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A Symphony Made Anew

David Briggs on transcribing Mahler 2 for the organ. David Briggs transcribes and plays Mahler’s Second Symphony on the Grand Organ of St Mary’s Cathedral, Sydney, featuring the St Mary’s Singers.  Several important ingredients go into both the making and the performance of successful organ transcriptions. I always start from the full orchestral score and not a piano reduction. It’s perhaps surprising that, with Mahler’s symphonies, it’s not necessary to reduce too much, or to leave too much out. If you look at the sketches, things are often quite clear (and written for piano over three staves). The magic with Mahler comes, of course, from the subtlety of the orchestral color, but with modern organ console technology and a degree of imagination it’s possible to replicate (or more accurately translate) this in a new medium. It’s important, too, not to make the transcription unplayable… I tend to find ways, through octave transpositions, reorganising of the voicing of the harmony, and so on, to make the music lie well under the hands and both feet. Processing each note is a very time-consuming (and rather therapeutic) exercise – each bar requires a large amount of thought and this is a perfect way…

July 17, 2015
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Piano Expert on the ground in Russia

A personal recount from one of Australia’s leading piano technicians. The Tchaikovsky International Competition is held every 4 years in Moscow and is considered to be one of the most prestigious competitions in the world.  There are 4 sections: Piano, Violin, Cello and Voice. The competition is held over a gruelling 3 weeks with participants firstly performing in a preliminary round. 30 are then chosen to perform in round 1, but due to many arguments amongst the jury this year, 36 were chosen to go through. 12 are chosen for round 2 and then 6 for the finals where they perform with an orchestra. The piano section is a major television production with over a dozen professional cameras, OB van and expert commentators – much akin to what we would see in a sporting final. There is a separate media centre at the Conservatorium where the competition is also streamed. The world media is in attendance with reporters, camera and audio operators scrumming for the best grab and shot. The competition is broadcast live on both television and the Internet with over 5 million viewers worldwide in over… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

July 8, 2015
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Editor’s Note: July 3, 2015

Michielotto’s new staging of Rossini’s Guillaume Tell raised plenty of hackles in London, but will it here? This week, social media pundits, the Twittersphere and even the venerable BBC have been abuzz with the latest operatic hiatus at the Royal Opera House. It seems the opening night audience for c new staging of Rossini’s Guillaume Tell raised plenty of hackles along with some unprecedented heckles during a graphic act of sexual violence during the Act III ballet. Yes, they booed DURING the performance, not just at the end as seems to be increasingly the case at the traditionally sedate London venue. The leadership team of Kasper Holten and Sir Antonio Pappano have, to my mind, offered a speedy and dignified defence of their artistic choices but that doesn’t seem to have extinguished the ardour of the UK’s anti-‘Regie’ brigade (for those new to the term: Regietheater is German for director’s theatre and is a term that refers to the modern practice of allowing a director freedom in devising the way a given opera or play is staged so that the creator’s original, specific intentions or stage directions be changed, together with major elements of geographical location, chronological situation, casting and plot). As it happens,…

July 3, 2015
CD and Other Review

Review: Grieg: Piano Concerto (Herbert Schuch, WDR Sinfonieorchester Köln/Aadland)

★★★★☆ Grieg marked the score of his G Minor Symphony (composed when he was 20 in 1863), “Must never be performed”. This was honoured for 113 years (though individual movements were performed in the 1860s) but after much discussion, it was played in Bergen in 1981 and recorded by Decca under Karsten Andersen. It’s hard to understand Grieg’s attitude, as, for an apprentice work, it’s rather good. Certainly, it has the generic Romantic rhetoric, the stuttering Schumannesque syncopations in the first movement for instance, but it’s also thematically interesting and full of ideas, proving that, even this young, Grieg could think effectively in symphonic paragraphs. The Adagio is especially winsome. Grieg regarded the work as “insufficiently Norwegian”, whatever that means, but the scherzo-like third movement sounded very ‘Norwegian’ to me. I’ve raved about Eivind Aadland’s recordings with the excellent West Deutsche Rundfunk Orchestra in his Grieg cycle and this vivid performance and lovely recording maintain the standard. The soloist in the Piano Concerto is Rumanian-born Herbert Schuch, whose debut disc caused quite a stir a few years ago. Here, his reading is alive to every nuance of what… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

June 15, 2015
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Editor’s Note: June 13, 2015

The satisfaction of rediscovering old favourites. One of the great joys of the arts is that it is a perpetual journey of discovery, but there is also great satisfaction to be had by rediscovering old favourites. This week I stumbled upon a wonderful recording of a piece I played as a young music student: Bach’s Keyboard Concerto in D Minor BWV 1052, performed here by the extraordinary Maria João Pires. Aside from Pires’ astonishingly disciplined and crisp execution, hearing this piece for the first time in perhaps 10 years vividly took me back to a period of my life when I was still discovering all this wonderful music for the first time. It’s this ineffable power to transport us, back in time and space, that makes music such a necessary part of the human experience. Enjoy!

