Master Series One. Adelaide Symphony Orchestra. Adelaide Town Hall. 21 March 2014
There were many standouts tonight, but guest conductor Jahjah Ling stood tallest. The work of the maestro begins long before the performance, and long before the first rehearsal, and Ling has clearly done his homework on Dvořák. Ling has an affinity for Dvořák’s uber melodic and lyrical Symphony in G (No. 8), which concluded the concert. He demanded the ASO play it at close to full bore, but he balanced this with a masterful control of dynamics: the ‘louds’ were imposing and they fell away exquisitely to the softest of ‘softs’, and the occasional silences demanded by the score were rendered ever so poignant. Not afraid to extract as much emotion as possible, Ling was precise, warm and in control, and the audience was instantly thunderous in its appreciation at the final note.
The concert began with a robust performance of Richard Strauss’ symphonic poem ‘Don Juan’. It is a gutsy composition and, if one cares, it is programmatic work that gives a musical account of the lusty exploits of the sexual adventurer by the same name. Knowing this however is irrelevant to the enjoyment of the music. As with the Dvořák, Ling played the Strauss with measured intensity, and the woodwinds and principal were allowed to elegantly feature with crystal clarity when needed without being overwhelmed by body of the orchestra.
A mark of a skilful conductor is how they work with soloists in concertos, and Ling demonstrated and empathetic and almost ‘knowing’ relationship with Russian-born German violinist Alina Pogostkina as they performed Mendelssohn’s ever-popular and very difficult Violin Concerto in E minor; at only thirty years of age, and she looks younger, Alina Pogostkina already has an exceptional talent and clearly merits being entrusted with a Stradivarius. Her demonstration of ‘ricochet’ bowing in the third movement was impressive, to say nothing of her pizzicato with the left hand whilst bowing with the right during her encore. From the almost immediate entry of the solo violin in the first movement with one of the most recognisable themes in the repertoire, Pogostkina and Ling worked with each other to demonstrate that the work is much more than a solo violin with orchestral accompaniment. Ling safeguarded its moments of intimacy and utter lucidity, and they regularly ‘checked in’ with each other with knowing looks and supportive smiles.
At the final bow Pogostkina was presented with stunning red flowers from Tynte Flowers that contrasted beautifully with her stunning pale mauve gown. She looked triumphant and Ling and the Adelaide Symphony Orchestra were entirely deserving of the applause.
Kym Clayton
When: Closed
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Festival. Presented by Australian String Quartet. Adelaide Town Hall. 11 Mar 2014
On leaving the Adelaide Town Hall at the end of the Australian String Quartet’s (ASQ) concert, a matronly looking well-dressed lady remarked to her companion “And that is precisely why some music needs to be seen as well as heard”. She was spot on. I often find that live performance reveals much more than just listening to a recording. I think it is almost axiomatic that seeing a performance stimulates the brain to attune to some aspect of the sound that is otherwise missed. It is heard, but not listened to.
The second half of the program was a prime example of this. Swapping their priceless Guadagnini instruments for Yamaha electric violins/viola/cello, the ASQ played two contemporary compositions; ‘Windmill’ by local composer and music academic Stephen Whittington, and then George Crumb’s innovative and way-out ‘Black Angels’. ‘Windmill’ sounded like, well….a windmill, and it was hypnotic. The simple and sparse melody line went through subtle variations with occasional shifts in key, just as a windmill would respond to shifting wind patterns. A recording would trivialise the piece and not do it justice. In fact it would probably be incredibly unappealing, except to an academic wanting to analyse its form.
‘Black Angels’ was even more dramatic. Comprising thirteen miniatures arranged into three groups, it is almost a formal exercise in violating the ‘classical’ rules of counterpoint and using dissonance as much as possible. It is cacophonous at times and demands a physiological response as you clench your teeth and tense your muscles. The music is often uncomfortable but almost always resolves itself and gives you relief – both musical and physical. It is also visually fascinating to watch as the four musicians also bow wine glasses and gongs, and don metal thimbles and use them as a guitarist would a plectrum. They also shout words and phrases in foreign languages, and the whole thing is gimmicky, but it is quite compelling and strangely enjoyable. Again, a recording of it would be unintelligible and probably unbearable. But to see it is quite something else.
The first half of the program saw the ASQ play Boccherini’s String Quartet in G minor Op.32 No.5 and Brahms’ String Quartet No. 1 in C minor, Op. 51 No. 1. Interestingly their instruments were strung with ‘gut’ strings rather than the more usual metal or synthetic strings. This resulted in a less robust reading of the Brahms, which I quite enjoyed, and it allowed the delicateness of the Boccherini in particular to play out.
