Tributes paid to early music revivalist Jeanne-Marie Dolmetsch

Jeanne-Marie Dolmetsch. Photo: Michael Chevis

A LEADING figure in the revival of interest in early music, from Haslemere has died aged 76.

Jeanne-Marie Dolmetsch, elder twin-daughter of Dr Carl Dolmetsch CBE, and his first wife Mary, grew up amid a whirlwind of music-making that encompassed teaching, concert-giving both at home and abroad, and musical-instrument making at the family’s Haslemere workshops.

They were established in 1917, when Arnold Dolmetsch and his young family, including Carl, moved from London, to escape the bombing by Germany’s Zeppelin airships.

Moving from The Royal Naval School (now the Royal School) to the Royal Academy of Music in London, she studied violin and piano, although she had appeared on concert platforms and in recordings on the recorder and the viol from her early teens.

In later life, she combined the skills of an instrument maker with those of a professional musician.

Jeanne-Marie was quite undaunted when, only a few hours before a concert in Northern France, she had to make playable, a locally-sourced double-manual harpsichord in poor regulation and tuning.

From the 1960s she, and her twin sister Marguerite, joined musical colleagues including Andrew Pledge and Nigel Foster, to perform programmes of early music to clubs and societies throughout the UK, and overseas.

Jeanne-Marie (left) and Marguerite Dolmetsch. (Photo courtesy Dolmtesch online)

For more than 40 years, Jeanne-Marie researched, scripted and presented many hundreds of lectures on aspects of musical and cultural history, illustrated with live and pre-recorded music and sumptuous slides. Faced with a six-week tour of Australia and New Zealand, she had to convert the programmes into digital format, and learn to master the unfamiliar technology.

Each summer she would assist her father in directing the annual Haslemere Festival of Early Music, which her grandfather Arnold had established in 1925. The twins were able to invite many of their academy friends to perform at the festival, adding the vigour of youth to its established stars.

She succeeded as director in 1997.

From 1997, Jeanne-Marie was also musical director of The Dolmetsch Foundation, which publishes an annual journal that university and music school libraries around the world subscribe to.

A memorial service will take place at All Saints Church, Grayswood at 2.30pm on April 6.

First published at the Farnham Herald, December 2, 2018

Addendum by Tony Magee (site administrator): Twin sisters Jeanne-Marie and Marguerite Dolmetsch were featured in the 1970 BBC television documentary, "So You Thought it all Started with Bach?", written and produced by Herbert Chappell, presented and narrated by Clement Freud. The twins were both aged 28 at the time.

This is the narration and dialogue from the Dolmetsch segment in the program:

Clement Freud: These carved scrolls are from the Dolmetsch Collection. Old Arnold Dolmetsch was in the habit of portraying actual members of his family. This is Aunt Cecile - isn’t she lovely!

And this is a self portrait of Arnold Dolmetsch himself, who started it all nearly a century ago.

Darkest Hazlemere - deep in the heart of the Dolmetsch country.

Playing the viol is Marguerite, on the recorder her twin sister Jeanne-Marie, old Arnold’s granddaughters.

On the harpsichord is Joseph Saxby. After 35 years of accompanying the Dolmetsch’s he is virtually one of the family himself.

Blowing the treble recorder - Carl Dolmetsch - the twins’ father and present head of the firm, which produces thousands of old instruments, especially recorders, each week.

“My father, Arnold Dolmetsch was born in 1858. He came from a stock of musicians and musical instrument makers on both sides.” says Carl.

“His first teacher had once been a band master at the Battle of Waterloo. As he taught the piano, he used the antique method of a little stick to hit the fingers who played wrong notes.

“He was colourful, unconventional, very sincere, very practical. His friends were among the Pre-Raphaelite set - the unconventional, in fact the avant-garde naughty boys of the 1880s and ’90s.

“There were people like William Morris, Selwyn Image, and men of letters like Herbert Horne, writers like George Moore, artists like Burne-Jones. His greatest supporters were people like Bernard Shaw.

