Tag: chamber music

New Zealand String Quartet in challenging music including pieces by Ross Harris

Posted on by Rosemary Collier

Wellington Chamber Music Trust in association with Chamber Music New Zealand

J.S. Bach: Goldberg Variations BWV 988, Aria and Variations nos. 1, 2, 13
Ross Harris: Variation 25 (String Quartet no. 4)
Mozart: String Quartet no.22 in B flat, K.589
Ross Harris: Piano Quintet (2013)
Shostakovich: String Quartet no.9 in D flat Op.117

New Zealand String Quartet (Helene Pohl, Douglas Beilman, violins; Gillian Ansell, viola; Rolf Gjelsten, cello), Stephen de Pledge (piano)

St. Andrew’s on The Terrace

Sunday, 26 April 2015, 3.00pm

The pre-concert talk from Ross Harris made it clear that this concert was something a little different: he was invited by Chamber Music New Zealand’s former Chief Executive, Euan Murdoch, to curate the concert.  That is, he got to choose the works, to include his own, and to give the pre-concert talk and introduce each item – and write some of the notes in the printed programme.  He has written a number of works now specifically for the New Zealand String Quartet (NZSQ); it is gratifying to see New Zealand composers writing in this genre.

He began by saying that he was not promoting Schoenberg and Stockhausen, as he fancied might be expected of him, but Mozart and Shostakovich, even though theirs were tonal compositions and his own were not.

The full church (though the gallery was not open) heard him explain that in 2007 he had heard the New Zealand String Quartet play a new quartet version of Bach’s Goldberg Variations, originally written for keyboard, and that inspired him to write his own variation on Variation 25, regarded as the heart of the entire work.

First, we heard the Aria and three of the variations played on piano.  The Aria was played in a very understated way – so much so that some notes almost disappeared.  However, it was an appropriate way to begin the performance.  The presence of a carpet square under the piano was gratefully observed; thus the sometimes over-loud and clattering sound of this piano on the varnished floor was absent, and there was no problem at any point with balance when later it was played with the strings.

Variation 1 sparkled, while the limpid, pastoral quality of Variation 2 made a gorgeous contrast.  Variation 13 was sublimely calm and peaceful.  A little judicious use of the sustaining pedal was observed, but it never obtruded.

The quartet came onto the platform quietly and without applause, to perform Ross Harris’s Variation.  It was good to see Douglas Beilman back in action; he had damaged a finger, and was replaced by Donald Armstrong at last Sunday’s chamber music concert in Waikanae.  The Harris work began with a wonderful evocation of Bach, the music being almost mesmerising, and containing striking counterpoint – but different from Bach’s.   Following this, the music worked up to a more agitated mood.  That ended, there was a return to the languid mood, but under it, the cello played pizzicato.  The music became less tonal, and the instruments appeared to go their own way.

Regarding the Mozart quartet, Ross Harris said that he had got to know this (and the Shostakovich quartet) through hearing the NZSQ playing them.  He stressed the complexity in Mozart’s writing and its modernity despite being written in the eighteenth century.  He urged the audience to ‘Listen as though you haven’t heard it before”.  It was a quartet with which I was largely unfamiliar, so it was not difficult to do that.

The allegro first movement had serene episodes, but also plenty of variety, while the larghetto that followed featured a very beautiful cello theme.  The first violin took it up, sounding absolutely sumptuous, but the cello continued to have much of interest to do; as the programme note explained, King Friedrich Wilhelm II of Prussia, who had commissioned the work, was a competent cellist.  The soulful slow movement was full of lovely melodies, harmonies and cadences.

The Minuet and Trio began in bright, even jolly fashion.  I was particularly aware of complex interweaving of the parts, all played with flair and unanimity.  The New Zealand String Quartet really is a national treasure.  The lively and energetic allegro assai last movement had the players putting over the spirited message clearly, as the cheerful themes were tossed from one instrument to another, giving a thoroughly enjoyable, integrated performance.  In this venue, or at least from my seat near the front, every note could be heard.

After the interval there was the première of Ross Harris’s Piano Quintet.  In his preliminary remarks, the composer told us that the opening was characterised by “Japanese opaqueness” followed by “bite” and then “gradual energy”.  He exhorted us to “listen to it as though it were written 200 years ago”!

The moods developed as he had said.  Since this was a piano quintet, the string players sat rather than standing as they do normally, so that they were on the same level as the pianist, Rolf Gjelsten eschewing his usual platform to raise his stool up.

There were some interesting passages from the piano, while at other times it seemed almost superfluous to the argument.  The strings made use of harmonics, which added to the Japanese flavour.  I found it hard to get into the appropriate listening mood; after the Mozart, the piece seemed inchoate.  The music became bleak for a long spell, then an energetic rhythm picked up, becoming briefly wild, with outbursts from the piano.  A soulful passage followed, then a high cello melody before the work ended in indecision.

Shostakovich’s ninth string quartet was prefaced by more remarks; Ross Harris said that it was the transformation of the Russian composer’s themes that he found interesting, and that it was this composer, along with Mozart, who had inspired him.

The five movements were played continuously, but had their own characters. The first, moderato con moto, had clear-cut motifs and strong harmonies.  The adagio was sombre, yet colours came to mind through its moving parts.  The use of mutes was part of this effect.  Next was an allegretto polka.  Despite the jollity, shifting tonalities gave an ominous tinge to the dance.

Although the quartet was written in 1962, I couldn’t help thinking, while listening to the solemn music of the second adagio, that the Second World War was still raging – and in a sense it still was in the Soviet Union, with its state totalitarianism in the name of communism.  The removal of mutes and the
introduction of pizzicato explosions in the second violin part and then on the viola led to agonising cries from the first violin, against a drone from violin two and viola.  Then there was total excitement for the fifth movement – or was it chaos?  This was followed by a slow dance, prior to a return to frenzy, with much vehemence from the cello.

These fine musicians put over as good account of this quartet as one could wish for – but I find the work dour and depressing despite the brilliance of both writing and execution.

It was satisfying to have such  varied programme, incorporating piano, quartet and piano quartet.

 

Outstanding programme by New Zealand String Quartet at Waikanae

Posted on by Rosemary Collier

Waikanae Music Society

Mozart: String quartet no.20 in D, K.499 “Hoffmeister”
Shostakovich: String quartet no.3 in F, Op. 73
Dvořák: String quartet no.14 in A flat, Op.105

New Zealand String Quartet (Helene Pohl and Donald Armstrong, violins; Gillian Ansell, viola; Rolf Gjelsten, cello)

Waikanae Memorial Hall

Sunday 19 April 2015, 2.30pm

Since Gillian, Helene and now Douglas have all suffered hand injuries, is Rolf Gjelsten next – or does it simply prove that the cello is much the safest instrument to play?   The audience at Waikanae was fortunate that the substitute for Douglas Beilman was such a fine chamber musician as Donald
Armstrong.

