Tag Archives: Benjamin Britten

Flooding in the Garden: Benjamin Anderson’s “Mixed Mediums” and Forest Collective’s “The Mingled Yarn”

youphonium
Carolyn Connors and Jenny Barnes in Youphonium. Photo Meghan Scerri.

For three balmy nights the Forest Collective filled the Abbotsford Convent with film, dance and music. The inaugural Flooding in the Garden festival included improvised extended vocals by Jenny Barnes and Carolyn Connors, dance by Elanor Webber, pop-elf William Elm and an independent film series also curated by Webber. The florid programme also included a series of contemporary notated works as part of Forest Collective’s own multi-disciplinary concert and Benjamin Anderson’s bass trombone recital Mixed Mediums.

texture of it
Elanor Webber’s The Texture of It. Photo Meghan Scerri

Moving between the distressed art-deco rooms of the Convent, each new medium was an unexpected delight. William Elm festooned the Rosina Auditorium with fairy lights and lamps for his set of puckish accordion duets. The breathtaking physicality of Webber’s The Texture of It exploded in the Chapel. The venue was lit from inside and outside the building, recreating lighting effects from different times of the day. Rays of afternoon light streamed in through the stained-glass windows, nocturnal lamp-light lit the contorted bodies of the dancers and a diffuse morning glow filled the space. An ensemble including Benjamin Harrison, Rob McDonald and Jennifer Mills performed instrumental textures in tight coordination with the dancers, leaving one guessing where composition left off and improvisation began. Later that night Webber transformed the hall into the Chapel of the Independent Film, with a series of experimental and cine-dance films exploring shape, colour and texture.

Mixed Mediums

mixed mediumsIn Benjamin Anderson’s recital, the audience was confronted with a projection of the movie-star face of General MacArthur and a recording of his 1962 speech to the Corp of Cadets. MacArthur declared the dawn of a “new age”: the space age. So too was it a new age for Australia, one defined by the move away from our traditional British defenders and towards tighter military ties with the United States. Perhaps no moment exemplified this shift more than MacArthur fleeing the Philippines to Australia in 1942. A plaque at a disused railway platform in the miniscule South Australian town of Terowie marks the spot where he famously claimed he would return to the Philippines. He quickly assumed control of the Australian Forces as Supreme Commander of Allied Forces in the South-West Pacific Area, setting up his base in Brisbane. So, this digression argues, we have at least some reason to project this speech in a hall in Melbourne today. Anderson walks in dressed in a military parade uniform and begins playing Robert Erickson’s General Speech. Erickson transcribes MacArthur’s speech for the bass trombone, focussing mainly on the pitch of MacArthur’s voice (admittedly he has to exaggerate, MacArthur’s delivery being fairly monotone). There are scored coughs and sips of water, the only relief from what is a fairly dull setting of the text. The piece was composed in 1969 and I can imagine composers today, with their greater familiarity with extended techniques, would make a more inventive transcription. It would be good to hear several different transcriptions of the speech by different composers, or perhaps transcriptions of a more recent speech by an Australian politician. As the musicologist Linda Kouvaras explored in a recent paper at the Musicological Society of Australia’s annual conference, Youtube is already rife with this sort of musical play. With General Speech, Anderson established a theme of the concert: the bass trombone as caricature. Anderson is a tall young performer with loads of character, making him the ideal performer for these works.

The parodic bass trombone reached its zenith with Andrew Aronowicz’s The Physiology of Taste. Here the bass trombone is the nineteenth-century gastronome Jean-Anthelme Brillat-Savarin as he slurps and degustates his way through his famous treatise The Physiology of Taste. The first movement, “The pleasures of the initial tasting,” consists aptly of tentative, pattering little bursts occasionally punctuated by a sucking smack of the lips. Everything about this movement is about the lips and the tip of the tongue. The second movement, “Relishing the Texture and Composition of the Delicacies” explores longer tones of different timbres, from the purest high note to the instrument’s flatulent bass. It was at this point in the concert that I questioned why I ever go to concerts by established ensembles, younger performers being often more inventive, daring and downright humourous. The third movement, “The Savours,” presents the four tastes: salty, sour, bitter and sweet. Anderson brilliantly executed the dry, shaking, stabbing “puh puh puh” of salt; a puckered and wheezing sourness (exaggerated by a nasal double mute); the cracklingly-low bitterness of espresso coffee (as Brillat-Savarin writes of Melbourne’s favourite way to make coffee: “I have also tried to make coffee in a high pressure boiling apparatus; all I obtained however was a fluid intensely bitter, and strong enough to take the skin from the throat of a Cossack.”). Aronowicz’s depiction of sweetness attempted to reflect “every refinement of temptation” with which, Brillat-Savarin writes, we must use to convince the diner, who has already satisfied their hunger, to indulge. The final movement, “The Irrepressible Urge to Gorge,” represented Brillat-Savarin’s least favourite diner, one who cannot resist overeating and getting drunk. Anderson played higher and louder in between great big gulping sounds. I imagined the waiter in the Monty Python scene (“but it is wafer-thin”) as Anderson finished with a series of tiny toots and then a burp.