“Forever in our childhood, these important people, still alive, would come and we thought nothing of Bernard Shaw just coming in through the back door.” he says.

The days of Shaw and William Morris are, as they say, alas no more, but the family home is still a musical Mecca, attracting devotees from all over the world. There must be something in the soil, for here everything flourishes.

There’s the factory, the museum, the annual festival, and of course the Dolmetsch’s themselves.

Their ancestry goes back to the time of Bach and they’re all intensely brilliant, bright eyed, music mad, generation after generation.

We’ve speeded them up a bit to get them all in. This film has a cast of thousands, and most of them are Dolmetsch’s.

The twins are matched in hand right from childhood, in Dolmetsch tradition. They’ve regarded music not as a job, or even a hobby, but as inevitable.

“It’s completely natural to us and we used to have a lesson every night, but we didn’t think of it as a music lesson - more like a bedtime story.” says Marguerite Dolmetsch.

Marguerite Dolmetsch receiving her examination certificates from The Queen Mother; Royal Naval School 
annual speech day in 1959. (Photo courtesy Dolmetsch online)

“It was the most natural thing, and we grew up learning to play.” says twin sister Jeanne.

“So the family just found these instruments placed in their hands and then just left to get on with it.” says Marguerite.

The twins were recently involved in a Beatles recording session, providing the backing for a Mary Hopkin track.*

“They wanted a background of six recorders, so that they would get a sound rather like a small organ, and we enjoyed it because we didn’t know what was happening next,” Jeanne says.

Marguerite says: “We had no idea of what sort of music it would be and we saw it for the first time at the studio, and about 5 minutes later we had one run-through and we started recording. We played it at least 25 times, while Paul McCartney kept having new ideas.”

“Yes, they kept having different approaches to it and altering the rhythm, but in the end it sounded really, very nice.” says Jeanne.

*The Game, composed by George Martin, produced by Paul McCartney.

Related post: Carl Dolmetsch (1911 - 1997)

Related site: Dolmetsch Online

Enjoyable concert celebrates 50th Anniversary

Soloist Kristian Winther and conductor Shilong Ye. Photo Peter Hislop

50th Anniversary Concert 

James McCusker Orchestra

At Albert Hall, November 30. 

Reviewed by Tony Magee

Originally composed for military band, the “English Folk Song Suite” by Ralph Vaughan Williams was arranged for full orchestra by his student Gordon Jacobs in 1924. Two pieces from the suite served as a sparkling opener to a most enjoyable concert by the James McCusker Orchestra under the baton of their talented and comedic musical director Shilong Ye.

Celebrating their 50th Anniversary since founding, this student orchestra were joined by many alumni for the occasion.

The opening march, “Seventeen Come Sunday” featured two beautifully played clarinet solos from section leader Kieran McConville whilst the second “Folk Songs From Somerset” featured effective use of percussion.

Excerpts from Tchaikovsky’s “Nutcracker Suite” revealed challenging work for the brass section, who after a shaky start, rose to the occasion beautifully with sustained and powerful fanfare style playing in the opening “March”. Percussion once again featured and added a huge body to the sound in the final Russian Dance, “Trepak”.

The “Symphony No. 40” by Mozart presented the greatest challenge for our young players, albeit teamed up with more experienced alumni and was variable in success. One thing to bear in mind with youth orchestras, particular the JMO, which is a training orchestra, is that the students need to experience the stamina and concentration required to play a large scale work. Whilst some tuning problems and slow tempi marred the overall enjoyment of the piece, the orchestra none-the-less played it through successfully from start to finish - all four movements - and delivered the overarching unity of the piece as a whole which drew to a satisfying conclusion. Of particular merit was the oboe solo in the final Allegro assai played with feeling and beauty by section leader Gudrun Ursula Drake.