Gillian Ansell introduced the first work as being both sublime and light-hearted, and so it proved.  The superb balance of the team was apparent right from the outset.  Their strong, confident playing was yet subject to great variation of dynamics.  The quick allegretto first movement showered over one in a rain of beautiful notes and cadences.  To mix the meteorological metaphor: the mood was uplifting and sunny, like the day.

The minuet and trio contained delightful phrases, almost seeming to be impulsive in their gaiety, while the adagio third movement epitomised peace – surely an appropriate theme for this week.  Its solemnity betrayed the fact that it was full of fresh ideas; mellowness and serenity typified the mood.  Apart from a few unison notes that were not utterly united, one could not fault the beautiful playing.

The allegro finale’s surprise opening led to a jolly outpouring of delicious phrases, harmonies and running passages.  To see the smiles of the performers as they took their bows to the audience gave the strong impression that they enjoyed themselves too.

Shostakovich’s quartet no.3 was not one with which I was familiar.  Helene Pohl introduced it, making a contrast between the composer’s necessary recitation, as a student, of the happiness brought by Joseph Stalin and her own required recitation of allegiance to the US flag, when she was young. The exemplary
programme notes stated that the quartet was written in 1946 as a ‘war quartet’ and gave the descriptions that the composer had original given to the movements.  All this made it an appropriate work for the week leading up to Anzac Day, and contributed hugely to the audience’s understanding of the music.

The first movement (allegretto) opens with a dance of apparent innocence and joy.  It was tuneful, with interesting harmonic twists (‘Calm unawareness of the future cataclysm’).  There followed passages in a high tessitura, that became frenetic, perhaps as a precursor of what was to come.  They were followed by a cheeky ending.

The moderato con moto second movement was very different (‘Rumblings of unrest and anticipation’), being ominous and even excruciating in tone.  Repetitive passages could be depicting troops marching.  Some phrases made me think of dead flowers, which amplified the sombre mood of foreboding.

Movement three (allegro non troppo; ‘The forces of war unleashed’) was indeed as described.  There was relentless pursuit and counter-attack.  A sombre yet frenetic viola solo accompanied by the other strings playing pizzicato was remarkable.  Such skilled quartet writing!  It soon led to an abrupt ending.

The adagio (‘Homage to the dead’) fourth movement was written during a visit by Shostakovich to his home city of Leningrad, the scene of so much devastation and death so recently before.  A desolate
opening led to intense and emotional feelings of despondency and hopelessness.  Its outpourings at so much grieving, so much that the people had to cope with were tremendously powerful.

The final movement (moderato, ‘The eternal question: Why?  And for what?’) incorporated, Helene told us, Jewish music, with its characteristic ‘laughter through tears’.  Thus the jaunty section at the beginning (though the programme notes described it as ‘a wry, spectral melody’.  It was hardly jollity that was being described, and the mood soon reverted to one of bitterness and mourning, only to have the jaunty melody and rhythm return. Again, it does not last, and a quite tragic passage ends the movement and the quartet.

This was a remarkable performance; ‘searing’ as someone said to me.  It completely enveloped the audience; it was a singular triumph.

After the interval – some Dvořák to cheer us up!  The opening was a quiet adagio ma non troppo, in a mood of repose, and even sadness,  but we were soon into a delightful allegro appassionata, the melodies, harmonies and their accompaniment reminiscent of some of the composer’s other chamber music.  Energy drove all forward to a brisk ending.

The lyrical second movement (molto vivace) was like a quick dance, followed by a slower, more heart-felt melody.  It ended with a soon-to-be-unison note.

Lento e molto cantabile was soulful, with gorgeous inter-weaving harmonies, to be followed by quite a spooky theme.  A return to more passionate tones led to quite a calm close.  The allegro non tanto finale was a fast dance.  The vigorous playing led to a few wonky notes from the musicians, who must have surely been tired by now, with such a challenging programme behind them.

The large audience was privileged to hear fine performances in an outstanding programme of contrasts, and all showed their warm appreciation.

 

 

First-class performances from Sydney Conservatorium violin and piano duo for IRMT

Posted on by Rosemary Collier

Institute of Registered Music Teachers

Lilburn: Sonata for violin and piano (1950)
Franck: Sonata for violin and piano in A
Ravel: Tzigane

Goetz Richter (violin), Jeanell Carrigan (piano), from Sydney Conservatorium of Music

St. Andrew’s on The Terrace

Wednesday, 15 April 2015, 12.15pm

These two performers are currently giving master classes in various New Zealand cities, under the auspices of the IRMT; their Wellington master class with ensembles made up of students from the New Zealand School of Music at Victoria University followed the recital.  This may have accounted in part for the excellent attendance.

If Richter and Carrigan are anything to go by, students at the Sydney Conservatorium have the advantage of first-class performers as their teachers.  No biographical notes were given in the printed programme, which was a pity.

The programme comprised one sonata (Lilburn’s) with which I was not familiar, another sonata which I think borders on the ‘warhorse’ description, plus a shorter work that is also close to that category. There are so many sonatas by the great composers that we don’t hear regularly.

Excellent programme notes by Dianne James of the Auckland Branch of IRMT enhanced the
understanding and enjoyment of the works considerably.  Well-written and insightful, they were a
model of their genre.

It was interesting to note that Lilburn wrote his sonata for Ruth Pearl and Frederick Page – two of the most prominent names in music-making in Wellington in the 1950s and 1960s.   The five sections of
the sonata (molto moderato – allegro – tempo primo, largamente – allegro – tempo primo, tranquillamente) were played continuously, as conceived.  The variety of tempi, themes, tessitura and rhythms made this a most enjoyable work.

A very strong attack on the sombre opening was striking, and the whole piece was beautifully played.  I find a lot of similarity in much of Lilburn’s music, especially in rhythmic motifs, but this work did not share that trait, and its range was much greater than that of some of his music.  This was an authoritative and accomplished performance of fine music.

César Franck’s sonata received a splendid interpretation.  A description in the programme notes read ‘Clear evidence of this improvisatory style can be heard in most of Franck’s late works, where much of a work’s thematic material can be traced from germinal ideas present in the opening bars.’  Therein lies its problem for me.  The incessant repetition of the opening motif throughout the four lengthy movements (allegretto ben moderato – allegro – recitative-fantasia: ben moderato – molto lento – allegretto poco mosso) I find tedious, even though the modulations and variations are beautiful in themselves.

