| FESTIVAL OPENING CONCERT – GLORIA! | | It's all different up the Western Freeway since I've been away in the north. This festival has undergone a name change as well as a revamp in administration with long-time artistic directors Sergio di Pieri and Judith Houston gone, replaced by gamba exponent Laura Vaughan. As well, the time-line has been compressed so that it now runs for half of its previous length. And the geography has closed in so that events are limited to the city of Ballarat, with two day-time events in both Clunes and Creswick – nothing to the south. And the number of concerts/recitals has shrunk to 12, with the Festival al fresco Breakfast continuing as an extra-numerary. As usual, we have a celebratory opening event which this year involves the Consort of Melbourne, Consortium of viols, Unholy Rackett, with Donald Nicholson playing harpsichord and Nicholas Pollock on theorbo; Steven Hodgson, the Consort's director, seems to be in charge of this amalgamation. No specifics are available but the names of Schutz, Hassler and Praetorius are being bandied around, with the promise of multi-choral polyphony. The concert lasts for 70 minutes, promising an early night for everybody – a welcome relief for this largely local audience. Students pay $10, concession holders $35, adults $45; if you want the post-concert supper, it's $10 extra. The booking fee ranges for 75 cents to $1.88 – so why is this impost so cheap in the country and so monstrously expensive in Melbourne? | | THE SINGING PIPES – MUSIC OF HANDEL, BACH, HAYDN & BEYOND | | St. John's Anglican Church, Creswick, | | Saturday January 10 at 11 am | | This recital is being given on the church's Fincham and Hobday instrument by Rhys Boak, resident music genius in St. Michael's Uniting Church, Collins Street. The organ was relocated from the Wesleyan (Uniting?) Church, Barkly St., Ballarat in 2016 and has a solid range of stops for its two manuals and pedal board. Boak is committed to five definite works in his hour-long program: the Overture to Handel's Occasional Oratorio of 1745-6 without the original trumpets and drums; Bach's towering Prelude and Fugue in A minor BWV 543 from the Weimar years 1708-13; Haydn's Eight Pieces for Musical Clocks from anywhere between 1772 and 1793; Mozart's Minuet in D – possibly K. 355/576b from possibly 1789/90; and contemporary Hungarian Zsolt Gardonyi's 1995 jazz-inflected Mozart Changes based on the final movement to K. 576. As well, pieces by J. K. F. Fischer, John Stanley, and Theodore Dubois are promised which fleshes out some odd corners very neatly. Tickets follow the opening concert's lead – $10, $35, or $45, depending on your age and/or career stage. | | BAAZ AVAZ – ON THE SILK ROAD | | Saturday January 10 at 2 pm | | So it's off to Persia and a recital involving music, dance and story-telling during which, somewhere along the hour-long expedition, we'll doubtless meet up with the cry of the falcon mentioned in the event's title. Four participants present this amalgam: Vahideh Eisaei contributing vocal work as well as playing the qanun or large zither; Dong Ma on erhu or Chinese two-stringed fiddle which may have links to the (more topical for this recital) rehab; Elnaz Sheshgelani covering the stories and the dance components; and Yang Ying on pipa or Chinese lute which came to that country along the Silk Road. This is one of those occasions where you enter a world unfamiliar to most of us; my experience of Persian music has been confined to an Adelaide Festival recital many years ago from an ensemble playing court music – or so it was claimed. That's the sort of cultural ignorance that a presentation like this seeks to remedy; it's not all Omar Khayyam and Hafez or the AliQapu restaurant here in Kew. If you're a student, you can get in for $10 plus a piffling booking fee of 75 cents; concession card holders ($35) and adults ($45) have to go on waiting lists because their allocations are sold out. | | St. Paul's Anglican Church, Bakery Hill | | Saturday January 10 at 6 pm | | Quite a lot of promises made for this non-specific 60-minute program which features a quintet of musicians, some of whom I know. Soprano Myriam Arbouz, baroque violinists David Rabinovici and Tim Willis, baroque triple harpist Hannah Lane, and theorboist Nicholas Pollock presumably combine and re-congregate in small groups to take us through works by Lully, his father-in-law Michel Lambert, and his student Marin Marais. Two specific forms are designated: the air de cour and chamber music – which is telling us nothing, except that the songs preclude the three composers named who all wrote airs of a different colour. As for the other, these musicians have a wealth of rich, magnificently mannered material from which to select; a pity they haven't let us into their confidence about what we'd be paying for. Speaking of which, prices follow the usual pattern: $10 for students, $35 for concession holders, $45 for adults with a maximum booking fee of $1.63 and a minimum of 75 cents – almost seems pointless to charge it. | | Ballarat Performing Arts Centre, Soldiers Hill | | Sunday January 11 at 2 pm | | These works are being presented by the Coomoora Ensemble, apparently headed by baroque violin Lizzy Welsh (she writes on Instagram about 'my delightful Coomoora Ensemble', which strikes me as a pretty obvious statement of ownership. She's accompanied on her sojourn