Guest artist and alumni Kristian Winther  gave a brilliant and virtuosic performance as violin soloist in Mendelssohn’s “Introduction and Rondo Capriccioso” with a sensitive and well played accompaniment by the orchestra. It was the highlight of the concert, appreciatively received with deafening applause from the audience. In addition, Mr Winther made himself available to play within the first violins during the preceding Vaughan Williams, Tchaikovsky and Mozart, which was a humbling and inspiring gesture.

To finish this very special evening, the orchestra played selections from Kander and Ebb’s famous musical, “Chicago”. Opening with a well played and suitably night-club style muted trumpet, the band bounced into life in this exciting medley of show-tune hits and played convincingly and with gusto.

One particularly special moment at the end was the acknowledgement of special audience guest, distinguished violinist and teacher Josette Esquedin-Morgan, first teacher of Kristian Winther. The two embraced after the concert, providing some superb photo opportunities.

The Music for Canberra organisation continues the rich tradition of classical music training and ensemble for young people in Canberra. The experiences offered are a huge opportunity for all involved to enrich their lives through fine music. Under the leadership of their new CEO and artistic director Dr Stephanie Neeman, the future seems in excellent hands.

First published in City News Digital Edition, November 2018

Gay and Lesbian Qwire Fly High in Joyous Concert

Photo: Peter Hislop

Taking Flight

Canberra Gay and Lesbian Qwire

The Q Theatre

Saturday 17th November 2018

Reviewed by Tony Magee

Celebrating their 25th Anniversary, the Canberra Qwire presented a splendid and varied program of song in this joyous and uplifting concert. Opening with a wonderful and bright piece, “Try Everything”, the musical scene was confidently set with powerful and projected singing, tight harmonies and rich tone production.

Conductor Karen Wilden, who is also assistant musical director of the Qwire, was in full command as she swept the ensemble through a repertoire of songs of defiance, joy, celebration, justice, thanks and peace. It was a carefully chosen program, designed to reflect a journey over twenty-five years, starting in rather more difficult times.

In a prelude to the opening piece, footage was shown of members reflecting on why they sang with Qwire and what it meant for them. A place to feel welcome, safe, loved, understood and valued seemed common to all, as well as a unifying sense of accomplishment and purpose in their musical achievements.

Also central to the success of this very special evening, was the opening address by Ngunnawal Elder, Aunty Jude Barlow, whose welcome to country was passionate and heartfelt. Her eloquent speech was summed up so beautifully as she personified her late father’s spirit into all the wedge-tailed eagles flying over-head and watching over us all.

“Bird Set Free” revealed an excellent five piece band in the background - violin, cello, guitar, bass and drums - who played with sensitivity and style in many of the pieces. The arrangements were imaginative and musical, with many opportunities to showcase the strings in particular.

Stand-out in the accompaniment arena was pianist Jessica Stewart, whose playing was lyrical, supportive and beautifully arranged. This was accompanying of rare insight and beauty and a key element in the success of the performance. During the piece “You, Me and the Wide Open Sky”, her playing was featured in several solo sections, revealing her ability to extract a cantabile tone from the piano and was just superb.

L.I.F.E.G.O.E.S.O.N. revealed the first of three a cappella pieces, all of which demonstrated the Qwire’s ability to hold pitch and intonation extremely well. A true test of a choral group. The highlight was “Run to You” in the second half, in which the group demonstrated a huge range of dynamics, from gentle whispers though powerful crescendoes.

My only disappointment was the final piece of the first half, Concita Wurst’s “Rise Like A Phoenix”, which lacked the dynamics for the Phoenix to musically “rise” - (…from the fading light I fly…), with the result that there was no climax. I hope Qwire can address this for a future performance. It is a fabulous piece.

During the concert, founding member Lynne O’Brien presented informative commentary, describing Qwire’s journey.

I’ll leave the final words to one of their patrons, Ambassador of the Kingdom of the Netherlands, Erica Schouten, who says, “Central to the Dutch human rights policy is the heartfelt belief that no one should have to hide who they are and whom they love”.