The ASQ’s line-up is a new one, and it is comparatively youthful. First violin Kristian Winther plays with overt emotion and joy, and is subtly balanced by the more restrained approach of Ioana Tache on second violin. They worked well together. Cellist Sharon Draper produced a clear and beautifully articulated cello line, and Stephen King provided authority and the ‘glue’ on viola, always casting an experienced and watchful eye over the violins.
A concert of contrasts. A continuum of musical ideas from the very ‘safe’ to the very avant garde.
A concert to be seen as well as heard.
Kym Clayton
When: Closed
Where: Adelaide Town Hall
Bookings: Closed
Sunday, 9th March
Red Baraat
Brooklyn's chilled version of Dhol Foundation made the most of the attendees braving the sun to gather front of stage. Despite the heat, Red Baraat had their audience jumping to smooth and funky beats.
Mixing Punjabi dhol drums and bhangra rythmns with American jazz, funk and even hiphop, Red Baraat have a truley unique style that is energetic yet mellow and cruisey. The meeting of India and New York is a successful one, and the audience loved their sound.
Red Baraat - by Aaron Vinall
Living Room
Living Room is comprised of two musicians from Austria, Christoph Pepe Auer on saxaphone & bass clarinet, and Manu Delago on the hang. If you aren't familar with the hang, you can be forgiven; it was only created in 2001. A Swiss invention, the drum looks like two dented woks stuck together into a UFO-style shape. Despite its deceptively simple appearance it can produce a full and diverse set of tones, sounding like a mix between a piano and a harp. Delago deftly caresses beautiful music from it.
Mid-set, Auer produces a very original creation of his own - a wind instrument that produces the 'the Pepephon', which provided much entertainment as well as it's musical contribution.
These two aren't in need of a vast array of instruments to create their sound though, as their dexterity and skill with the two they favour provides the full gammet. Delago provides the sound of keys and percussion via the hung - playing up to three at once - whilst Auer coaxes an awe-inspiring array from his bass clarinet, including grungy growls, hoots, pops and even a convincing didgeridoo. Their original work is mellow and soulful, but the highlight was a very cool cover of Nirvana's 'Smells like Teen Spirit', which impressed all in attendance.
Living Room - by Aaron Vinall
Pokey Lafarge
Taking his inspiration from the American Roots music of the 1930s, Pokey Lafarge swung into Womadelaides far-flung Speakers Corner stage to get the hoedown started.
Kicking off the set with a punchy rock and roll number, Lafarge immediately won over the seated crowd with his energy and his down-to-earth banter. By the third number, everyone were on their feet and swinging along.
Nostaglia for all things the WW2 is rife, and the impressively-sized crowd gathered to see Lafarge proved that there's an appetite for its musical reinvention. Though reminescent of another time, the songs are definitely brand new and very cool. Lafarge is no prentender; his love of southern folk is genuine and unapologetic, but he infuses his music with modern energy and life.
If there was a Womadelaide award for "Most Fun in the Sun", Pokey Lafarge would be odds-on favourite.
Pokey La Farge - by Aaron Vinall
The Brown Hornet
If you are scratching your head, thinking that The Brown Hornet sound familar, you'd be right. After going their separate ways in 2004, the original nand members have reunited on and off since 2011 to play special events. Luckily for us, Womadelaide 2014 fit this bill!
Slightly less angsty than one remembers, Brown Hornet still know how to bang out a phunky tune and draw a crowd. Ever the showman, Dylan Lewis still has his characteristic, crowd-pleasing charm in spades, and the gathered audience kept growing as they put on a banging set of their eclectic funk rock tunes.
La Chiva Gantiva
Colombian power-house La Chiva Gantiva hit the Internode Centre Stage as the last vestiges of sun sunk behind the vaulted backdrop.
Though the band was founded in Brussels, it's founding members are Colombian expats and its musical soul is deep-rooted in the sounds of Latin America and Africa. Blending Latin rythm, afrobeat and funk, they exploded on stage with masses of energy and sexy street salsa moves a-plenty.
Lead singer Rafael Espinel cut an commanding figure on stage and had everyone moving, shaking, throwing their hands in the air and shouting back on cue. Mixing up big numbers with slower, sultry jazz, the set included just enough breaks to ensure you were ready to go as the beat grew and the pace and volume increased again. La Chiva Gantiva's universally groovy music demanded you dance along and no one was arguing.
A fantastic sunday night set and my pick of the day.
You've got once more chance to catch a session at Womadelaide 2014 - Monday's got lots in store!