‘Succinct’ is not a word to apply to Franck.  Certainly the character of the sonata varies enormously with each movement, and I have to admit that in the hands of Richter and Carrigan, new delights appeared.  The music was played with supreme mastery and subtlety by both performers, with considerable technical difficulties to deal with, particularly in the final movement.

Ravel described his piece as ‘a virtuoso showpiece’, and thus this oft-played piece was, in the hands of Goetz Richter, and later those of Jeanell Carrigan.  Richter gave it more of a gypsy sound and feel than I’ve heard others do.  Exciting music it certainly is.

We heard two very able and experienced musicians, and though the programme was not completely to my taste, I came away knowing I had heard good music well played.

 

Flutist makes sparkling Wellington premiere at St Andrew’s

Posted on by Lindis Taylor

Gabriella Kopias (flute) and Richard Mapp (piano)

Music by Doppler, Debussy, Takemitsu, Fauré, Rachmaninov; Chaminade, Piaf and Ravel

St Andrew’s on The Terrace

Wednesday 1 April, 12:15 pm

It’s not clear what has brought Gabriella Kopias to Wellington, but it was whispered to me that she would rather like to stay here. That would be lovely, not because there is any lack of excellent flutists in town, but another of the quality of Kopias (pronounced Kópyas, I expect) could hardly be any sort of embarras de richesses.

She was born in Szeged in Hungary in 1975, graduated with distinction from both the Franz Liszt Academy in Budapest and the Arts University in Graz, Austria and now makes her home in Vienna. While she has had some orchestral experience, including with the Vienna State Opera Orchestra, she seems to have made a career as a flute soloist; and also as a cantatrice: she ended her recital, leaving her flute aside and singing Piaf’s La vie en rose, with a very creditable Piaffian timbre and style. She also exhibits as a painter.

Gabriella chose a diverting and varied programme, starting with the Fantaisie pastorale hongroise by Polish/Hungarian, flutist-composer Albert Franz Doppler, who was born in Lemberg (when part of Austria in the 18th century), Lwow when in Poland after WWI (though the population from the 16th century was predominantly Polish and Jewish), and now Lviv, after the total expulsion of the Polish population (‘ethnic cleansing’) after 1945, when it was taken by the USSR to be part of Ukraine. Doppler was a close contemporary of Franck, Lalo, Johann Strauss II, Bruckner).

He wrote successful operas and instrumental pieces, the most famous of which is this Fantaisie. She played this delightful war-horse from memory, accompanied with verve and discretion by Richard Mapp; in three distinct parts, each illustrating a different aspect of Hungary’s musical character, finally a csardas, all full of lively melody and rhythm.

Debussy’s Syrinx seems to be most commonly played solo flute piece, so its place was to be expected, and most welcome.

Toru Takemitsu may still be the best known Japanese classical composer, it was the chance for Richard Mapp to be heard alone; Rain Tree reveals itself in a magical palette that derives from Debussy impressionism and the mysticism of the Buddhist or Shinto world. It seems to evolve but there is also the strong sense of remaining still.

Fauré’s Fantaisie (Andantino and Allegro) is one of those pieces, the Allegro at least, that’s familiar, attractive, but whose composer I hadn’t logged in the memory; one of the many pieces inspired by the great French flute player and protagonist, Paul Taffanel. The piano’s contribution was a very significant element in the performance, lending the first section, Andantino, more interest than it gets sometimes;
and the flute’s contribution was beguiling, fast and brilliant. The two were, as everywhere in the recital, in delightful balance, in support of each other but never invading the other’s space. (I missed the point of Gabriella’s comment, introducing the piece, about Cinderella, and quoting the words put in her mouth in the current Walt Disney film, ‘Have courage and be kind’).

I wondered whether in her next piece she would return to the platform without her flute, to sing Rachmaninov’s Vocalise, which is its original idea of course. But she played the flute, showing how adaptable this evergreen gem is.

Cécile Chaminade, in her long life (born before Puccini and died during the second World War), acquired a sort of palm court reputation in her lifetime and later, but she’s much more than that: her genius was for geniality, charm, sticking to melody and tonality through the turbulence of atonality and avant-gardism. In any case this Concertino, originally for flute and orchestra, Op 107, which was also dedicated to Paul Taffanel, gave clear indications of a capacity for those gifts to find expression in an extended piece that was carefully balanced, ending with an accelerating flourish. Again this well-matched duo proved splendid advocates for unpretentious music that is clearly surviving the years.

Then Gabriella really did leave her flute behind and picked up the microphone to sing Piaf, as I noted above. How many would accept that the definition of ‘classical’ extends far beyond the ranks of those composers whose names are followed by brackets showing dates of birth and death?

Finally, an encore listed in the programme: Ravel’s Habanera, or rather, the Vocalise-étude en forme de habanera, is a song for deep voice and piano. In arrangements for a great variety of instruments it’s been called Pièce en forme de habanera. As does Rachmaninov’s Vocalise, it sits happily for almost any instruments, and this was a most attractive way to end this introduction to a musician whom I hope we will hear again.

 

Quintessential music-making from the Brodskys

Posted on by Peter Mechen

Chamber Music New Zealand 2015 presents:
THE BRODSKY QUARTET

Music by Purcell, Britten, Bartok and Beethoven

PURCELL – Chaconne in G Minor (arr.Britten)
BRITTEN – Poeme (2nd Mvt. of String Quartet in F Major 1928)
BARTOK – String Quartet No.5 SZ 102
BEETHOVEN – String Quartet in C-sharp Minor Op.131

Daniel Rowland, Ian Belton (violins)
Paul Cassidy (viola), Jacqueline Thomas (‘cello)

Michael Fowler Centre, Wellington

Thursday, 26th March 2015

Reading about the Brodsky Quartet brings much pleasure and a few surprises: the group was formed thirty-five years ago in Manchester, and was named after Adolf Brodsky, the great nineteenth-century Russian violinist notable for premiering Tchaikovsky’s Violin Concerto in 1881, and whose career eventually took him to Manchester, in England, where he became Principal of the Royal Manchester College of Music. Two of the original Quartet are still with the group, Ian Belton and Jacqueline Thomas – Paul Cassidy joined in 1982 and Daniel Rowland in 2007.

This is the Quartet’s third visit to this country – the group was here in 1994 for the International Festival of the Arts that year, and in 1998 toured the country with Chamber Music New Zealand. After seventeen years it was high time that the group returned – and as a result of hearing this concert I find myself hoping that I won’t have to wait for another seventeen years before encountering these remarkable musicians performing live again.

