Canberra
International Music Festival
Concert 16.
May 15th
Reviewed by
Bill Stephens
It’s
doubtful if the possibility ever occurred to the architects when designing the
magnificent High Court building, that it would become one of Canberra’s most
unusual and cherished music-making venues. But as Canberrans have come to
realise, and this imaginatively staged concert conclusively demonstrated, that
is exactly what it is. Listening to beautiful music in this lofty setting, while
gazing out at the riot of autumnal colour through the huge windows, is an
experience difficult to surpass.
In keeping
with the theme of the festival, a varied program of French and German vocal
masterworks, composed around the times of the world wars, was chosen. A
significant number of the compositions were receiving their Australian
premieres. The audience was encouraged to move around and explore the resonant
qualities of the building, as items were performed in different areas. While this was happening, representatives of
architects and graduates the Australian Institute of Architects and University
of Canberra read aloud quotes from architects highlighting the connection
between architecture, music and art. So as not to interrupt the atmosphere, the
audience was requested to hold its applause until the end of the concert. Given
the excellence of the performances, that turned out to be a difficult request
to honour.
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| Roland Peelman conducting The Song Company and the Sprogis Woods Smith Young Artists for "Les Sirenes" |
The concert commenced
impressively with a performance by soprano Anna Fraser together with The Song
Company and members of the Sprogis Woods
Smith Young Artists, grouped in the lower foyer and conducted by Roland Peelman,
of “Les Sirenes”, a work written in 1911
by French composer, Lili Boulanger when she was just 18 years of age. Several
of Boulanger’s works have been given their Australian premieres during this festival
and this composition with its gorgeous soaring harmonies proved an excellent
opening choice.
Pianist Adam
Cook played another Boulanger composition, the deeply romantic “Prelude in D Flat Major”, while the singers,
having performed Hugo Distler’s gentle and contemplative “Es ist ein Ros
entsprugen” , moved in procession to the higher levels of the building to
present a stunning performance of Maurice Ravel’s 1915 composition “Trois beaux oisaux du paridis”.
 |
| Christina Wilson and Alan Hicks |
Also
receiving their Australian premiere were group of nine diverse and intricate short
songs by little-known German composer, Fritz Jurgens. The first four of his
songs were beautifully realised by Christina Wilson accompanied on piano by
Alan Hicks, followed by five more, equally exquisitely sung by Louise Page
accompanied by Phillipa Candy.
 |
| Louise Page accompanied by Phillipa Candy |
Then, from
the higher balconies, The Song Company with the Sprogis Woods Smith Young
Artists performed two songs by Francis Poulenc before launching into a
thrilling interpretation of selections from Hugo Distler’s “Totentanz”.
Pianist
Daniel de Borah performed the sombre “Slow Movement from Piano Sonata in D
Major” written by Botho Sigwart Graf Zu Eulenburg, following which The Song
Company with the Sprogis Woods Smith Young Artists, conducted by Roland
Peelman, brought the long and demanding concert to a conclusion with a
thrilling performance of another Lili Bolanger composition “Vieille priere
bouddihique” , which, finally released from the restriction to withhold their
applause, the audience rewarded with a long and sustained ovation.
This review appear is the May 16th digital edition
Photos by Peter Hislop
