Let the Rainbow Sing - Canberra Qwire

Let the Rainbow Sing

Canberra Gay and Lesbian Qwire

Queanbeyan Bicentennial Hall

June 18, 2022

Reviewed by Tony Magee

CANBERRA Qwire demonstrated they are still in fine voice, singing a wonderful range of music during their concert “Let the Rainbow Sing”.

Opening with a Ngunnawal Welcome Song, Qwire continued with “Over the Rainbow” in a beautiful arrangement by Andy Beck, accompanied stylishly by the Canberra Gay and Lesbian Ukulele Band (GLUB).

Let the Rainbow Sing. Canberra Qwire. Photo: Peter Hislop

“Earth Song” by Frank Ticheli showcased the first of several a capella pieces, Qwire handling this more demanding choral format well, demonstrating they have a good sense of pitch.

Rich vocal harmonies were a frequent feature of the concert and this was ably demonstrated in their excellent performances of “Sunday” by Stephen Sondheim, “Lean on Me” by Bill Withers, “Proud” by Heather Small and Peter-John Vettese and “Hold On” which was reprised as an encore.

“Good Job”, in an arrangement by Roger Emerson showcased four vocal soloists, backed by the choir and three piece band, who all did a fine job singing their respective parts.

“Let the Rainbow Shine” by Judy Small featured a lovely vocal and guitar performance by former musical director Karen Wilden, Qwire providing subtle backing harmonies. 

Current musical director Lachlan Snow and assistant musical director Jenny Sawer were both in fine form, adding humorous and entertaining dialogue between pieces, Sawer also showcasing her songwriting skills in a fine performance of “Now I’ve Got You”.

A moving tribute to Richard Rogers and Oscar Hammerstein II revealed “Climb every Mountain” weaving within “You’ll Never Walk Alone” in which Qwire elevated the afternoon even further, singing in an uplifting and joyous manner to rapturous applause.

“I Sing Because I’m Happy” by Civilla D Martin and Charles H Gabriel and “Thank you for being a Friend” by Andrew Gold closed the show, both pieces ably delivered in a cheerful and enthusiastic manner.

Canberra Qwire’s great strengths are their excellent harmonies and joyous and entertaining delivery. A few moments of doubt exist sometimes at entry points and in rhythmic accuracy, elements to be honed further in rehearsal. 

During many of the pieces performed, the singers were ably backed by the wonderful trio of Jessica Stewart on piano, George Cora on drums and Hayley Manning on bass.

An inspiring and heartwarming afternoon of song that left all who attended feeling that life is indeed worth living.

First published in Canberra City News online edition, June 19, 2022

Apcar's Holland

Ronan Apcar, piano

Rowan Phemister, harp

Canberra Sinfonia Strings conducted by Leonard Weiss

Wesley Uniting Church, June 19 2022

Reviewed by Tony Magee

IN THIS superb program of music showcasing modern composers, pianist Ronan Apcar displayed his considerable talents at the piano along with beautiful performances by Rowan Phemister on harp and the Canberra Sinfonia Strings conducted by Leonard Weiss.

Pianist Ronan Apcar. Photo: Rowan Davie

Apcar plays with a relaxed, fluid technique, achieving forte passages and motifs with ease and without bashing, extracting singing qualities from the piano and lyrical flowing lines with style and grace.

Leonard Weiss has matured enormously as a conductor, his command of the score for all pieces being definitive and secure. He held the orchestra in tight command and established himself as a conductor whose style and musical perceptions are admirable.

The string section of Canberra Sinfonia played beautifully and confidently throughout the concert, with good intonation and dynamic shadings.

“The Light that Breaks” by Chinese-American composer Bobby Ge is in three movements, played without break and creates a superb soundscape of light imagery. 

The concerto was technically demanding in places, something that Apcar at the piano pulled off with aplomb. Dramatic phrases and passages were played with conviction and purpose, contrasted with delicate dream-like sequences. 