First published in City News Digital Edition, November 18

Also published on Canberra Critics Circle Blog, November 19

review: THE DEGENERATE AND THE FOP, Sarahlouise Owens soprano, Colleen Rae-Gerrard piano. At Wesley Music Centre, October 21.

Reviewed by Tony Magee

In this delightful program of song, presented by Sarahlouise Owens and Colleen Rae-Gerrard for Art Song Canberra, the material was eclectic and unusual, often humorous, sometimes delicate and sensitive and always very entertaining.

Owens is a skilled and experienced performer of the older European genre of cabaret, securely founded in the underground and sometimes sleazy and dangerous networks of 1920s and 1930s Berlin and even earlier in Paris. In this repertoire she has few peers. Diction, delivery and exquisite pronunciation of the two languages, combined with a beautifully flexible voice carry the songs through soft romantic delicacies, delicious sting-in-the-tail jibes, soaring crescendos and powerful high-register climaxes.

Owen’s voice also seems founded in an older school of vocal style and tone production and on several occasions during the concert, I found myself thinking of the great Maggie Teyte.

Beginning with a selection of five cabaret songs by Dominick Argento, the bracket showcased the composer’s eclectic style, which presented continuous challenges for the performers, who had to quickly turn from the unpredictable and unusual melodic and chordal structure of “Who Could Have Known” through the bawdy and funny “Luckiest Woman” to the gentle “You”, all handled with aplomb and panache.

A delightful bracket of three pieces by Poulenc followed, grouped as “Banalités”. The highlight was “Hotel” which Owens introduced as possibly “the laziest song ever written”. Rae-Gerrard’s accompaniments were exquisite during these pieces and both performers captured the mood and sublime delicacy of these beautifully.

Max Reger’s “Abschied” is a song similar in style to some of those by Mahler and Richard Strauss. Rae-Gerrard achieved a beautiful cantabile tone in several piano-only melodic passages during this and the following “Maria Wiegenlied”, this time paying homage to Brahms.

The first act closed with some of the most anticipated and appreciated repertoire by the audience and this reviewer, Satie’s “Je to veux” and “Diva du l’Empire”, superbly performed by both artists, the luscious French language once again demonstrating Owen’s mastery of it.

Highlights from Act II included three songs by Sir William Walton - all beautiful pieces with far ranging and diverse vocal melodies and piano accompaniments. 

Peter J Casey’s brilliant and satirical “I Am Sick to Death of Hearing About the Weimar Republic”, a tongue-in-cheek musical homage to Kurt Weill, was delivered with comic intensity and style, although also the only time during the recital where the balance favoured the piano a little too much. Owen’s diction in her own language, curiously, wavers somewhat and is not to the same standard as her perfect French and German. None-the-less, a still creditable performance.

Reynaldo Hahn’s “Chanson d’Autumn” and “Nocturne” saw a return to the French repertoire and were very beautiful renditions - mournful, soulful and searching - with gorgeous piano accompaniments by Rae-Gerrard.

The program concluded with Weill’s “Berlin I’m licht” and “Buddy on the Nightshift”, the latter being from his “Lunchtime Follies”, first produced in Brooklyn in 1942. The last two lines, “I’ll follow you, you’ll follow me, and how can we go wrong”, aptly summed up a fabulous and entertaining afternoon of song from two very professional performers.

Review: DON GIOVANNI, by Wolfgang Mozart, at SCM Music Workshop, October 18 2018

From the program cover, image by Isabella Andronos

Reviewed by Tony Magee

Sydney Conservatorium of Music Opera School – Con Opera for short – presented an excellent and engaging production of Mozart’s Don Giovanni.

Classified by Mozart in his own catalogue as an Opera Buffa, the work blends comedy and melodrama with some serious action and even supernatural elements. 

Director Matthew Barclay has updated the setting into modern times, this light-hearted romp being set amongst a backdrop of film sets, Hollywood glamour, deceit, ribald sexual flings, news, television crews and gossip columnists. There is much for the youthful cast to get their teeth into and have a great deal of fun with.

