Introducing this season of Noel! Noel! Australian Brandenburg Orchestra Director Paul Dyer suggested the concert would be an ideal Christmas gift – and so it proved.
The two Melbourne concerts were a curtain-raiser for an extensive season in the ABO’s home state of NSW and brought an extra resonance to the idea of gifting, being held in the Elisabeth Murdoch Hall, the major concert venue of the Melbourne Recital Centre that deservedly bears the name of the late great philanthropist patron of the arts. It was opened on Dame Elisabeth’s 100th birthday (she died last week aged 103) and Dyer – and a program insert – paid tribute to her.
The concert captured the best of Christmas, with music that evoked the pure sound of a cathedral choir contrasting with the joyous noise of carols and traditional songs. Noticeably outnumbered by the Brandenburg Choir, the 11 instrumentalists performed with equal vigour and passion, the intelligently judged percussion underpinning every work.
The program notes rightly singled out two instruments for special mention. The first was the cornetto, which (according to performer Matthew Manchester) also bears the wonderful names, Zink or Ye Sodding Stick. The long wooden stick-like instrument had an authentically baroque sound and yet, as Manchester skilfully demonstrated, one that demanded attention.
By contrast, the two saxophones played by Christina Leonard were obviously modern instruments, but lent themselves to Dyer’s interpretation of period music. The Improvisation (Passacaglia andaluz) featuring Dyer’s harpsichord and Ben Dollman’s baroque violin was enhanced by guitars, clapping, the odd shout, castanets, drums and cornetto – but it was Leonard’s contribution that lifted the work to sensational heights.
The evening started in far more sombre mood, with the choir giving a rich and well-balanced performance of the Kyrie from a Mass by Victoria, creating the illusion of being in a small, acoustically perfect cathedral. Bells, drums, cello and other instruments joined in to give the first hint of a ‘Christmassy’ sound. But it was the choir sound that swelled in the traditional Let all mortal flesh keep silence, after entry by the pure-voiced Ellen Winhall, whose solos were one of the joys of the night. The saxophone was an unexpected instrument in this piece, lending a cool, modern edge to a centuries-old tune and transforming it beautifully.
There were 14 items to come, some instrumental, most choral, each with its own charm. Outstanding were the Neapolitan Lullaby followed by an Italian song that is a Brandenburgs’ favourite. Cathedral-like music contrasted with more earthy treatments of songs and carols. The Little Drummer Boy owed much to the ensemble’s stirring percussion, while Stille Nacht, in simple four-part harmony, respected its gentle origins.
David Willcocks’ arrangement of O Come, All Ye Faithful ended the night and suited the Brandenburg, moving apace, embellished with a descant and shimmering instrumentation. The ABO ‘faithful’ were persuaded to join in the last verse, again bringing the concert back to the feel of a Christmas celebration with friends.
Paul Dyer and the ABO have given us another year of fine music, many would say among the best Australia has to offer. My ‘gift’, on behalf of the audiences who have expressed this view, is simple: five stars.
Rating: 5 stars out of 5
The Brandenburg Choir
With the Australian Brandenburg Orchestra
Artistic Director and conductor Paul Dyer
Melbourne Recital Centre
8 December
ADDITIONAL PERFORMANCES:
City Recital Hall Angel Place, Sydney
12 & 15 December
Paddington, St Francis of Assisi Church
11 December
Wollongong, St Francis Xavier’s Cathedral
14 December
Cremorne, St Peter’s Anglican Church
16 December
Newtown, St Stephen’s Anglican Church
17 December
Parramatta, St Patrick’s Cathedral
18 December