In Charles MacInnes’ cirque, “stuck in traffic, an out of work clown tweets about his daily annoyances to a growing audience hungry for the next distraction and amusement.” The impression I got from Anderson’s repeated checking of his phone and restless fidgeting was more of a music student struggling to get down to their daily practice (or perhaps a PhD student writing reviews instead of their thesis).

Character pieces were only one facet of Anderson’s immense programme. Wuorinen’s trio for bass trombone, tuba and double bass ranges between low, pulsing phrases and lyrical episodes exploring the instruments’ baritone registers. The brighter double bass played by Miranda Hill cut through the mellower brass with agile lines. It is a transparent and self-contained chamber work out of place, perhaps welcomely-so, in this character-driven programme.

Elliott Hughes’ Underdogs, with regrets is about iterations of forms, inspired by Jasper Johns’ exhibition “Regrets,” in which he recreated a photograph in multiple mediums. Hughes repeated gestures inspired by Charles Mingus with several different mutes and musical variations. It was not unlike the way one mulls over and replays regrettable moments in different lights. The piece uses subtle and tasteful uses of electronics. The spatialisation of captured trombone sounds expanded slowly over the duration of the piece, subtly producing a chorus of distant-sounding, growling and erupting brass.

Martijn Padding’s Schumann’s Last Procession for bass trombone and harp slowly takes apart a loping, bluesy duet where the two instruments also play a kick drum and a hihat. The piece devolves until all that is left is the percussion and a low, drawn-out note from the trombone. I only learned afterward of the programme: the walks Schumann was allowed to take to the statue of Beethoven in Bonn while he was receiving brutal, experimental treatments at Endenich, Europe’s first psychiatric hospital.

Peter De Jager’s Timescales for solo trombone and lighting design is comfortably dense. I quite liked the choice of hyper-real purple, green and blue lighting for different moments in the piece, not unlike an updated version of Scriabin’s colour organ. In another Scriabin-esque gesture, the piece presents three formal levels depicting cosmic, human and atomic time scales, from drawn-out modal pitches to expressive harmonies to chromatic interjections. In terms of pitch and rhythmic material it was by far the most complex piece on the programme and well deserving (if not requiring) another listen.

The bass trombone rarely receives a whole recital unto itself, though as one audience member mentioned after the show: “I didn’t know what to expect, then I realised it was a music recital.” As the title “Mixed Mediums” further suggests, Anderson’s programme encompassed so much more. Costume, lighting, performative elements and even food (petit fours representing the four flavours were served at interval) contributed to this series of new works by young composers, keeping the audience thinking for the duration of the concert.

The Mingled Yarn

The Mingled Yarn. Photo Meghan Scerri
The Mingled Yarn. Photo Meghan Scerri

The mixed-medium theme continued with Forest Collective’s theatre-and-music programme The Mingled Yarn. The five contemporary soliloquies based by Samuel Yeo inspired by characters from Shakespeare’s plays were in turns powerful (Sam Lavery’s Caesar) and hilarious (Julia Lamb’s Juliet). Musically, the Forest Collective took a little time to get their ear in. Was this because of the abrupt beginning, where Lawson walked in and immediately started conducting? It was a clever, informal gesture in the streaming afternoon light of the backstage area of the Rosina Auditorium, but intonation issues plagued William Byrd’s “Kyrie” from the Mass for Three Voices, which was played by violin, viola and cello with occasional humming from the vocalists in the style of John McCaughey. By the time of Evan Lawson’s Winter Canticle, however, the ensemble was focussed and responding well to Lawson’s energetic and inspired conducting. the piece is a reworking of previous material, taking the emotional structure of Shakespeare’s The Winter’s Tale as a formal basis. An introductory episode of drones and vocalises gives way to an astounding rhythmic explosion. The three vocalists declare “Winter!” as febrile string phrases scurry about. The voices speak and whisper phrases from the play in an emotional polyphony, accompanied by energetic scrubbing in the strings. Lawson has learnt well from his twentieth-century heroes including Britten and Vaughan Williams; even at its  dynamic peak the ensemble is always colourful, transparent and mobile. Throughout the concert, the three female vocalists each had their time to shine. Christine Storey’s performance of Flow my Tears was a true interpretation, with an expressive reading of the text and appropriate tempo and use of vibrato. Stefanie Dingnis’ rendition of My Thoughts are Wing’d presented an uncommonly clear and sensitive voice, while Rosemary Ball’s Chant D’Ariel by Arthur Honegger was a tour de force.

The Flooding in the Garden Festival is an excellent way to spend some warm late-spring nights in Melbourne. While the diversity of the programme is appreciated, perhaps the organisation is currently a bit diffuse. A single schedule and map of the Convent would have made planning one’s evenings easier. Here’s hoping this was the first of many.

Flooding in the Garden Festival
Abbotsford Convent
11–13 December, 2014

Forest Collective, Shared Lines

Forest Collective. Photo by Meghan Scerri.
Forest Collective. Photo by Meghan Scerri.