In a world premiere performance, Christopher Gordon’s “June Again” is adapted from his score for the film of the same name. The central character, June, receives temporary lucidity from dementia and spends treasured quality time on an adventure with her family. 

The happiness and joy evoked in this music poured forth from the musicians, the harp and piano integrating beautifully with the strings into a lush orchestral blend. 

The “Catharsis” movement revealed shimmering silky sounds from the strings and harp, complemented by a beautiful violin solo from Brad Tham who also seems a born orchestra leader, his playing and leadership being confident, capped off with beautiful tone production.

Filled with tuneful and playful melodies, this beautiful soundscape must ad enormously to the uplifting premise of the movie.

Harpist, Rowan Phemister. Photo: Peter Hislop

From the research Apcar and Weiss have done, the performance of “Concertino for Piano and Strings” by Dulcie Holland AM (1913 - 2000) was possibly also a world premiere. With gentle hints from the compositional style of Ralph Vaughan Williams evident at times, the piece was very engaging and substantial in form and content. 

Holland became well-known for writing theory books and technical exercises for the piano and was also an examiner for the AMEB. Having studied composition with both Alfred Hill and John Ireland, her output as a composer is substantial in both quantity and quality, although somewhat neglected.

The first movement was animated and evocative, with stirring musical motifs and phrases. The gentle slow movement introduced by a mournful and beautifully played solo cello introduction, was expressive and moving. Closing with a lighthearted romp, Apcar at the piano played brilliantly with bravado and style.

Holland’s work struck me as a masterpiece of the concerto repertoire and deserves to be performed again and again. With Canberra Sinfonia having created the first typeset edition of the score and parts, it now can be. 

Hopefully this piano concerto can gain the respect and honour it deserves, to find a rightful place in regular orchestral programming in Australia and around the world.

Also published at Canberra Critics Circle, June 20 2022

Thoroughbass Classical - Home and Hearth

Diana Weston, piano

Tara Hashambhoy, violin

Daniell Grant, soprano

Wesley Music Centre, June 19 2022

Reviewed by Tony Magee

Through discoveries from the Sydney Living Museums collection, harpsichordist and pianist Diana Weston and her colleagues have put together a program of music that would have been performed and enjoyed by the early white settler inhabitants of New South Wales.

Thoroughbass performs “Home and Hearth”. Photo: Peter Hislop

The domestic piano of the day - the square piano - so named for its rectangular shape, was imported in large quantities, roughly ten per ship, which made the performance of lieder, other songs, sonatas and chamber music possible in the home. 

So formed the basis for this concert featuring Ms Weston on piano, Tara Hashambhoy on violin and soprano Danielle Grant.

Putting aside the mainstream lieder repertoire of Schubert using texts from Goethe and Schiller, the players instead presented his lesser-known lieder from texts of McDonald, Scott, Spiker, Mayerhofer, Claudius, Lappe, Rückert, Rochlitz and Schlegel.

Grant sang these gently reflective pieces well, her soprano voice filling the room with ease. “An die Laute D905” told an amusing little story of a young man wooing his lover with soft strains on his lute, entreating the instrument to play softer, softer, so as not to alert the neighbours!

In “Lachen und Weinen D777”, Grant achieved the high-point of her repertoire with impressive double forte high register passages. Throughout the Schubert songs, her German diction was admirable.

“Sonata in A major for piano forte and violin” by Ignace Pleyel, also a noted French piano manufacturer, is a bright and happy piece. It was an enjoyable performance by Weston and Hashambhoy and unusual in that the piano takes the dominant role for most of the sonata, the violin following.

“12 Variations in E flat major for piano” by Joseph Haydn was played satisfactorily by Weston, executing musical ornamentation well, however her honed harpsichord technique does not transfer well to the piano. Lack of expression and unimaginative phrasing marred the enjoyment of this piece. Some of this was also evident in the Schubert accompaniments.