In this concert the group for me ticked the boxes which defined a well-rounded concert experience for chamber music enthusiasts – two string quartet classics, each with aspects in common, though from different centuries, were presented, along with two lesser-known, but utterly distinctive pieces, again composed in completely separate times, but linked by certain circumstances. It was programming whose connections offset the wide range of differences of the various pieces in term of style and language.

The first “pairing” came with the two opening works on the programme – first was Purcell’s Chaconne in G Minor, played in an arrangement for quartet by one of the composer’s most recent and famous devotees, Benjamin Britten. A Chaconne is a French courtly dance in which the basic harmonic pattern of the piece supports any number of melodic variations, giving rise to wonderful invention on the part of various composers who’ve written examples for various instruments.

The Purcell was followed by – indeed, actually linked to the second work on the programme, with we in the audience so completely spellbound by the music and playing to even think of applauding after the first piece – it was a magical moment when Britten’s music simply grew out of the silence that followed the Purcell. This work was a movement from an early Quartet in F Major by Britten, the material reworked by the composer into one of three Poemes for String Quartet – this movement is marked Andante. I thought it an absolutely stunning piece – a magical sound-world, not unlike the kinds of ambiences the composer created in some of his choral works to create atmosphere, such as the falling snow effect in “A Boy Was Born” – there were equally beautiful equivalents here. The music in fact gave the impression of being refracted through a dream, thanks in part to a wonderfully other-world-like ostinato figure, from the second violin.

The Brodsky Quartet’s leader Daniel Rowland, talked about the relationship between these two works, calling Purcell’s work “contemporary” in its freedom of expression, and emphasizing the inspiration the music must have been to Britten (who as a conductor made a recording of the work). The playing of the Purcell seemed timeless in its effect – because it comes into the category of “early music” the players were sparing with their vibrato in the manner that’s become accepted “period practice”, but were otherwise very free and subtle with the treatment of Purcell’s theme – very forthright voicing in places, making for great tensions, but with some magical soft playing towards the end of the piece, the final few bars creating a hypnotic effect that carried through the silences and into the beginning of the Britten which followed.

By contrast the Bartok which was next on the programme was less concerned with creating atmosphere, and much more about expressing essential elements of a distinctive musical language, strong rhythmic character, closely-worked harmonic and contrapuntal voices and cliff-face contrasts of mood and expression. The very opening of the work goes from terse unisons from groups of instruments to stamping rhythms, and then to a chromatic, somewhat eerie section played in canon – Bartok gives the listener these three contrasting ideas boldly and directly, then works them together in a full-on, abrasive way!

It seems to me that these works have a Beethoven-like quality in that they don’t employ any “padding” – the ideas are delivered straight-from-the shoulder, and in less-than-comfortable ways, making for the sort of effect that contemporaries of Beethoven used to complain about with his later music. Bartok is as wide-ranging as Beethoven, though in that he gives the listener plenty of contrast, both within single movements and in the individual movements’ differing character. In this quartet, the second and fourth movements have elements of the “night music” sounds that Bartok became known for. And in this quartet’s case in between these two movements Bartok wrote a scherzo movement as humourful and bucolic as any Beethoven wrote in a similar vein, one called “Alla bulgarese” – in the Bulgarian style. You could hear the folk-tune flavorings in the snappy rhythmic figurations – wonderful energies, at one and the same time music from the soil, yet given a kind of timeless, universal quality – which I think is a mark of greatness.

I couldn’t help thinking that same thought while going through the incredible journey that Beethoven took us in his Op.131 Quartet which finished the programme. It’s always seemed odd to me that people both contemporaneous with and in the years immediately after Beethoven simply couldn’t fathom his late music. I know there are music-lovers who still have difficulty with coming to grips with some of the works, like the Grosse Fugue and the Hammerklavier Sonata, but the general reaction even to these works is that they are masterpieces and their language is accessible. Bartok is a kind of modern-day equivalent, though perhaps not a contemporaneous one – there’s music which has been written since Bartok which is more likely to draw forth responses similar to what Beethoven’s music got from some of his contemporaries – such as fellow composer Carl Maria von Weber’s opinion upon hearing Beethoven’s Seventh Symphony that the latter was “fit for the madhouse”. There’s no doubt Bartok makes you work at listening – but, of course, if you’re fully engaged, Beethoven makes you work as well!

To my ears the Brodskys were lyrical and expansive in appropriate places, but dealt with the music’s more vigorous sections in a fairly straight, no-nonsense and unrhetorical way – whereas other groups of late I’ve heard tend to emphasize the composer’s “angular” quality. Basically I thought they didn’t make a “meal” out of anything, except that I did find the leader in the first movement had a tendency to slide between some of his notes in places that gave a slight sentimental air to the music which it didn’t need – the other thing is that if only one person in a group is doing that there’s a discrepancy of phrasing, of texture, of unanimity in places – he only indulged occasionally, and he “tightened” his phrasing as the performance moved through its different sequences. As for the group as a whole, I thought, their playing had a purposeful grip of the music which simply never let go – and even though the dotted rhythms of the finale were occasionally hurried, and their “snap” glossed over ever so slightly, the performance’s overall drive carried the music irresistibly forward.

During this performance of the Beethoven, I think the expression “in thrall” would have best described the audience response – as the work unfolded, with movement after movement following without a break, there was engendered a growing sense of undertaking a journey, far-flung, rich and strange, encountering all kinds of quixotic encounters and occasional difficulties and well as moments of deep and rich reflection. The effect at its conclusion was that we “snapped out of it” and reacted as if waking from a wonderful dream, but a very immediate and visceral dream. The Quartet players never overdid any aspect of the music, but kept it tailored to a greater purpose, the result being a cumulative effect of the kind which kept the music playing in my head long after the actual concert sounds had ceased. In sum, I thought, as stated above using different words, that the Brodskys gave us a quintessential chamber music experience.