June 13, 2015
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40 Years of Sydney Chamber Choir

Ahead of their anniversary concert, Nicholas Routley shares the choir’s history. In July 1975, four students from the Music Department at the University of Sydney asked me if I would like to form a small, specialist choir. I had only just arrived in Australia to take up a lecturing position in that Department, and although I’d trained as an orchestral conductor I couldn’t refuse them. Our early progress was coloured by my memories of the Choir of St John’s, Cambridge, which I used to hear regularly as a student (which then wasn’t all that long ago). So I auditioned more students, and in November 1975 the Sydney University Chamber Choir gave its first concert. It included Mille Regretz, a short piece by Josquin des Prés. It is not too much of an exaggeration to say that both I and the choir fell in love with Josquin. This began our journey into 15th-century music, including many masses and motets by Josquin, his teacher Ockeghem, and their predecessor Dufay, which brought the attention of Sydney listeners to these composers for the first time. We will be performing a work by each of these composers in our 40th anniversary concert this weekend. In…

June 12, 2015
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Down Under music on top

The 2015 AusNZ Festival brings Aussie music to London audiences. The 2015 AusNZ Festival served as a great celebration of Australian and New Zealand musical talent; both from a performance and compositional point of view. With twenty-eight musicians performing, seventeen Aus/NZ composers performed, and three world premieres delivered over two days, the sometimes forgotten output of Aus/NZ contemporary musicians was placed directly in the spotlight; through a variety of unique and innovative performance and programming methods, ensuring maximum visibility throughout the Festival Events included a discussion on Collaboration in Contemporary Music with pianist Zubin Kanga, conductor Kelly Lovelady, NZ composer Lyell Cresswell, and chaired by Chris Lloyd:pianist; a Pop-Up Music Mini-Festival which featured a host of upcoming professional musicians performing within the public areas of the Festival in impromptu and surprising circumstances; a showcase of young musicians supported by the Tait Memorial Trust; two World Premieres commissioned and performed by NZ tenor Christopher Bowen and pianist Lindy Tennent-Brown in conjunction with the centenary of NZ poet Douglas Lilburn; four collaborations between Aus/NZ poets and musicians (featuring another world premiere composed by pianist Joseph Havlat for the Festival and performed again last week with Ensemble x.y); and a double-bill concert of Australian music by Jayson Gillham and the Australian Piano Quartet, in conjunction with the Tait Memorial…

June 10, 2015
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Editor’s Note: May 29, 2015

Giving a little could mean a lot for the arts, as I salute Australia’s philanthropists. “Money, money, money, must be funny, in a rich man’s world”, as those sage, Swedish masters of song, Abba once said. Dollars and cents have once again been the hot topic of the week among artists in Australia, but not all the news was doom and gloom. While Senator Brandis revealed that no outside consultation with the artistic community had preceded his radical restructuring of the arts funding infrastructure, and Mayor of Sydney Clover Moore prepared to fight to save the Powerhouse Museum from property developers, the Australian Ballet recorded an astonishing $8.5 million dollar surplus in it 2014 Annual Report. Figures like this are rare as hens’ teeth in the arts, so how did this organisation register such a favourable result? The answer has some very intriguing implications for the way the arts are supported. Australian Ballet received a phenomenal amount of financial support through donations and philanthropy – to the tune of $9 million. Lets just take a minute to think about that: $9 million donated by ardent lovers of the magnificent art form that is ballet, who believe passionately that it was……

May 29, 2015
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Lyle Chan’s musings on QSO’s Current

Hearing the pioneering collaboration between beatboxer Tom Thum and Queensland Symphony Orchestra, I asked myself – when was the last time a musical instrument came from a different world into the orchestra, and stayed? The trombone, perhaps? Until Beethoven’s 5th and 6th symphonies, the trombone was a church instrument. With its ecclesiastical connotations – like organ music – it was an utterly alien sound in a concert hall. Yet nowadays it’s unthinkable to have a symphony orchestra without trombones. Many things start as novelties or even downright weird and end up a universal truth.  I’d love to see Current end up a universal truth in the Brisbane calendar. This is the brand-new new music initiative of Queensland Symphony Orchestra, and their Tom Thum concert was the runaway hit. QSO had to put a second concert on sale after the first sold out, a triumphant change to new music concerts having to paper their houses. Within a frame of 29 hours, Current comprised 13 events: one large orchestral concert, three chamber orchestra concerts, an installation-type performance outdoors, eight mini-recitals of chamber music, choral music and jazz, plus – and this innovation was invisible to the public because it was a closed-set…

May 27, 2015
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Editor’s Note: May 15, 2015

A joyous disc of Mozart to forget the week’s financial woes. This week has seen news of financial shenanigans at the Federal Government level as well as reports of staff cuts and restructuring at Adelaide’s Elder Conservatorium. The announcement in the budget that George Brandis intends to take over $100 million from the Australia Council and reassign it to his Arts Ministry has received a mixed response. “Arts funding has until now been limited almost exclusively to projects favoured by the Australia Council,” said a statement from Senator Brandis’ office amounting to a tacit slap on the wrist. “The National Programme for Excellence will make funding available to a wider range of arts companies and arts practitioners, while at the same time respecting the preferences and tastes of Australia’s audiences. This will allow for a truly national approach to arts funding.” Brandis is a known keen supporter of the arts, attending a wide range of events and generally proving well informed. On the other hand, he has been accused in the past of bypassing proper channels to channel money into ‘favourite causes’ such as the Australian Ballet School or Melba Records. Continue reading Get unlimited digital access from $4 per…

May 14, 2015