with the reprise of the “Gloria”. the voices acquitted themselves splendidly.

IN this world of two distinct halves the Durufle Requiem certainly occupied the darker side of the sphere as per the programme’s title, though the work itself certainly doesn’t take us to the same degree of Dante-esque terror via  theatrical and cataclysmic “Dies Irae” sequences, as did both Berlioz and Verdi in their respective “Requiems” – like the Durufle work’s “twin”, which is the Faure Requiem, the scenario presents the idea of faith as the “ultimate answer to the mystery of life after death” with the concluding “In Paradisum”, a sequence not used by either Berlioz or Verdi. Durufle’s work also differs from Faure’s in that the composer sought to replicate the style of Gregorian chant, rather than invent his own themes, as Faure did. Thus we are conscious all through Durufle’s work of the influence of the ancient chants, giving this Requiem a unique kind of character, at once a timeless and a universal sense of origin.

A great opening organ chord! – and straight away the Cantoris voices drew us into a world that at first seemed more like plainchant than in Faure’s eponymous work, with the men’s voices steadily intoning the “Requiem aeternam” – a lovely effect was the women’s voices floating over the top, the voices coming together beautifully for “et lux perpetua”.   The “Kyrie”, which followed immediately, sounded like plainchant which I myself could remember singing long ago at Mass! Durufle’s contrapuntal lines  merged here into radiant outpourings over both Kyries and Christes. The “Domine Jesu Christe had a sombre beginning on the organ, the women beginning the “Domine Jesu Christe” chant-like tones before the choir burst out vehemently with “Libera eas de ore leonis” (Deliver them from the mouth of the Lion), then continuing with even more stress-wrought pronouncements – “Ne absorbeat eas Tartarus, ne cadat in obscurum” – (Lest Tartarus swallow them up and they fall into darkness” ) – and the organ going almost beserk with agitation as well! (those of us not hugely familiar with the words really needed the text at hand to follow what was being  expressed specifically, though one of course naturally concluded from  encountering other requiems that the scenarios being described were anything but sweetness and light!)….the women’s voices which then  invoked St.Michael’s guidance did restore some order! – and their “Quam olim Abrahae” further renewed a sense of faith and hope “….into the holy light which once you promised to Abraham and his seed….”

The male soloist who then came forward did well with his “Hostias et preces tibi, Domine” (We offer to you, Lord), the organ plumbing the expressive depths in support – and several women members of  the choir suddenly retreated further into the sanctuary and intoned from the distance their lines once again, before returning – an atmospheric touch!

The “Sanctus” so beautifully swirled into one’s hearing by the women’s voices, like cascading water swirling deliciously all about, with lovely organ accompaniments! When it came to the Hosannas the men did so well, their voices forthright and joyous, suitably inspiring the remaining voices to add their cries to the acclamations. the Benedictus adding to the swirling motions, albeit very briefly. With the  following “Pie Jesu” a solo ‘cello (played by Samuel Berkhan) accompanied a soprano voice, a lovely melody shared between the two – very low for the singer at first, but the voice sounded freer and happier in its subsequent “soaring” mode.

A purposeful beginning by the organ launched the “Agnus Dei”, with the women’s and then the men’s voices taking their turns, then dovetailing the sonorous lines as the piece proceeded, creating  gorgeous harmonisings as the “Dona Eis Requiems” were intoned, along with a breathtakingly lovely “Requiem sempiternam”.  Falling organ note-cluster-harmonies then introduced the “Lux Aeterna”,  again reminiscent of Gregorian chant, before intoning haunting single-note lines, interspersed with the organ’s improvisatory-like recitatives – the single note chantings suggested a possible air of finality and impending peace, one however roughly broken into by the organ’s summonsing of the  forbidding-sounding  “LIbera me”.

The men pushed the lines along what seemed a torturous way, assisted by the women’s voices; and the solo baritone re=entered, a little unsteady at first then finding his voice, with the most fearful of the work’s texts given tongue at this point, the men confronting the “Dies Illa/Dies Irae” warnings throughout the “no-souls’ land of the music at this point,.Finally,  the choir grasped onto their reprise of the “Libera Me” with appropriate conviction and beseechment.

It was given the organ to wreathe from the uneasy calm the strains of “In Paradisum”,  the voices tentative at first, and then with “Chorus Angelorum te suscipiat”  (There may the chorus of angels receive thee) the music seemed to find its path amid the suspended chaos, and beckon all to follow.

Those of us who might have expected to encounter a kind of dutiful reminiscence of Gabriel Faure’s earlier work found ourselves at the conclusion of Durufle’s work forced to consider the proper implications of what we had just experienced – a masterpiece in its own right, forged and performed with some difficulty but plenty of singular and enduring purpose from all concerned……..