Lucy Gijsbers shines in ‘cello recital at St.Andrew’s

Posted on by admin

St Andrew’s Lunchtime Concert Series

Duo Cecilia: Lucy Gijsbers, cello; Andrew Atkins, piano

Prokofiev: Sonata for Cello and Piano in C major, Op.119 (1949)
Andante Grave, Moderato.
Beethoven: Sonata No.21 in C Major “Waldstein”: Allegro con brio
Liszt: Concert Etude in D flat major “Un sospiro”
Kapustin: Nearly Waltz Op.98 (1999)

St. Andrew’s on The Terrace

Wednesday 25th March 2015

The first two movements of Prokofiev’s Op.119, chosen to start this programme, put Lucy Gijsbers straight into the limelight from the word go. The beautifully crafted phrases and full throated, rich sound she drew from the lower register of the cello in the opening solo bars showed immediately what an accomplished musician she is. Likewise as she moved up the register in the later reflective episodes, her tone was sweet and warm. The duo shaped the mood in those recurring sections with poetic sensitivity, working with one mind to craft the melodies. This made the contrast very effective when they attacked the allegro interludes with real vigour and a sense of the dramatic. But unfortunately, when the dynamic rose above forte, the pianist simply swamped the cello part. It was a mistake to attempt this work on full piano stick; worst of all it caused the sweeping dynamism and passion of the closing cello passagework to be swallowed up in a maelstrom of concert grand fortissimo. The same problem persisted in forte sections of the Moderato; but at other times the duo captured its lively, puckish mood very effectively, and provided a beautiful contrast in the slow melodic bars. Prokofiev’s startling false harmonics in the coda melody were superbly executed by Lucy Gijsbers – you could have heard a pin drop as the final notes evaporated into the barrel vault.

Andrew Atkins had clearly put a lot of work into the Beethoven movement, but I’m afraid I felt disappointed. That was because he seemed to interpret Beethoven’s direction of allegro con brio to mean “extra fast” allegro. But the term means simply “with spirit, energy, vigour”. The busy, repetitive opening idioms started too fast for clarity and the later cascading runs were further rushed in a number of places. The dramatic sweeping passagework that recurs throughout this movement was doubtless designed around Beethoven’s legendary skills at the keyboard. It requires crystal clear execution and nuance to express the melodic structure concealed in the subtle complexity. There is an amazing musical architecture in there that is all too readily lost in those huge handfuls of notes, and sadly that is what happened here. The Listz was better controlled in the opening piano section, but the fast centralforte section was again too hectic to come across satisfactorily.

Beethoven made a habit of spending time in the countryside, away from his keyboard and quill pen, throughout his life, and this somehow permeates his composition despite its extraordinary demands and complexity. Our local version may needs be the New Zealand bush, but every performer must somehow tap into this dimension, and this is what I hankered for here.

Kapustin’s Nearly Waltz for piano-cello duo opens with a disarming rhythm that alternates almost randomly between 5/4 and 3/4. The duo picked up on its lively whimsical mood with just the right touch, although later forteinterludes again suffered from too much piano volume. However, this capricious three minute gem was wrapped up with a delightful final phrase, finishing in high register with the music simply floating away……It was a great way to finish an interesting and varied programme that was clearly appreciated by the audience.

There are a couple of issues the duo needs to work on if they are to optimise their professional profile. Firstly, the programme information provided was far from satisfactory – only composers and titles were given; no opus numbers, keys, or movement designations. And secondly, an adequate assessment of a venue’s acoustics before each performance must surely go without saying. Every concert room is unique, and performers must play the acoustics just as they play their instruments. A failure to do so can lead to serious imbalance, and no professional musician wants to court that hazard.

 

 

Four feasts forward – Catherine McKay and Peter Barber at St.Andrew’s

Posted on by Peter Mechen

St Andrew’s Lunchtime Concert Series presents:
Catherine McKay (piano) and Peter Barber (viola)

Music by Schumann, Enescu, Rachmaninov and Brahms

St.Andrews-on-the-Terrace, Wellington

Wednesday 4th March, 2015

At the beginning of the concert Peter Barber announced a change to the printed programme, one involving both a rearrangement of the existing order, and an additional item. So, Brahms’ FAE Sonata Scherzo Movement, which was to have opened the programme now became its concluding item; and an arrangement of Rachmaninov’s Vocalise for viola and piano was introduced, here put just before the Brahms.

It all seemed to work marvellously well, even if, right at the concert’s beginning I was troubled by the venue’s lively, somewhat over-insistent acoustic which blurred the lines in the first of Schumann’s four Märchenbilder”(Fairy-tale Pictures), the one marked “Nicht Schnell”. Always the most sensitive and accommodating of musical partners, pianist Catherine McKay seemed here to be made to produce a sound too richly-upholstered in places, so that the reticent tones of the viola were often lost in the exchanges.

Happily, the following “Lebhaft” seemed to restore those balances more fairly – perhaps the performers had by this time “gotten the pitch of the hall” – with more tone and presence from the viola, the piece’s “swagger” was given full play, the music’s excitement made palpable for us as a result. I still thought the “scherzando” episodes could have done with a lighter touch, as they tended to blur a little in the acoustic.

The third piece “Rasch” excitingly galloped its way into the sound-picture, with the pianist’s playing most skillfully accommodating the viola’s lines as required throughout the music’s narratives, without the music’s edge being at all lost or dimmed. What a marvellously haunted piece this was – and what balm for the senses was the “trio” section, the players beautifully “covering” their tones, wanting to make the greatest possible contrast with the spooky gallopings,  which returned to scalp-prickling effect

After all this, the final “Langsam, mit melancholischem Ausdruck” seemed like a prayer of homecoming.  We got lovely, limpid sounds, together with gently, lullabic lines on the violin – very “Brahmsian”  in effect, I thought. Despite that comment, for the most part it was music that could have been by no other composer than Schumann.

Interestingly, Peter Barber told us (wisely, at the work’s end) that the composer had noted down his inspiration for each of the pieces – the first two from the Rapunzel legend, the third from the story of Rumpelstiltskin, and the last one the Sleeping Beauty!

I didn’t know the next item, George Enescu’s Concertpiece. It appeared to be in a  single movement, but made up of two distinct sections – the first, headed, “Assez animé” established a winsome, “out-of-doors” feeling at the start, leading towards declamatory phrases (fanfares from the piano), and then followed by misterioso chromatic figurations, all of these moods coloured and characterized beautifully by the players. A return to the opening brought more celebratory flourishes, and “thrills and spills” moments which here played their part in conveying the extent of the musicians’ commitment to the task – after the energies had been spent, the viola soared aloft to a tender harmonic and a gently-plucked concluding chord.

At which point the music moved strongly and more darkly into a new “Animé”, with textures rather more stark and focused – these sequences were contrasted with passages in which the pair enchanted us with their lightness of touch and lyricism of phrasing. The tensions very satisfyingly built up amid moments of full-throated lyricism turning into energetic flourishes. Each player supported the other – the piano trumpeting and celebrating as the viola gathered momentum, and the string energies helping the piano to make a brilliant impression. As it would have been “new music” for many listeners, I thought it received wonderful advocacy.