into Telemann by Alison Catanach on baroque flute, Edwina Cordingley on baroque cello, and Ann Murphy playing harpsichord, as is her wont. It's not clear if the ensemble can get through all twelve of the Paris quartets – six Quadri published in 1730, and six Nouveaux quatuors printed in 1738. In fact, I doubt if they could, given their recital's 60 minutes time-span. I suspect that they're attempting the latter, given that they refer to works composed during Telemann's visit to the French capital in 1737-8. But then, all of them were written before he hit Paris, so they may be attempting a mixture. Whatever the case, this hour (possibly longer) will cost you $10 a student, $35 a concession holder (but not Seniors' Cards, apparently), and $45 full adult, with a negligible booking fee ranging from $1.63 to 75 cents. | | O FILII ET FILIAE – ORGAN SPLENDOUR OF THE (MOSTLY) FRENCH BAROQUE | | St Paul's Anglican Church, Bakery Hill | | Sunday January 11 at 6 pm | | Another solo organ recital to balance Rhys Boak's one on Saturday January 10 in Creswick, this mixed collation lasting an hour is being presented by Donald Nicholson, showing us another side to his musical abilities after he has played harpsichord for the festival's opening concert. Yet again, details are scant although he is sitting securely in a French gallery by performing works by Couperin, Louis Marchand, Jean-Francois Dandrieu and Nicolas de Grigny. For the first of these, I can find only two organ works, both mass settings; Marchand offers more, some of them formidable elements of the French repertoire; Dandrieu I know only through his Noels but he did write an Easter offertory, published in 1739, based on the plainchant that gives this event its title; de Grigny is celebrated for his only publication – a Premier livre d'orgue from 1699 which has a preponderance of church music in it. Just to offer a change of diet, Nicholson will also play some pieces by Buxtehude to offer a 'dash of fiery North German contrast' – just what those French formalists need. Ticket prices follow the usual $10, $35, $45 pattern (student, concession, adult) with a small booking fee too minute to outline, too inconsiderable to make any difference to anybody. | | St. Paul's Anglican Church, Clunes | | Monday January 12 at 11 am | | For this excursion to the book-driven town of Clunes, lutenist Rosemary Hodgson and organist Jack Stacey are attempting to draw some parallels between Renaissance architecture and the period's music. Terrific, and good luck with that. Their 60-minute presentation centres on the works of Alonso Ferrabosco the younger who performed for Elizabeth I and Hodgson is playing all seven of the composer's extant fantasias, leavening this core with side-steps to vocal intabulations, passamezzi and pavans. An intriguing venture, although the fantasias look to me as being more suited to a chest of viols than a lute, mainly because of some sustained notes that a soloist (apart from an organist) can't manage. You're invited to find similarities between the cleanness of form and structural balance of a building from this time in the clarity and formal integrity of the Elizabethan viol composer's works. As I read things, Stacey is to provide a solo on the church's organ at the start of the recital but I can't find anything by Ferrabosco for that instrument; in this case, a Hamlin & Son rarity that sits in remarkably close relationship to the church's acoustic properties, as I remember from over a decade ago – since which time (2018) the instrument has been restored extensively. The usual entry costs apply: $10 a student, $35 for concession holders, $45 an adult, all with small booking fees that probably won't put patrons off. | | REEDS & RESONANCE – MUSIC FROM THE GOLDEN AGE OF THE BASSOON | | Monday January 12 at 2 pm | | This hour-long entertainment brings back some of the opening concert's contributors: Nicholas Pollock resumes his theorbo and adds a Baroque guitar, while the Unholy Rackett group is identified as Simon Rickard, Brock Imison and Jackie Newcomb, all manipulating curtals and their namesake instrument. Also involved is triple harpist Hannah Lane, returning after her Love in Versailles participation on January 10 and the festival's director Laura Vaughan consorting with her gamba. And this is one program where you know exactly what is being presented: a Sonata for four trombones from the Op. 22 collection of 1655 by Biagio Marini; two pieces from the Canzone, fantasie e correnti of 1638 by Bartolome de Selva y Salaverde in the soprano and bass song Vestiva hi colli passaegiatto and a canzon for two tenors (trombones?); a set of variations on La Folia by Antonio Martin y Coll from Volume V of his 1706 Flores de musica; Giovanni Bertoli's 1645 Sonata settima that one would assume was for the bassoon, which was his instrument; Kapsberger's Tenore del Kapsberger from the 1604 Volume 1 of his Intavolatura di chitarone, plus the Bergamasca and Canario from the Intavolatura Volume 4 of 1640; from Il primo libro de balli of 1578, Giorgio Mainiero's La lavandera/Caro ortolano, probably for a rackett; the 1609 setting of Es ist ein' Ros' entsprungen by Praetorius; two anonymous songs in Vos senora, a maltratada and the Portuguese Renaissance lyric/laugh Nao tragais borzeguis pretos, both played on curtals by the Racketts; Machado's Dos estrellas le siguen which I have come across as a