Closing with a selection of Scottish Folk Tunes, researched and made into an accessible volume by Haidee B. Harris, the players were at their best in these. 

“MacGregor Aruaro” and “Ca’ the ewes to the know” were both delightful, the violin part being an added obligato by Ann Carr-Boyd. The three players acquitted themselves well, the latter piece being a most beautiful song.

An encore of Schubert’s “An die Musik” with text by Schober rounded out the afternoon, the very small audience giving appreciative applause.

First published in City News Online Edition, June 20 2022

Sydney Symphony Orchestra dirigent Roger Benedict

Sydney Symphony Orchestra

Roger Benedict - conductor

Andrew Haveron - violin

Llewellyn Hall

June 17, 2022

Reviewed by Tony Magee

BEETHOVEN composed the “Coriolan Overture” in 1807 to introduce the play of the same name by Austrian dramatist Heinrich Joseph von Collin.

The orchestra delivered a smooth and elevating sound. Cellos and violas played some demanding phrases well, with nice work from trumpets and french horns, the piece closing with a well executed pizzicato motif played in pianissimo.

The Bruch Violin Concerto is one of the most beloved in the repertoire. Composed in 1866 and revised in 1867 it is unusual in construction in that the first movement is a prelude to the second, the two being played without break.

Stepping out from first chair, violinist Andrew Haveron is also widely experienced both nationally and internationally as a soloist. His opening lines were mournful and beautifully measured.

It was a creditable performance by all, although I felt more projection from the soloist would have been appropriate.

Australian composer Katy Abbott, who was present in the audience, penned her piece “Fanfare for the Melancholy” as part of the Sydney Symphony Orchestra’s “50 Fanfares Project”.

It was the highlight of the evening, in particular, a real showcase for the brass section. The players seemed to embrace the piece with more conviction, joy and commitment than anything else performed during the concert. Ms Abbott graced the stage at its conclusion taking a very well deserved bow.

Drawing inspiration from the Bohemian folk music that he loved, Dvořák's Symphony No. 8 is joyful, lyrical and optimistic.

The familiar themes and passages were very well played. It was great to hear it again.

A guide to players on the inside cover of the program mentions “Players listed in grey, are Permanent Members of the SSO, not [italics added] appearing in this concert”. There are 47 of those. Those that did appear are a mixture of remaining permanent members, guest musicians, contract musicians and Sydney Symphony Fellows. I guess we could call this the “Touring” version of the orchestra.

The concert was very well received by the audience, lots of cheers and shouts, with conductor Roger Benedict being called back three times.

First published in Canberra City News online, June 18 2022

Limestone Consort with guest soprano Greta Claringbould

Sonatas and Cantatas

Limestone Consort

Haydon Hall, St Christopher’s Cathedral, Manuka ACT

June 4, 2022

Reviewed by Tony Magee

Lauren Davis (violin), James Porteous (harpsichord), Clara Teniswood (cello) & Greta Claringbould (soprano). Photo: Peter Hislop

ONE of the excellent things about attending a performance by Limestone Consort is the ensemble’s penchant for reviving the music of little known or forgotten composers.

Evaristo Felice Dall’Abaco (1675 - 1742) composed for the courts of Bavaria, France and Holland. His music and prowess on the violin were greatly influenced by Corelli and Vivaldi.

“Sonata for violin and cello No. 4” featured Lauren Davis on violin, Clara Teniswood on cello and James Porteous on harpsichord. It was a creditable performance, occasionally marred by intonation blemishes from the strings.

Antonio Caldara (1670 - 1736) was variously located in Venice, Mantua, Barcelona and Rome. His output includes an astonishing 70 operas and 30 oratorios as well as motets, sonatas and cantatas.

“Resoluto son gia tiranno amore” was sung by guest soprano Greta Claringbould. Her phrasing and command of the melody in this cantata were lovely, although a little more commitment to the lush and delicious syllables of the Italian text would have been appropriate.