I’d never heard Rachmaninov’s Vocalise played by a dark-hued instrument before – and the performance here was a revelation! Away from the brilliance and stratospheric freedom of the soprano voice, the piece took on the quality of an out-and-out lament, growing out of something meditative and deeply-felt, and transcending its mere “wordless song” association. Particularly telling in this performance was the interweaving of lines, with viola and piano tightly integrated and thus underscoring the intensity of it all. For one repetition of the melody the viola took its line up an octave, but it was the music’s deep-voiced intensities that in the end impressed most profoundly. After this, for me, the piece will never be the same again.

That left the Brahms Movement to “return us to our lives” – though in the event it was more a state of “separate reality” to which we were taken here, rather than any semblance of normality. What a wonderfully gutsy opening to a piece of music! And it was all fuelled by playing whose energy and incisiveness was just what the doctor ordered. I like the way the “schwung” of the opening took in both melody and rhythm without stinting, with just the right amount of skin and hair flying about to make a proper “cheek-by-jowl” contrast with the music’s relatively serene trio section.

However, the trio sequence still resonated with fragments of the opening rhythm, whose full force returned with almost Brucknerian power (what would Brahms have thought of THAT comparison, I wonder?). Music and playing fused feeling, energy and commitment into something grandly celebratory at the piece’s end – and the lunchtime audience was quick to express its appreciation of the performers. It was a good attendance, too, which bodes well for the 2015 season of one of the capital’s most highly-regarded musical series.

 

 

 

Violin and harp in enchanting lunchtime concert at St Andrew’s

Posted on by Lindis Taylor

Tabea Squire (violin) and Ingrid Bauer (harp)

Massenet: Meditation from Thaïs
Saint-Saëns: Fantaisie for violin and harp, Op 124
Mozart/Dittersdorf/Eberl/Thomas: Air with Variations and Rondo Pastorale for solo harp
Pärt: Spiegel im Spiegel

St Andrew’s on The Terrace

Wednesday 25 February, 12:15 pm

The harp seems to be asserting itself at present. Though it’s been a pretty standard orchestral instrument since the early 19th century, and a much loved solo instrument both in its many ethnic forms as well as in its larger, more sophisticated character, there doesn’t seem to be a very large body of chamber music involving it.

This recital may well have been inspired in part by the presence of Helen Webby’s harp at the Adam Chamber Music festival in Nelson in January-February. For both the Massenet and the Saint-Saëns were heard there. The transcription for the harp of the Meditation from Thaïs was played in Nelson by Helene Pohl, leader of the New Zealand String Quartet, and Helen Webby. It is particularly beguiling, and while there might have been a difference in the level of experience and sophistication between the performances in Nelson and here, Tabea brought a big romantic sound to her playing, while the harp seemed to be a perfect medium for such a quintessentially emotional piece, a more natural partner than a piano perhaps.

Saint-Saëns was drawn to the harp, I suspect by the same factors that drew both Debussy and Ravel to it, respectively, in the Danse sacrée et danse profane and the Introduction et Allegro. This Fantaisie was played in Nelson by the first violinist of the Ying Quartet, Ayano Ninomiya and Helen Webby; it is hardly in the same class as the pieces by his younger colleagues, yet there is enchantment and variety in its four fairly distinct sections; it lies beautifully for the two instruments and both explored its interesting emotional states with sensitivity.

The next piece was a real curiosity, put together by 19th century Welsh harpist, John Thomas, from pieces by Karl Ditters von Dittersdorf, Anton Eberl and most importantly, Mozart. The process was clearly one that would be abhorred by today’s scholars and many musicians schooled in doctrines of historical authenticity, but if the test is simply the agreeableness of the result, condemnation would be hard to justify.

In any case, the first part, the Air with Variations, offered the harpist scope for a variety of diverting techniques, strongly contrasting dynamics and what seemed to be a muted passage. The second part, the Rondo Pastorale, was the last movement of Mozart’s great Divertimento in E flat for string trio, K 563: one of his most beautiful compositions. Here was pure enchantment; it’s hard to imagine that Mozart would have disapproved of such an enchanting adaptation , so beautifully played.

The last item was one which, like a lot of Arvo Pärt’s music, seems to invite adaptation for different instruments: his Spiegel im Spiegel, which may be the equal of his Fratres in popularity and affection. As with her other introductions, Tabea Squire spoke with careful precision and sensitivity about its basically simple character, a study in triads in various inversions and keys, at each stage of which the home key seemed to be imminent but elusive. The violin carried long sustained notes while the harp suggested that here was the sound that Pärt had really been searching for.

 

St Andrew’s lunchtime concerts resume for 2015 with a piano quintet

Posted on by Rosemary Collier

Xing Wang and friends

Schubert: Sonata for piano and violin in A, D.574, “Grand Duo”
Schumann: Piano Quintet in E flat, Op. 44

Xing Wang (piano), Xin (James) Jin and Haihong Liu (violins), Zhongxian Jin (viola), Robert Ibell (cello)

St Andrew’s on The Terrace

Wednesday, 11 February 2015, 12.15pm

An attractive programme brought a good-sized audience to the first St. Andrew’s lunchtime concert for 2015.  Many people are grateful to the church and to Marjan van Waardenberg, for providing so many
marvellous concerts.

Unfortunately, another engagement meant that I was able to hear only the Schubert in its entirety.  The opening allegro moderato of the sonata featured very lively, bright playing, as did the scherzo: presto that followed.  The andantino slow movement displayed gorgeous tone from the violin, while the allegro vivace finale was executed with brilliance by both performers.

It was pleasing to have very full programme notes for the two works.  As the programme note for the Schubert stated, the sonata exhibited ‘…rich and beautiful melodic inventions, subtle harmonic colourings, and Viennese dance elements.’  There was much hard work for Xin Jin to do in this work, but all was carried off with accuracy and sureness of intonation and expression.

The Schumann piano quintet promised much from the robust, joyful opening of the allegro brillante first movement that I heard. Later I was told that it continued in the same warmly expressive vein, and that the cello playing of Robert Ibell was particularly noteworthy.

The concerts now continue on Wednesday lunchtimes without a break; much interesting music is promised over successive weeks.  Look up St. Andrew’s website, www.standrews.org.nz, and go to the ‘Coming Events’ listings.

 

Last three days of the triumphant 2015 Chamber Music Festival in Nelson

Posted on by Lindis Taylor

Adam Chamber Music Festival, Nelson 2015
29 January to 7 February 

Part Three

The Nelson Cathedral and Old St John’s church

Thursday 5 to Saturday 7 February

Thursday 5 February

For the first time, at this festival, two trips out of Nelson were organised, primarily as part of the full festival pass package; on Tuesday it was St Arnaud on Lake Rotoiti; today, to Upper Moutere to visit Höglund’s glass studio, the Neudorf Winery and a concert by The Song Company in a beautiful country church.