Sung in Italian with sur-titles, the entire cast sang extremely well.

Jeremy Dube gives an excellent and sustained performance with fine comic acting and excellent singing in the role of Leporello. Nik Roglich’s entrance and rich baritone voice as The Commendatore was most engaging, albeit short, as he was murdered within the first five minutes by the Don, only to return mysteriously in Act II in a different guise.

As Don Giovanni, Haotian Qi gives a suitably enigmatic performance, very much in the style of Alfie in the film of the same name. Dressed in a white suit, he pulled off the dashing but shallow play-boy convincingly.

Henry Wright as Masetto and Josi Ann Ellman as Zerlina both gave excellent performances, vocally and in character, particularly in their long and involved dressing room scene in Act I.

A major highlight in the production which involves the entire cast – soloists and chorus – is the masked ball, which includes an hilarious line-dancing segment, choreographed to Mozart’s original score.

Throughout the performance the orchestra under the direction of Dr Stephen Mould played superbly. Beautifully in tune they were perfectly balanced with the singers, playing a stylish and professional accompaniment.

My only slight criticism is that for the most part, the soloists all sound pretty much the same tonally. No-one really stands out with a seriously unique voice. I hope the students will be and can be encouraged to explore and develop special unique sounds and qualities to their voices, which can carry them further into professional roles and where they can maximize their chances of all being in demand.

With this standard of singing and performance prevalent at the Sydney Conservatorium of Music, the future certainly looks bright for the continuation of excellent international opera standards in this country.

Review: "SCM CHAMBER CHOIR", at Verbrugghen Hall, October 17 2018

Reviewed by Tony Magee

In an inspired and brilliantly executed opening, the Sydney Conservatorium of Music Chamber Choir segued two contrasting settings of the 12th Century chant "O quam preciosa", composed almost 1000 years apart.

Hildegard von Bingen's music was thrust into the 20th century spotlight with the 1985 album, A Feather On the Breath of God, one of the top selling classical music releases for that year. She was an Abbess, composer, mystic and poet of the 12th century. Also author of the text, the chant celebrates the arrival into the world of the Christ Child, through the vessel of the female body.

As a further enhancement, an East meets West philosophy was applied with Chinese erhu and guzheng instruments replacing the traditional hurdy-gurdy accompaniment of the day, played with sensitivity and style by Nicholas Ng and Vicki Zheng respectively.

The piece was beautifully performed with the tenors and basses setting up a drone foundation over which sopranos and altos soared with melody sung in antiphon.

The second setting is by contemporary Australian composer Ross Edwards. In this, the virgin is a metaphor for the Earth-mother, who gives birth to a hoped-for bright new era. Listening to this performance, I found my mind contemplating today's fragile and dismal international political climate, and was comforted by this very welcome spark of hope and joy.

Eriks Esenvalds' "Evening" is a piece of beautiful delicacy and warmth, fluttering leaves, gentle evening light and peace. To quote Gabrielle Jackson's program notes, "The piece doesn't really go anywhere - it simply is - full of innocence and wonderment at the close of day."

Balancing her time between Canberra and Sydney, composer Olivia Swift's "The Leaves Drop Down" is a complex choral work, alternately delicate and demanding. Generally, the balance in this and indeed the entire concert was excellent between all vocal parts, with the exception of a moment of doubt in a tenor section entry. A beautiful work.

Carlo Gesualdo (1566 - 1613)

Don Carlo Gesualdo's final madrigal, "Quando ridente e bella" followed, sung by just five members of the 24 member choir. Way ahead of his time, 16th century Gesualdo is remembered both as a composer of intense expression and chromaticism - something not heard again until the late 19th century - and also a tragically tormented soul, wracked with guilt and shame due to his ghastly murder of his wife and her lover.

One commentator of the day noted, "Gesualdo was afflicted by a vast hoard of demons which gave him no peace, unless ten or twelve young men, whom he kept specially for the purpose, were to beat him violently three times a day." The sub-group of five handled the complex harmonies very well, with good balance and varied dynamics. Shaping of phrases needs more work from them, something that does develop over time, with familiarity of performance and rehearsal.