“Sonata II for violoncello and harpsichord” by Domenico Gabrielli (1651 - 1690) was played reasonably well, but greater emphasis could have been placed on beautiful phrasing and some dynamic shading, all of which was lacking. 

Baroque music is noted for being devoid of any dynamic or expressive markings on the score - something that musicians have to take control of themselves - exploring the possibilities - finding ways to express the piece as not just notes on the page, but music that lives and breathes.

“Dynamics” as we understand them are not possible on a harpsichord, but expressiveness most definitely is.

Closing with ‘The Beauteous Daphne” by Daniel Purcell (1664 - 1717), younger brother of the famous Henry Purcell, the cantata was the most successful piece on the program, with Claringbould returning, this time singing in English.

Her diction and phrasing were all wonderful, combined once again with intelligent and lyrical phrasing. 

Further intonation blemishes from the strings aside, the overall effect was of a joyful interpretation, bringing to a close a concert which was historically informed and thus most interesting.

First published in Canberra City News online edition, June 6 2022

Der Doppelgänger - Jack Stephens and Ronan Apcar

Luminescence SoloSeries 2

ANU Drill Hall Gallery

June 3, 2022

Reviewed by Tony Magee

Ronan Apcar, piano, with Jack Stephens, bass . Photo: Peter Hislop

BASS singer Jack Stephens and pianist Ronan Apcar acquitted themselves admirably in this excellent and well prepared program of song, thoughtfully interspersed with stanzas from the poem “The Other” by Anne Sexton (1928 - 1974).

The Luminescence SoloSeries brings forth five core artists to showcase their skills as vocal soloist.

“Zueignung Op. 10” by Richard Strauss is one of his most beloved songs and Stephens and Apcar performed it with lyrical beauty. Opting for a measured and thoughtful pace, the piece had a lovely flow with excellent dynamic contrasts building to a definitive climax. Stephens was at his best in this.

“Erlkönig” by Schubert is one of his most famous lieder, also one of the most difficult to portray convincingly. 

The two artists did a brilliant job with this, the piano encapsulating the galloping horse convincingly, speeding its way through the night as a father desperately seeks medical help for his critically ill infant son.

Apcar’s choice of triple forte in some parts of the accompaniment were certainly valid, although at risk of drowning out the singer at times.

Stephens handled the demanding task of portraying the narrator, the father, the child and death, well, although more can be made of the four different characters if the singer so desires.

Whilst most of the vocal program in this recital was transposed for bass and piano, one that was actually written for that register is Brahms’ “Denn es gehet dem Menschen Op. 121, No. 1”, from his “Four Serious Songs”.

Both artists captured the foreboding elements of death, the transience of life and oppression convincingly, Stephens’ German pronunciation and diction, as with the Schubert, being excellent.

In the second of two pieces for solo piano, Apcar tackled Busoni’s arrangement of “Siegfried’s Funeral March” by Wagner.

He played it brilliantly, achieving a dark and sombre mood with the opening phrases, paraphrasing what would normally be double basses, morphing into a singing tone for the melodic phrases later in the piece.

In “Der Doppelgänger D957” from Schubert’s song cycle “Schwanengesang”, Stephens captured the climax of the piece well, portraying the moment when he realises a stranger is his Doppelgänger.

Dropping back to pianissimo, both pianist and singer definitively secured the ending, where the song’s subject realises he has in fact not returned from the war.

Closing with “Fear no more the heat o the sun Op. 18” by Gerald Finzi (1901 - 1956), it was a creditable performance, although revealing that Stephens needs some work on his English diction.

Seeing ones own Doppelgänger in mythology implies you may be dead. In stark contrast, these two young artists are bursting with youthful exuberance, at the beginning of their careers, with lots more development to come. We wait with great expectations.

First published in Canberra City News online edition, June 4, 2022