CCS CHATTERBOX JUNE 2012
WELCOME two regrets – that I hadn’t brought my daughter to listen, and that we weren’t going to be singing it again! This term sees a number of new things for the CCSthe And who could forget the real star of the night, Gabriel innovative Albert Hall Festival, a new conductor for our Cole? first three rehearsals (welcome, Sarah), and a new newsletterCCS Chatterbox!
This edition includes the fascinating introduction which Francis Merson, editor of Limelight magazine, gave at our performance of Rodion Shchedrin’s The Sealed Angel. Don Aitkin, Roland Peelman, Virginia Taylor and of course, Tobias Cole, also share their thoughts on the performance. I hope these help to bring back memories of this wonderful experience.
Looking ahead, Rachael Thoms and Tobias give us some thoughts about the Albert Hall Festival, which should inspire us for the coming rehearsal period.
Finally, some current and future developments for you If it was all mellifluous lines from Virginia’s flute and to keep an ear out for… Clive’s eloquent narration on Wednesday night, by Friday the choir had gathered forces again for some Yours in music serious intensity in the Pärt Credo. The free-form improvisations by instrumentalists and choir alike Kelly Corner & Rachael Eddowes brought back (for Rachael) memories of a high school CCS Publicity Team music camp with Matthew Hindson. No doubt Andrew Mogrelia was a little terrified to work with us for the CANBERRA INTERNATIONAL MUSIC FESTIVAL first time in the dress rehearsal, but after some Reflections from your intrepid reporters, Kelly & Rachael incognito warm-ups with Roland in the gallery, the choir was another hit with the CIMF crowd. After an intense (and slightly scary) rehearsal period, many CCS members performed in three CIMF concerts So now, it’s over to the views of others, starting with at the Albert Hall. Singing the Hallelujah Chorus on the introduction to The Sealed Angel given on the night opening night was a very different experience – the by Frances Merson. orchestra up on stage, choristers lined up around the walls surrounding the audience, and Roland conducting ’m very excited to present a concert of a truly “in 3D”, arms waving in all directions. Very different extraordinary modern cantata by composer Rodion from my (Kelly’s) first Hallelujah in the Llewellyn Hall, I Shchedrin, The Sealed Angel. but the audience loved it and gave us a standing This cantata is a hugely important work not only in ovation. What an exhilarating four minutes! Russian music, but also in the Russian history full stop. Its premiere in 1988 in Moscow was one of the key With the previous night’s rehearsal still fresh in our events marking the incredible rebirth of the Russian minds, many of us approached the concert of The orthodox church. Let’s remember that back in 1988 Sealed Angel with some trepidation. Would we hit and Russia was still, officially, an atheistic country. Today, 70% hold our pitch? Would everyone watch the conductor at of its people follow the orthodox faith. Now I’m no the key moments? Would we do justice to the music, to religious person by any means, but what I welcome in our soloists, and to Roland? The comments below tell this renaissance of religion in Russia is a return of a what others thought; for myself (Kelly), I was on a tradition of church music – that includes such complete high at the end of the performance, with only masterpieces as the Rachmaninov Vespers. This CCS CHATTERBOX P 2 JUNE 2012 tradition had child, which was a died out under very risky business. Communism, In these perilous and it wasn’t circumstances, until The Sealed orthodox faith in Angel which Russia was we’re hearing conserved. tonight, that it The solo flute was resurrected. which links the nine So how did movements, played the composer tonight by Virginia Rodion Taylor, can be seen Shchedrin either as the voice manage to have a profoundly religious work performed of the Angel itself, or, I think as the treasure of Russian in a profoundly anti-religious country? Well, he created orthodox faith, and Russian orthodox music, being a subterfuge. carefully preserved through some very troubled times. Instead of calling his work a Mass, which is what it And you’ll hear from the bass voices in the very first really is – the text is just bits of the Russian liturgy – he movement a sound that is immediately recognisable as labelled it as a response to the Nikolai Leskov short Russian, a sound which, back in 1988, hadn’t been story ZapechAtlenny Angel - The Sealed Angel. This heard in the concert hall since before the Revolution. In seemed reasonable enough given that Shchedrin had short, tonight you’ll be hearing not just a stunning piece already written operas based on literary themes – an of choral music, but a work that marks a turning point in opera of Gogol’s Dead Souls and Tolstoy’s Anna the history of Russia. Karenina, for instance. And history is also being made here tonight, as you Since Nikolai Leskov, the author of the short story will be the first people ever to hear this work performed The Sealed Angel (and also of Lady Macbeth of Mtsensk in Australia. District, which became an opera by Shostakovich) was a Francis Merson writer endorsed by the Soviet censors, a piece of music Editor, Limelight Magazine ostensibly based on that work was authorised almost by proxy. To succeed as a composer in the Soviet Union, or me, the Shchedrin concert with the CCS and you had to be able to play the bureaucracy, and so it Virginia Taylor was one of the highlights of the was in this very savvy way that Shchedrin managed to F Festival. In order to write the program notes I have a work that is totally religious in nature performed viewed several versions of the piece on You Tube, and in a country where religion was still, effectively, banned. realized then that our audience would love it. And they But the Leskov title The Sealed Angel was more than did! My thanks to Canberra Choral Society for a just a façade to please the censors. It also added magnificent performance.’ another level of meaning to the choral work. Professor Don Aitkin The climax of the original Leskov short story, a group CIMF Festival Ambassador of master masons are building a bridge across a river. few words of thanks and congratulations to all The masons are old-believers, who follow a version of members of the CIMF Festival Chorus for the orthodoxy that is now banned. Anyway, the masons dedication and seriousness you brought to the possess a very valuable icon of an angel, which some A task of learning an entire Russian epic from scratch! bureaucrats of the new orthodoxy order be sealed and The Sealed Angel has its roots in ancient singing taken away to a proper, new-believer monastery. In traditions of the Orthodox Church and it was heartening order to prevent this, a fake copy of the icon is made by to how prepared the Canberra choristers were to a master icon painter, but in order to make the switch, embrace these traditions and do them justice. Your this icon must be carried by one of the masons in a contribution to this grand Russian work and, of course, perilous crossing of the half-built bridge as the river is Handel's Hallelujah constituted two of the great raging during an ice thaw. moments in this past festival. It is wonderful to see the In the cantata The Sealed Angel, this transportation choral scene in Canberra so diversified, interesting and of a religious treasure over the bridge becomes a interested – and when and where it counts, united!’ metaphor for the carrying of faith through the turbulent Roland Peelman years of Communism. Shchedrin himself came from a Conductor family of clerics, was secretly baptized while he was a Artistic Director, The Song Company CCS CHATTERBOX P 3 JUNE 2012
hen Chris Latham asked if I would play The And what was the reaction? Standing ovations on the Sealed Angel by Rodion Shchedrin, which was night, and the following review: W scored for SATB choir and flute solo, I was immediately intrigued. he second concert featured a choral masterwork My only real knowledge of Shchedrin was an by “Russia’s living treasure”, Rodion Shchedrin, arrangement for strings and percussion of the Carmen T born in December 1932. Suite by Georges Bizet, which I had heard many times His work, The Sealed Angel, is as intriguing for its and always enjoyed. secrets – even deception – as it is for the music. It’s Chris lent me a recording from a live concert of the really a Mass that celebrates the 1,000th anniversary of work, and I was hooked. The writing for choir, soloist Russia’s conversion to Christianity, but is narrated as and flute was both powerful and mellifluous at the the story of “an icon whose beauty and power are so same time. formidable that the authorities determined that it Knowing that our performance was to be conducted should be sealed up”. by Roland Peelman from "The Song Company" meant Large forces were on stage for the performance, that this would definitely be lots of fun and very including flautist, Virginia Taylor and soloists tenor, rewarding. Andrew Goodwin, heard in the previous performance, Our performance at the Canberra International Music counter-tenor, Tobias Cole, treble, Gabriel Cole and Festival was an Australian premiere and very special for mezzo, Lanneke Wallace-Wells. all. The scoring for the choir of this work is complicated The Canberra Festival Chorus was drawn from SCUNA, and difficult in many places with obscure intervals Llewellyn Choir, Canberra Choral Society and Oriana which challenge the most experienced of choirs. Joined Chorale. with some wonderful soloists, the choir sang with It was all conducted by director of The Song Company, commitment and quality to do justice to this beautiful Roland Peelman. A member of the choir did a very fine and obscure work. job as narrator. Sadly, he was not acknowledged at the From a personal viewpoint, it was a joy to be able to end of the performance. perform this work with a choir from my own city of Virginia Taylor provided the only instrumental Canberra and in partnership with Roland Peelman and contribution. It included some beautiful, almost members of The Song Company. mysterious, solo passages and, occasionally, some lovely Thank you to all involved for ensuring this was such a accompaniment subtly integrated with the singing. success and special evening, and, as always, a special The choral work, though, largely was unaccompanied, thank you to Chris Latham for his artistic vision, in after the style of Rachmaninoff’s “Vespers”. The choir finding pearls such as this for us to perform together.’ kept pitch quite well throughout with only some minor Virginia Taylor drift a couple of times. At times the sopranos did not quite pitch to the higher notes initially, but Peelman pulled them up there discreetly. The basses provided excellent foundation, finding and holding some wonderful, if impossibly low notes with confidence. They certainly aroused thoughts of a Russian male choir. The balance across the choir generally was superb, Peelman controlling tempi, volume, phrasing and flow expertly, only occasionally having to do some fine adjustments across the choir sections along the way. The Sealed Angel was quintessentially Russian. The melodies, moods and rhythms took us fairly and squarely into Russia’s very heart and soul, attracting a ongratulations to everyone who sang in CIMF, sustained standing ovation at the end. there was much positive feedback from everyone I would have loved to hear the piece in a livelier C involved as well as the audiences. The Shchedrin acoustic, with Virginia Taylor’s flute soaring like an and Pärt certainly extended us, taking us into angel above the sustained voices. completely different musical styles from what we are Clinton White, City News, 17 May 2012 used to. I'm really looking forward to seeing how this experience has bearing on our future programs.' [All CIMF photos by Peter Hislop] Tobias Cole, CCS Director of Music CCS CHATTERBOX P 4 JUNE 2012
ALBERT HALL FESTIVAL institution and a music hall named in her honour. She was Our next endeavour is the Albert Hall Festival, a dedicated teacher and charity beginning with the 1930s Soiréedescribed by Brenda worker. But the thing that Gill as “a vision of reaching Canberrans who would not elevates her to total legend normally attend our concerts and involving them in status in my mind is food! We both singing AND dancing.” have Peach Melba, Melba oby took inspiration from Robyn Archer’s sauce, Melba Toast, and Melba grand plan of a dance for every decade during Garniture. If I can get just one T the Centenary Celebrations, and added his dish named in my honour I signature community singing involvement to come up know I will have made it!!! with the blueprint for our Soirée. The 1930s was chosen Looking forward to meeting you all and working with to connect with the Sunday Tribute Concert to Dame you soon.’ Nellie Melba (who died in 1931). Rachael Thoms, Lyric Soprano The music consists largely of show tunes and popular We’ve had great publicity already, including a front page songs. Song books will be printed and EVERYONE will be article in the City Chronicle, and an article in the Canberra encouraged to sing along, especially when not dancing. Times Panorama magazine – not to mention the colourful CCS members who choose to attend will be a valuable flyers and posters designed by Brenda Gill, Brenton boost to the community singing, and can of course Lovett’s painstaking work with Canberra Ticketing, and all participate in the dancing too. Tickets for Choristers are the emails that choristers sent out to your networks, we only $20 (less for under 27s) in recognition of our role as have already sold over 100 tickets to the Soirée. Over 70 co-hosts and supporting singers. people signed up for the classes at Danzón dance studio A formal supper will be served at around 9pm, and we over the next six weeks so that we can trip the light are hoping that choristers will make food of the era to fantastic on the night! bring along (suggestions and even recipes will be made available) – perhaps make extra so that we will have Look out for our colourful banners outside Albert Hall something to share at our post-concert party on Sunday. from mid June, and more as we get closer to July. As you can see, this is a very different event for CCS, but it should be a bit of a party for us. REHEARSAL SCHEDULE – MELBA CONCERT Brenda Gill, AH Festival Coordinator Date Time Venue* Notes he Albert Hall Festival is about recapturing the Mon 28 May 7.30-10pm SJ Sarah Cutler spirit of Canberra when The Albert Hall was built. Mon 4 June 7.30-10pm SJ Sarah Cutler T But the Melba concert/show is more than that. It Mon 11 June 7.30-10pm SJ Sarah Cutler goes further back to when Melbourne was being built and Mon 18 June 7.30-10pm SJ Toby how an ambitious tenacious young lady made Europe and Mon 25 June 7.30-10pm SJ Toby North America aware of Australia, before Australia Mon 2 July 7.30-10pm SJ Toby became aware of Australia through Federation! The Albert Fri 6 July 7.30-10pm AH Toby Hall is the perfect setting to tell this story because its Sat 7 July 1pm – 4pm AH Toby design is reminding us of a past era, from the ticket booth Sat 7 July 7.30 – late AH Soirée** in the foyer to the proscenium stage. And with the energy Sun 8 July 2pm warmup AH Concert of the night before still reverberating our show will start 3pm start and finish when Melba died, in the 1930's.’ *SJ: St Johns AH:Albert Hall Tobias Cole, CCS Director of Music **Soirée – ticketholders & CCS helpers only
'm really excited and so honoured to be engaged by CCS and to share the stage with one of Canberra's OTHER NEWS I best loved choirs. I am a massive Tobias Cole fan so The CCS Chatterbox team have been busy adding new the chance to collaborate and learn from such a website content, so if you haven’t had a look for a while, talented and generous individual is a real gift. I am also do check it out. We are also setting up a password- really looking forward to the challenge of portraying protected members area to keep all the “stuff” that one Australia's most legendary figures; Dame Nellie choristers need access to, but others don’t constitution, Melba. She was the first Australian to appear on the “who does what”, and so on. There will be only one cover of Time magazine, she has a marble bust on the password for everyone to use – just think of your grand staircase of the Royal Opera House, Covent favourite end-of-year concert and you’ll have it! We’ll Garden, she appears on our 100 dollar note, has a music notify you by email when the members section is set up.