I decided to remain in Nelson in spite of that meaning foregoing the concert which included songs from the late Middle Ages – the twelfth and thirteenth centuries. The song, Crist and Sainte Marie by St Godric, is one of four, ‘the oldest songs in English for which the original musical settings survive’, according to Wikipedia. I will record a personal reference, that Godric spent many years in the famous Lindisfarne Priory (indirectly giving me my name), where the beautiful illuminated eponymous Gospels were probably written in the early eighth century.  There was also a song by the enlightened Castilian King Alfonso X (13th century), English madrigals by Tomkins, Morley, Gibbons and Weelkes; and then a song cycle by Gareth Farr, the Les Murray Song Cycle, and modern madrigals from Australia and Denmark.

In Nelson the concert by the Ying Quartet that I heard on Tuesday at the lake was repeated.

French piano music
Thus there was only the 7:30 pm concert at Old St John’s, entitled Joie de vivre. That was on account of the full programme of French music in which Kathryn Stott was the still point of the turning world.

The earliest piece was five dances by Marin Marais (recall the film, Tous les matins du monde). Phillip Ying took Marais’s viola da gamba part on his viola which might not have altered it materially, but did remove the music from a particularly idiomatic 1700ish sound, partly the effect of a piano in place of a harpsichord or similar instrument of the period. The dances were varied and charming.

A Ravel rarity, which I’d not heard before: Trios beaux oiseaux du paradis, was sung by the Song Company, a cappella.

Kathryn Stott returned to join Rolf Gjelsten’s cello to play first, Fauré’s Après un rêve and then Debussy’s Cello sonata. Rolf read us a translation of the poem by Romain Bussine, a poet and singer who co-founded, with Saint-Säens, an important society in Paris, the Société nationale de musique, for the promotion of French music in the face of, mainly, Germanic influence. It included Franck, Fauré, Massenet and Duparc and several others. The former is very well-known and its performance was enchanting, not at all sentimental (which it rather lends itself to). The Debussy sonata may not be quite as assured a work as the violin sonata but this was a most attractive performance that both distinguished and brought together the distinct lines of the two instruments.

The New Zealand String Quartet joined Stott in César Franck’s Piano Quintet, in a performance whose spirit was very much guided by Stott’s playing, poised and restrained, with space between the phrases, her chords lean and clear. These remarks were true for the first two movements, following the composer’s indications, but in the third, Franck’s marking ‘con fuoco’ was licence for the release of the feelings it was rumoured that Franck had for a particular student at the Conservatoire. The big throbbing melody seemed steadily to increase in speed and dynamics, to quite a climax.

This most welcome performance added to the little effort initiated with Stott’s performance on Tuesday of the splendid Prelude, chorale and fugue, no doubt driven by the pianist, to pay attention to Franck’s unjustly neglected masterpieces.

Friday 6 February

Waitangi Day has usually fallen during the festival and offers an obvious excuse to explore New Zealand music, familiar and unfamiliar.

Nicola Melville remembers Judith Clark and shared friends
The 1pm concert served to showcase former Wellington pianist Nicola Melville who now teaches at Carlton College Minnesota, in music associated with her teacher and mentor at Victoria University, Judith Clark who died last year.

The programme note explained that the pieces were by composers dear to Judith’s heart. And there was a second set of pieces by composers who are among Nicola’s favourites.

The first played was Lilburn’s Three Sea Changes, the first two written in 1946 and the last in 1981. They have become familiar through the sensitive performances by Margaret Nielsen of 40 years ago, and it was good to hear them played by a pianist with a couple of generations’ longer perspective, of their acceptance as among the most characteristic of Lilburn’s piano music.

Then followed a new commission called simply, Gem, by Gareth Farr, a kaleidoscope of shifting tones, sentiment and sparkle. Its performance was full of affection and delight.

Ross Harris recorded in note about his offering, In Memory – Judith Clark, which was written for her 80th birthday, that she addressed him ‘you flea’. In it there was an immediate feeling of sadness, the notes spaced in a gentle and thoughtful way. It seemed to touch a deeper vein, especially in Nicola’s delicate and sensitive performance.

Eve de Castro-Robinson marked her tribute to Judith, “free, capricious, whimsical”, and that was the case. It might have been a characterisation as much of Eve as of Judith, with its scampering, quirky wit, that may well have enlivened the meetings between the two.

Jack Body’s offering was changed from the advertised Five Melodies to two pieces labelled ‘Old Fashioned Songs’, in Body’s inimitable treatment of them: Silver Threads among the Gold and Little Brown Jug. The expected and the unexpected in ‘Threads’, diversions from cadences that the ear and mind might have expected, yet enough of the original remained to tease. The ‘jug’ was treated to semi-staccato, spaced plantings of notes, it increased steadily in complexity, liveliness and interest, and Melville played them both with clarity and a keen sense of their wit and eccentricities.

Nicola in America
The music then moved abroad, to the United States. The first composer was an avant-gardist with wit and a mind to entertain: Jacob TV which is the American version of his Dutch name, Jacob ter Veldhuis. The Body of Your Dreams is a scathing look at the mindless world of TV advertising, using tapes and loops, rock idioms, of an advert for an electronic weight-loss programme, using repeated words a few of which I could pick up like ‘fat’, ‘press the button’ ‘no sweat’, ‘amazing’, the language of the bottom end of youth culture, advertising and the electronic media.

The piano was very busy in collaboration with the junk-burdened noises on the tape, good for a moment’s contemplation of the meaning of music, satire and what passes for culture.

And finally, a return to a composer I think ranks high in Melville’s pantheon: William Albright who wrote a number of rags, among much else. These two were entitled: Dream Rags, comprising The Nightmare Rag, with the parenthesis suggesting Night on Rag Mountain (though I detected no hint of Mussorgsky) and Sleepwalker’s Shuffle. They were, I have to confess, closer to the idiom of ragtime than the pieces by Novacek heard a few days before. In any case, Melville was very much at home with them and they delighted the audience.

Verklärte Nacht in the evening
The 7:30pm concert called on The Song Company and both string quartets. The Song Company sang songs from the 14th and 16th centuries. William Cornish’s ‘Ah Robin, gentle Robin’ with the singers taking varied roles, the men first and then the women while conductor Peelman accompanied with a drum; voices and the drum steadily rose in pitch and intensity, as the words revealed the singer’s despondency at the realisation of his lover’s likely faithlessness.