Conductor and music director Paul Stanhope showcased one of his own pieces, "The Land Is Healed: Ban.garay!" Full of beautiful and at times complex harmonies and rich in texture, the choir developed intense dynamics. This was choral writing of the first rate and one of the highlights of the program.

The erhu and guzheng instruments returned to the stage to accompany the choir in two Chinese folk songs arranged by Julian Yu. Originally from Beijing, Yu is now based in Australia and coached the choir in Mandarin pronunciation for this performance of delicate dynamic shading.

Benjamin Britten's "The Evening Primrose" and "The Ballad of the Green Barron" followed. These pieces once again demonstrated the choirs excellent pitch and intonation. Also evident were beautifully shaped lines and phrases and mostly excellent diction.

The concert closed with "Christ the King" by New Zealand born Clare Maclean. She is particularly influenced by Renaissance repertoire and early polyphony. The piece is magnificent in its harmonies and structure and the choir made full advantage of the richness of the choral writing and sounded superb. A fitting conclusion to a wonderful program, as stylistically the presentation almost came full circle.

Review: "EVITA", by Andrew Lloyd Weber and Tim Rice. At Sydney Opera House, October 17 2018

Reviewed by Tony Magee

Kurt Kansley as Che. Photo by Jeff Busby

Trying to recreate what has already been created seems to me a pursuit of dubious merit. In presenting Evita, Opera Australia have opted for the original direction by Hal Prince and original choreography by Larry Fuller, with the original design by Timothy O'Brien.

The result is a cast seemingly going through the motions rather than the freshness one might expect from new ideas. The premise of "you show me and I'll show them" is all too evident in some of this production.

Having said that, there are some powerful moments that engage. Notably, the cinema scene at the very beginning, the side-on view staging of the Charity Concert and the powerful closing of the first act with "A New Argentina".

By far the star of this production is Kurt Kansley singing the role of Che. His superb diction, brilliant singing voice and powerful characterization underpin the entire show and was a joy to behold. His character also serves to advance the plot significantly.

Notable also was Paulo Szot, perfectly cast as Eva’s military dictator husband Juan Peron. His stunning, rich baritone voice filled the theatre with ease.

The orchestra under the direction of Guy Simpson were superb, displaying perfection in tuning and intonation, thrilling dynamics and majestic playing. The best pit orchestra I have heard and one that could easily hold its own playing the symphonic repertoire.

Alternate actress and singer Jemma Rix as Eva Peron, presented the show's high spot, "Don't Cry for Me Argentina" in a moving and captivating manner. It was also the only time we were really able to hear her excellent singing voice to maximum potential.

Jemma Rix as Eva Peron

Yes, this is a show where everything is pinned on one great number - the rest of the score arguably being one continuous recitative. Puccini achieved a similar result with Turandot, having the great “Nessun Dorma” buried away in Act II.

The plaintive "Another Suitcase in Another Hall" and "High Flying, Adored" are admirable inclusions, but seem placed in a desperate attempt by the composers to add another couple of commercial tunes to keep the audience interested.

The other aspect of this production which deserves praise however, is the ongoing archival film footage, particularly crucial in helping advance the plot during the scenes where Eva Peron travels the world, thrusting Argentina briefly into the international spotlight, as the charismatic and beautiful First Lady engages with other countries, only to be snubbed somewhat by Britain towards the end of her tour.

This brings into perspective in some ways the swift and effective action of Margaret Thatcher years later, when she pounced decisively on Argentina after they invaded the Falklands.

The relentless dependence on rhythmic and melodic motifs and ideas from the earlier and brilliant Jesus Christ Superstar is also something that wore thin with this reviewer. Having just returned from a delightful student performance of Mozart's Don Giovanni at The Con, the contrast between inspired genius and sustained mediocrity was well and truly rammed home.

