Guest soloist Maximilian Riebl singing Over the Rainbow. Photo by Steven Godbee.
There is perhaps no more Christmassy sound than tinkling bells, which is how Paul Dyer chose to open the Australian Brandenburg Orchestra’s Christmas concert, Noel! Noel! As so often with the ABO, percussionist Thomas Smith used an unusual means of creating the effect – but it was the sound that mattered. Chimes played by choir members swelled the sound, as did the drone of a hümmelchen (a type of small German bagpipe).
Artistic director Paul Dyer then conducted the first item: Samuel Wesley’s O Thou Who Camest from Above. As other period instruments joined in, the young countertenor Maximilian Riebl’s pure voice soared above them, and led the choir as it lent harmony and richness to the sound.
A surprise element (to those who had not attended last year’s Noel! Noel!) was the saxophone, hardly a baroque instrument and more often played by jazz musicians. But, as in last year’s ABO concert, Christina Lenard established the “rightness” of its use in this context, complementing the cornetto played by the versatile Manchester. Christmas music needs brass as well as bells and whistles!
The Brandenburg Choir had an early opportunity to show its precision in the unaccompanied Hosanna to the Son of David by Orlando Gibbons, managing the interweaving of parts well to the final rallentando. That slowing of pace prepared the way for another a capella piece, the subdued Lord for thy tender mercy’s sake, by 16th century English composer R. Farrant. Dyer’s skilful control of dynamics achieved a peaceful and beautiful rendition of this work from the choir, particularly in the reiterated words, ‘That we may walk with a perfect heart’.
A change of mood followed, with the instrumental Set of Scots Ayres, showcasing members of the ABO in a way that is not always possible in their usual concerto-based programs. Their energy, musicality and command of baroque style simply made you want to stamp your feet or dance; the choir clapped – but that was part of the orchestration.
Choir and orchestra then joined Riebl in a change of pace: the anonymous Wexford Carol. A reverberating gong teamed well with the resonance of the soloist, and the appealing harmonisation, with occasional dissonance, finally resolved on a pure unison note.
To my mind, these first items were the best of the concert that strayed into unworthy territory for several items. It is one thing to reinvent popular songs and sing them more simply and sweetly than is usual, but their very popularity means an audience has first to cast off memories of schmaltzy renditions, and unwelcome associations (such as piped music in supermarkets).
I am not referring here to traditional music such as the Welsh Suo Gan or the carols like Stille Nacht. These were welcome, sung by such a good choir and enhanced by well-chosen instruments, including the saxophone and organ in a rousing O Come all ye Faithful. Having said that, an exception was the final item, Raise Your Voices by contemporary composers Brendan Graham and Rolf Lovland. With choir and orchestra in fine form, the piece was a stirring end to the concert, having a late key change and a suitably big finish.
Noel! Noel! is a fixture on the Sydney calendar and it’s to be hoped that it will become a permanent feature of the Brandenburg offerings in Melbourne as well.
Four stars
Melbourne Recital Centre
7 December