Shared Lines
Forest Collective
Rosina Auditorium
Abbotsford Convent
Saturday 13 July

In Shared Lines an itinerant spectacle of theatre, sculpture and music unfolds beneath the stained glass of the Rosina Auditorium. Hidden deep within the Abbotsford Convent, the hall’s art deco proscenium arch frames the proceedings like a portal into another time, a time of dance halls and dusty boarding school assemblies. The connotations are not lost on the musicians dressed with Vaudeville flair, much less the schoolgirls, maid and eccentric master of the house of Fixation, a physical theatre piece woven through and bleeding into the musical fabric of the night.

Upon entering the hall one is confronted with a pergola of cupboardry by artist Isabelle Rudolph, a musical ensemble tucked away next to a wall and an impossibly small square of seating in the centre of the room. The seating is more a provocation than an amenity, facing away from the musicians and providing an ideal view for only about five minutes of the entire performance.

It would have been a shame to have heard Rosemary Ball’s enchanting rendition of Liszt’s Oh quand je dors with only one ear, so I hovered near Rudolph’s comforting structure of wood and paint. A maid entered the stage and began miming hanging up laundry surrounded by glowing firefly puppets. The ensemble quietly repeated fragments of Oh quand je dors, this time interspersed with whispers and rattles from the string and wind instruments. Directed by Stephanie Osztreicher—freshly returned from a spell at the École International de Théâtre Jacques Lecoq—, Fixation is a tumble of action, humour and drama centred around an extract from Don Marquis’ Conversation with a Moth (powerfully delivered by Scott Jackson, especially so because we were a metre away from him at the time). The performance also served to lead the audience around the space and direct them towards Pandora, an installation by Robbie James and Ben Delves where the audience modifies the visual representation of improvisations on shakuhachi, flute and guitar by passing around an ominous wooden box. Don’t look inside!

A series of solo performances scattered the audience throughout the hall. I particularly enjoyed hearing the melodic sweeps of Chris Rechner’s Stem for clarinet (sensitively performed by Vilan Mai)  from the back of the hall and Britten’s Metamorphosen for oboe (programmatically an ideal piece for the space and playfully realised by Katia Lenzi) at close range. The concert was also an opportunity to hear Jessica Fotinos’ virtuosic performance of George Enescu’s Allegro de Concert for the slightly terrifying chromatic harp, all the more so because she had to make do with the garden variety pedal harp. Katriona Tsyrlin brought out the introverted intensity of Evan Lawson’s Keys and Locks, a remarkable solo piece that contrasts well with the composer’s ensemble extravagances.

As a curator Lawson is to be commended for coaxing the audience into participation by making it ever harder for them to experience the performance without moving, a dynamic culminating in multiple performances in multiple rooms. Concert curators desiring audience members to move about the space (a desire usually expressed in a hasty mumble at the start of the concert) would do well to take note.

Forest Collective, Shared Sounds

2013 0407 Shared SoundsShared Sounds
Forest Collective
Abbotsford Convent
7 April 2013

For their 2013 season the multi-arts Forest Collective bring chamber music, visual art, theatre and opera to the sprawling Abbotsford Convent. Opening the season is Shared Sounds, a juxtaposition of established and emerging British and Australian composers. Alongside this explicit rationale is the concert’s implicit exploration of the organic and the elemental.

Stephanie Osztreicher transformed the peeling walls of the convent’s Industrial School into a tulgey wood of ladders, music stands, paper flowers and projections as the evening’s autumn storm rolled overhead. Travelling to the concert, the rising smell of “petrichor” (meaning “dry earth,” a term coined by Australian scientists to describe the smell of rain after a dry spell) was an olfactory prelude to the rain-themed music of the Forest Collective’s ensemble in residence of the same name (Jess Fotinos, harp, Alexina Hawkins, viola, Rowan Hamwood, flute).

Fotinos and Daniel Todd (tenor) opened the concert with the spiritual transformations of St. Narcissus into tree, fish, girl and dancer in Britten’s Canticle No. 5 for tenor and harp. Britten’s evocative harp writing was juxtaposed with May Lyon’s own mercurial word painting in A Dream Within a Dream, based on a poem by Edgar Allen Poe.

The ritual continued with Benjamin Harrison’s improvisation for solo trumpet, a masterful exploration of whistling wind, echoing brays and muted flatulence.

A sequence of chamber works by Barry Conyngham, Conyngham’s teacher Toru Takemitsu, Mark-Anthony Turnage, Johanna Selleck and Evan Lawson highlighted the strength of the “collective” as an ensemble, corralled and conducted by Lawson. A highlight for me was Turnage’s Three Farewells for flute, clarinet, harp and string quartet. Lush harmonies and timbres filled the concrete chamber before clearing for a pointed and intimate encounter with Hawkins’ viola solo, with grumbling accompaniment from Ayrlie Lane’s cello.

While not quite the “interactive chamber music experience” promised by the season program, Shared Sounds plunges the audience into a rich atmosphere of water, wind and trees deserving of the collective’s name. The program also demonstrated a continuing interest among young composers in finding new effects and manners of working with text within an extended-tonal style.