‘Where to shud I expresse’ possibly by Henry VIII followed, along with the anonymous, c1350 song ‘The Westron Wynde’, each a lament on a lover’s fickleness, or at least, absence. Here was the style of singing that best suited The Song Company, capturing lovers’ troubles with individual voices most advantageously on display, between their coming together to create beautiful vocal fusion.

Two New Zealand pieces were Lilburn’s Phantasy for Quartet, and John Cousin’s Duos for violin and viola of 1973. The Lilburn was a 1939 exercise written at the Royal College, for Vaughan Williams, winning the William Cobbett Prize. Here was a nice link with the previous song bracket, as Lilburn used the tune from The Westron Wynde, at first with restraint, and then increasingly energetic. The New Zealand String Quartet gave it a sweet, loving performance; apart from an early performance in Christchurch, I think it was said to be the near premiere in New Zealand.

Cousin’s three duos were Waltz Lee, Lullaby for Peter and Polka for Elliot, very much a family affair. These early examples of the composer’s work are charming, characteristic, offering a nice opportunity to hear other than his more commonly encountered electro-acoustic music. They were played engagingly by Janet and Phillip Ying.

The Ying Quartet returned in full to play their own arrangement of an Alleluia composed by Randall Thompson in response to the early years of the Second World War. There were hints of Samuel Barber sure enough, but its somewhat incongruous lamenting character in contrast to its title, led to an interesting, quite complex contrapuntal piece; the quartet may well have made it something of a personal utterance.

Which left the rest of the concert to Schoenberg’s Transfigured Night (Verklärte Nacht). The programme note described it rightly as ‘his glorious Sextet’, and this performance by the New Zealand String Quartet, plus the violist and cellist from the Ying Quartet, made a wonderfully rich and emotional job of it.

Saturday 7 February

Cornerstone Classics – Haydn and Mozart
Here, on the festival’s last day, was the chance to hear three New Zealand players not otherwise represented. Their style however, conformed with the approach to early music that was one of the hall-marks of the Song Company. Douglas Mews at the fortepiano and Euan Murdoch on the cello are well-known exponents of ‘period performance practice’; the violinist replacing the advertised Catherine Mackintosh, Anna van der Zee, is a regular member of the NZSO’s first violins, but proved to be fully sensitive to the playing style considered appropriate for the ‘classical’ period.

Two Haydn piano trios (Hob.XV/18 and 19) enclosed Mozart’s violin sonata in C, K 403. The feathery decoration applied to Haydn’s G minor trio enhanced the fortepiano’s lightness of sound, which in turn coloured the playing by the two stringed instruments. Even for one who is perfectly used to music played in accordance with historical practice, the first impression when a new and, I must confess, unfamiliar piece is played, is of a touch of the insubstantial. But the ears quickly adjust. Haydn’s trio in A (No 18), played after the Mozart, was as full or ornaments as was No 19, but more lightened with wit, and quirky gestures as well as the modulations that even one quite used to Haydn’s behaviour finds surprising.

I really enjoyed Mozart’s violin sonata, played in comparable, genuine style, it sounded closer to the Romantic era than Haydn, even though written ten years earlier; it’s part of an incomplete set that his friend the clarinettist Anton Stadler tidied up/completed. The first movement is marked by a strong rhythm, with an unusually emphatic first note in the bar, or at least that is the way it was played (I hadn’t heard it before). It seemed that the Andante might have been marked molto andante on account of its rather imposing slowness. I found the whole thing very attractive and so it did surprise me that I hadn’t come across it before.

Grand finale –cries of the cities
No doubt the big crowd at the final concert in the cathedral was there mainly for the Brahms Sextet. Yet there may well have been a good deal of curiosity about the set of seven ‘cries’; they filled the first half.

They involved, again, both quartets and the Song Company. The order departed from that in the programme. First came not the earliest, but the Cries of London by Orlando Gibbons, inspired by the earlier Cries of Paris. It’s a far cry from Gibbons’s familiar madrigals and keyboard pieces with its colourful and probably sociologically interesting words and atmosphere.

Louise Webster’s Cries of Kathmandu succeeded in using music of a generalised Indian character embroidered with Hindu religious imagery to paint an intriguing though on balance, distressing picture of a once charming subalpine city largely ruined by capitalism and mass tourism.

It was a short step to Jack Body’s Cries from the Border, a piece typifying the composer’s profound human and political concerns, now coloured by his own imminent mortality. The tale of the fate of German-Jewish philosopher, Walter Benjamin, trapped on the French-Spanish border attempting to escape from Vichy France and the Nazis in 1940. Body wrote: “Unlike Benjamin, I am a traveller reluctant to transit. But the sentence has been pronounced…”. Musically it expressed these complex emotions committedly and convincingly.  Jack Body was there to stand for the applause.

The Cries of Paris of c. 1530 by Clément Janequin was a predictable sequel. Like that of its imitator Gibbons, it did contain the cries of the city’s street vendors, which were no mere medieval phenomenon, but petered out only around the First World War. The performance left no doubt about the reason for their survival and now renewed popularity.

Then came two New Zealand latter-day efforts: Cries of Auckland by Eve de Castro Robinson which dealt with the anti-Springbok Tour and the cries of the protesters throughout the country, still vivid in the memories of all of us who were involved: “1 2 3 4, we don’t want your racist tour! … Shame! Shame! …Amandla, Amandla”  and hints of later protests about asset-sales and the Trans-Pacific Partnership Agreement.

And Chris Watson contributed a comparable political offering from Wellington. More words, and a wider lens: the morning commuter trials (cries of frustration?), the dramatic revealing of Wellington Harbour at the bottom of Ngauranga Gorge (cries of spiritual uplift?), but then the realities of political Wellington at the time of the negative, dirty politics, election campaign – the cries of debate, perhaps the cries of hopelessness, from the victims of the victory of inequality.

Brahms Sextet
The Ying Quartet plus the violist and cellist of the New Zealand String Quartet had the last word, with the glorious second string sextet by Brahms (Op 36). Reference is usually made, and was here, to the belief that it contained hidden reference to Agathe von Siebold with whom he had been in love with a few years before, encoded in the first theme of the first movement. Typically, Brahms shied away from commitment, which he apparently later regretted. The work’s high emotional intensity, especially the Adagio, slow movement, can colour the listening experience, but it hardly matters what specific narrative the listener allows to accompany a performance, for it is such a transcendent experience from the young composer, aged 33.

These festivals have often succeeded in bringing things to a conclusion with a musical creation of unusual splendour and emotional power. This one achieved that very movingly.