Evita is a flawed opera in so many ways, however this production is none-the-less slickly produced. Fans will no doubt be delighted. I found it tedious.

Review - “A NIGHT IN PARIS”, Andrew Rumsey and James Huntingford, piano duo. At Wesley Music Centre, October 13 2018

Andrew Rumsey (left) and James Huntingford

Reviewed by Tony Magee

Piano duos of fame almost always seem to share a common gene pool - one thinks immediately of the sisters Labèque, the brothers Kontarsky, father and son Vladimir and Vovka Ashkenazy and father and daughter Emil and Elena Gilels. Go back a little further in time and you find the brothers Rubinstein and the sisters Boulanger. Even further and we arrive at the most famous piano duo of all - Wolfgang and Nannerl Mozart.

Andrew Rumsey and James Huntingford share a different kind of musical unity and one that works brilliantly. They share the same age, interests, academic institution and the ability to work together in rehearsal and performance with ease and flexibility.

Opening with Poulenc’s “Sonata for Piano Four Hands”, the concert bounced into life with a bright fanfare opening, settling back into lyrical and soulful playing. The pianists captured playful, almost child-like qualities in the second movement with gentleness and delicacy, before a soft-landing jazz chord to finish the piece.

Debussy’s “L’Isle Joyeuse” for solo piano, is based around the relationships between the whole-tone scale, the lydian mode and the diatonic scale. Huntingford played this with sensitivity and poise, capturing the mystique of the Channel Islands, which Debussy had visited with his wife and which inspired the piece.

Paul Dukas wrote “The Sorcerer’s Apprentice” in 1897 and it is originally an orchestral work. Many people are familiar with it through Walt Disney’s animation as part of “Fantasia”, Mickey Mouse being the hapless apprentice. In this, the pianists played with majestic assurity, capturing the relentless marching of the broken, wooden broom handles, whilst also hinting at the ever frightening scenario of chaos and despair suffered by the apprentice.

Saint-Saëns’ “Dance Macabre” was a doubly appropriate inclusion in the program, not only for its authentic French connection, but also because Halloween approaches rapidly later this month. Death calls forth the dead from their graves to dance for him on Halloween, whilst he plays the fiddle. The upper part was played with lyric beauty by Huntingford, whilst the rumbling and menacing bass was handled by Rumsey, occasionally somewhat too heavy-handedly, but none-the-less leaving the audience in no doubt as to the terrifying nature of the spectacle.

The second half of the concert opened with Gabriel Faure’s famous “Pavane”, Op.50 and was the only piece on the program that was dubious. The intimate orchestrations were lost in the translation to piano duet - heavy doubling of thirds, triple octaves and a grandiose approach somewhat destroyed the allure and delicacy of the original.

Lully’s “The Ceremonial March of the Turks” by contrast worked brilliantly as a piano duet adaption, the arrangement being by Huntingford. The pair played it with majestic and regal style, showcasing everything that is possible from a piano in volume, timbre, sonority and texture. This was a superb performance and a highlight of the concert.

The last time a piano duet reduction of Camille Saint-Saëns’ “Carnival of the Animals” was performed in Canberra was in 1996 at the Royal Theatre, with pianists Dudley Moore and Rena Fruchter. It was also one of the most disastrous concerts in the history of live performance. William Hoffmann’s review in a local newspaper of the time carried the headline, “Bumbling Ineptitude from Dudley Moore”.

Rumsey and Huntingford played the piece with sparkling panache, uncanny musical unity and understanding and pianistic skill that showcased their talents and the music superbly. The linking dialogue by Ogden Nash was wryly delivered with suitable tough-in-cheek humour by John Rumsey, father of Andrew. This was the major work in the second half of the program and particular highlights in capturing the essence of the animals portrayed included the Lion’s roar, at least three different Cuckoos (there is only one in the original, played by clarinet), The Aquarium and Le Grand Finale, where all the animals come together.

A great night’s entertainment from two outstanding young pianists.

Also published in City New Digital Edition and Canberra Critics Circle blog.