Tomorrow's Picks
2:00pm Sam Lee and Friends on Stage 2
3:00pm Emel Mathlouthi (workshop) on Zoo Stage
4:00pm Thelma Plum on Morton Bay Stage
5:00pm Asif Ali Khan on Internode Centre Stage (ICS)
6:00pm Makana on Morton Bay Stage
7:00pm Arrested Development (in conversation) on Speakers Corner 6
8:00pm Ngaiire on Speakers Corner 7
9:30pm Femi Kuti & The Positive Force on Internode Centre Stage (ICS)
Tin Pan Orange - by Aaron Vinall
Carminho - by Aaron Vinall
Lior - by Aaron Vinall
Saturday, 8th March
Baby et Lulu
Aussie lasses 'Baby' (Abby Dodson) and 'Lulu' (Lara Goodridge) serenaded Stage Three with their take on Chanson Française.
A tribute to the songs and songwriters of France, their set included a range of covers largely from the Cabaret era including the likes of Édith Piaf, Brigitte Fontaine. Also thrown in were more modern artists, such as Joe Dassins and his "daggy" 1970s hit 'Aux Champs Elysées' and Dodson herself, who snuck in a version of her Leonardo's Bride hit 'Even When I'm Sleeping', which is even more heartfelt when sung in French.
Whilst neither Dodson nor Goodridge can claim french heritage, they'll convince you otherwise with their beautifully authentic accents and mastery of the sexy and irreverent Parisian cabaret style. They fit the chilled afternoon slot and smaller stage perfectly.
Cie Fracasse de 12 - by Aaron Vinall
Dub Inc
On the heavy end of what you can expect from a standard Womad lineup, Dub Inc hit the Internode Centre Stage with attitude and serious plans to put the Festival's bass speakers to the test.
Hailing from France, the multilingual dub group have brought deep, dark afro-beats and growling vocals with them to get your eardrums vibrating. The blend of modern rap, reggae, tribal african and arabic styles keeps you on your toes.
A great mix; perhaps a bit much for so early in the afternoon? Not according to the groovers gathered front of stage, who were making the most of the gorgeous afternoon sun to dance off their lunch.
Dub Inc - by Aaron Vinall
Loren Kate
In her only Womadelaide performance, Loren Kate's acoustic set, nested amongst the Morton Bay figs, was extremely well-attended by an equally well-behaved audience. After the aural onslaught of Dub Inc, her soothing voice felt like lullaby and transported you into a dreamy musical paradise.
The seated event show-cased her gorgeous voice as it wrapped around the stream of raw and emotional songs. Kate's original music is soft, gentle and earthy. It settled over the bulging crowd and seemed to repel the many distractions from chatty passerbys and booming main stages.
Makana and Loren Kate - by Aaron Vinall
Osaka Monaurail
The Osaka Monaurail band kicked off the set with an instrumental medley of funk classics that set the mood for the next 60 minutes. In lead singer Ryo Nakatas own words, there were no Japanese numbers in sight, just the grooviest 60s funk from one of the genre's most authentic devotees. He may hail from Osaka, Japan, but you wouldn't pick it from his vocal. Dude is James Brown reincarnate.
As the afternoon sun cooled, Osaka Monaurail got us in the mood for the approaching evening.
Re-energize your weary dancing feet folks, cos there's lots more to come!
Osaka Monaurail - by Aaron Vinall
Roberto Fonseco
The rise of this Latin jazz pianist has been epic. Such is his talent, he was playing in Jazz festivals in his Cuban homeland by the age of 15, and later played with the Bueno Vista Social Club after the death of Ruben Gonzalez in 2003.
If you missed tonight's Womadelaide performance, you'll be glad to know it was the first of two at this year's festival.
Playing to a packed Stage Two audience in the early evening, Fonsago's gorgeously smooth, piano-driven tunes were accompanied by drums, hand drums, double bass, kora and guitar.
Fonseco's level of skill is off the charts; this prodigy was surely born with a piano in tow. Barely looking down except for moments of particular finesse, his fingers danced over and with the keys whilst his body moved to the beat.
Playing a mix of traditional jazz, Cuban and African styles, with an abundance of variety and improvisation to remind you how good he is, he left his audience in no doubt as to what all the fuss is about.
Roberto Fonseco - by Aaron Vinall
Ane Brun
Confident and complex, Ane Brun's powerful voice rolled out from the Internode Centre Stage and everyone looked and listened. She cut a gorgeous figure, drapped in champagne silk and blond, close cropped hair highligting her fine, pixie-like features.
Scanadavian indie folk pop has regained popularity recently through the likes of The Knife, Lykke Li and First Aid Kit, but Brun has been quietly making her brand of contemporary folk since 2002, and with great success.
