by Tony Magee
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| Sarahlouise Owens in full flight. Photo - Peter Hislop |
Knowledge of female composers has somewhat been secreted away by music scholars and some performers over the years, but the general public’s awareness was generated with the release of the 1985 recording on the Hyperion label, “A Feather on the Breath of God”, which showcased the music of Hildegard of Bingen, a 12th Century female composer of plainchant.
In the male dominated setting of monks as composers from the time of Pope Gregory to recognised individuals like Léonin and Perotin of Hildegard’s time and everything since, the world suddenly wanted to know more and the great Romantic composers Fanny Mendelssohn and Clara Schumann were thrust into the public spotlight.
We know that Maria Anna Mozart, elder sister of Wolfgang, affectionately known as Nannerl within the family, composed for the piano prolifically, through the volumes of surviving correspondence between the two:
"Dearest most loving sister of mine, the pieces you have sent me are of great beauty. I’ve played them over and over. I have sent you back these which I have written just for you. Please send me more of yours the moment you can. Your ever faithful and loving brother, Amadeus. PS: I send you one thousand kisses."
How much of Nannerl’s music survives for us to enjoy? Not one single sheet.
Such was the research and magnitude of work that soprano Sarahlouise Owens and pianist Natalia Tkachenko put into their superb recital Sunday last (June 23) at Wesley, where one beautiful captivating piece after another poured forth from their gifted musical talents.
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| Pianist Natalia Tkachenko |
Tkachenko’s accompaniments are of the highest calibre and almost formed a concert presentation in their own right. I think the piano should have been on the short stick, rather than fully raised, as at times Owens was overwhelmed by Tkachenko’s outstanding and brilliant accompaniments.
Never-the-less this was a concert of great depth which captivated and enthralled the audience from start to finish.
Owens began well, but as the concert progressed her voice was noticeably warming up and reached a high point of warmth, depth and powerful projection that filled the auditorium voluminously.
Her diction was excellent and she shines most brightly when singing French and German, with impeccable accuracy of pronunciation and delivery. In addition, she is a theatrical performer and her body language, facial expressions and gestures served to enhance an already intriguing and engaging repertoire of song.
The period represented was female composers of the Romantic and early 20th century eras, and was extensive. Besides Fanny Mendelssohn and Clara Schumann, it included Maria Malibran, Cecile Chaminade, sisters Lili and Nadia Boulanger, Gladys Rich, Germaine Tailleferre, Pauline Viardot, Josephine Lang, Augusta Holmes, Lady Dean Paul, Louise Reichardt and Canberra’s own Sally Greenaway whose piece “Look to This Day” was complex in its piano accompaniment, having a melody which somehow never seemed to match the piano chordal structure yet was in perfect compliment to it. A very clever piece of writing.
To close, Owens and Tkachenko chose the comedic “There are Fairies at the Bottom of the Garden” by Liza Lehmann, which at the time of writing also accidentally served to perpetuate the infamous Cottingley Fairies photographic hoax of 1917.
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| 9 year old Francis Griffiths with fairies. Photo taken by her 16 year old cousin Elsie Wright, at Cottingley Village, East Yorkshire in 1917. |
This concert was one of the most enjoyable, thoroughly well researched and rehearsed Artsong presentations I’ve had the delight in attending for some time. I’m looking forward to the rest of the season.
First published in City News Digital Edition, June 24 2019