Despite an impressive discography stretching back to 2002, this is Brun's first visit to Australia, making it an unmissable opportunity for any fan of the genre or Brun herself.
Performing a mixed set of old and new material, the enchanting songstress treated the audience to the breadth and depth of her repertoire, which ranges from broody and haunting, to soaring and trimphant and invokes comparisons with Björk, Regina Spektor and José González.
The quality of her live performance is a testament to her supreme talent as both a songwriter and musician. Though flanked by keys, drums and strings, her commanding stage presence and alluring appearance made it a struggle to notice anything but her.
A wonderful set and a highlight for this little Womadelaidean.
Ane Brun - by Aaron Vinall
Mokoomba
The high energy group from Zimbabwe took out the premiere evening slot on the ICS stage, and how deserving they are.
Their big brassy sound is born from guitar, drums, sax, trumpet, trombone and the vocals of Mathias Muzaza, who belted out song after song. Their set alternated between uplifting, dance-your-socks-off afro-beats and slower, heartfelt numbers. The harmonies achieved when the band members sung as one were beautiful and rousing.
They danced with the strength, rhythm and joy so iconic of the African people, and inspired you to celebrate their music with equal abandon.
And we all did, before dragging our weary feet home.
This is what great Womadelaide's are made of.
If you haven't got your tickets for tomorrow and Monday, grab them at the gates while you still can!
Mokoomba - by Aaron Vinall
Tomorrow's Picks
2.00pm Tinpan Orange on Speakers Corner 7 (SC7)
3.00pm Red Baraat on Internode Centre Stage (ICS)
4.00pm Living Room on Speakers Corner 7 (SC7)
5.00pm Carminho on Internode Centre Stage (ICS)
6.20pm Pokey LaFarge on Speakers Corner 7 (SC7)
9.00pm Lior on Internode Centre Stage (ICS)
Hanggai - by Aaron Vinall
Mallakhamb Gymnasts- by Aaron Vinall
Roundabout Theatre- by Aaron Vinall
Kutcha Edwards- by Aaron Vinall
Buika- by Aaron Vinall
Arrested Development- by Aaron Vinall
The Complete Motets of J.S Bach. Adelaide Festival. Adelaide Chamber Singers. St Peter’s Cathedral. 3 Mar 2014 (Program 1) 5 Mar 2014 (Program 2)
When eminent biologist and author Lewis Thomas was once asked what message he would choose to send from Earth into outer space in the Voyager spacecraft to best represent humanity, he answered, "I would send the complete works of Johann Sebastian Bach." After a pause, he added, "But that would be boasting."
Bach is a stellar figure in the annals of human music making, and rightly so, and the Motets (BWV 225 – 230) are stellar examples of his almost unmatched genius. The Motets are comparatively long choral pieces based on sacred texts and sung in German. They are musically inventive and interesting. Above everything else they are immensely soothing and satisfying to listen to – almost hypnotic – and the experience only gets better and more awe-inspiring with each listening experience. Not knowing German is not an impediment to enjoying them; it is probably an advantage.
They are immensely difficult to sing (so I’m told) and clearly require all members of the ensemble to be expert vocalists in their own right and sensitive to the text. Carl Crossin, Artistic Director of the world acclaimed Adelaide Chamber Singers, has trained his choir well and chose to perform the six Motets over two evenings in Adelaide’s beautiful St Peter’s Cathedral, rather than place unreasonable vocal demands on the choristers by performing all six at once. Collectively the Motets deeply explore the possibilities afforded by fugal and canon forms, as well as double-choir.
The Chamber Singers were accompanied by Hilary Kleinig (cello), Harley Gray (double bass), and Joshua van Konkelenberg (chamber organ), and the program each night was given additional interest by the inclusion of sections from Bach’s Partita No 2 for solo violin, skilfully played by the very talented Lucinda Moon. The image of a solo violinist in full flight dappled in soft light in the middle of a cathedral church is something quite sublime.
An unexpected highlight for many, on both evenings, was the inclusion of the compositions Immortal Bach Part I & Part II by contemporary (b.1915) Norwegian Composer Knut Nystedt for a cappella choir. They are modelled on Bach’s chorale “Komm, süsser Tod” (“Come, Sweet Death”) and they are reminiscent of the music of contemporary Estonian composer Arvo Pärt. They exhibit simple but masterly chordal progressions that are at times exquisitely discordant. The result is mesmerising and the choir perform them with perfect control and oh-so-much feeling.
St Peter’s was deservedly packed out on both nights, and the Adelaide Festival clearly ‘hit a six’ with this programming.
Kym Clayton
When: Closed
Where: St Peter’s Cathedral
Bookings: Closed