four-part chorale-type invention from the Cancionero de la Sablonara of 1624/5; finally, Daniel Speer's first (only?) two Sonatas for two violas published in 1697 and hisSonata for three bassoons (C Major or F Major?) which I believe comes from the same year. Anyway, tickets follow the usual costings: students $10, concession $35, adults $45 plus a nonsensical booking fee of minute proportions, although still a nuisance to fork out. | | DARKNESS AND DELIGHT – JERRY WONG | | Ballarat Mechanics' Institute, Sturt St. | | Monday January 12 at 6 pm | | A 60-minute recital from the Head of Keyboard at the Melbourne Conservatorium of Music is a singular surprise in this festival line-up. Jerry Wong hasn't detailed what he is going to present, like so many contributors to this enterprise, but he opens a pretty wide door by introducing certain names as contributing agents. There's Bach, Beethoven, Liszt – and Miriam Hyde, as a kind of satisfaction for our nationalistic yearnings. But the evening's title gives an immense scope, as all of these composers have dealt with both the highs and lows of human experience. Still, it's always worth your while listening to an artist of Wong's calibre and, if the names strike you as promising, then you can get in for the usual fee: adults $45, concession holders $35, students $10, and the small booking fee that nevertheless nags like an itch in the middle of your spine. | | MEDITERRANEAN – ELISABETTA GHEBBIONI | | Tuesday January 13 at 11 am | | Starting the festival's final day comes Italian harpist Elisabetta Ghebbioni, a veteran performer at this festival and a professor at the Benedetto Marcello Conservatory in Venice. As is characteristic of so many performers in these Ballarat days, her program is unknown, even if her publicity refers to a few names: Albeniz, Saint-Saens, Einaudi 'and others'. The first of these will probably involve an arrangement because I can't find any harp works by Albeniz. Saint-Saens has a solo Fantaisie from 1893 and a 1918 Morceau de concert but nothing else relevant or practicable (apart from more arrangements). As for Einaudi, I assume this artist will be playing pieces from his album Stanze of 1992, although he has endorsed arrangements of some piano works for the harp. By the way, Einaudi is visiting Melbourne next month, playing at the Myer Bowl. Still, what information there is on this recital seems – even in this context – a bit vague, while Ghebbioni's screed in the festival bumf is too brief to be of much use to anyone. Tickets for this event will be the same as all the others at the centre of this festival: $10 a student, $35 a concession holder, $45 full price, with the nugatory booking fee attached, increasing slightly as your price goes up. But, doing dutiful research, I couldn't get on to the booking site – Error 404 made its entry for no apparent reason. | | St. Paul's Anglican Church, Bakery Hill | | Tuesday January 13 at 2 pm | | Cellist Josephine Vains is at the centre of this recital, although Jack Stacey is again going to preface proceedings with a solo on the church's J. W. Walker organ, and why not? He's this church's organist. You'd have to assume that we're going to hear at least part of a Bach cello suite; it's also possible that we'll hear all or part of one of the three Britten suites written for Rostropovich. Also mentioned in the publicity material is Gabrieli, whose cello works escape me; perhaps Stacey will kick in with some support here for – what? Then another one of the festival's few dives into the vernacular with Ross Edwards; possibly Prelude & Laughing rock from 2003, or perhaps Monos I from 1970. As well, we're to hear some Casals, who wrote a fair few works for cello, as you'd expect, but they all involve piano accompaniment; the Song of the Birds from 1941 might enjoy a sentimental visit. It's all up in the air but tickets run through the familiar format: students pay $10, concession holders $35, and full adult tickets cost $45, all with a handling fee, which I assume only applies if you book on line. | | FESTIVAL CLOSING CONCERT – SONGS OF LIGHT & DEVOTION | | Tuesday January 13 at 6 pm | | The subtitle to this final program is Life, Death & the Passion of 17th Century Italian Music; you can't expect more in a concert than enjoying the two great existential fag-ends and, when you add in the Italian Baroque – be still, my beating heart. As usual, nothing specific is set down, nothing as vulgar as a set program, but we have some insinuations. For instance, we will definitely hear some late sacred music by Monteverdi; pieces from the 1641 Selva morale e spirituale, you'd reckon, or some scraps out of the Messa et salmi of 1650. As well, we can expect one (or more?) of the sacred oratorios by Luigi Rossi, with perhaps some extracts from the famous one for Holy Week whose provenance is even now questionable. Also, there will be a psalm setting or two from Giovanni Rigatti; there's plenty to choose from as he published them across his brief career in 1640, 1643, 1646 and in the year of his death: 1648. Another name is Domenico Mazzocchi, famous for his motets so there should be a couple sung here, like the Videte et gustate published in 1664. Stephen Grant will be directing (as well as singing bass), principally his e21 Consort, but also Stephanie Eldridge and Lizzy Welch on baroque violins, Linda Kent at her harpsichord, John Weretka seated at (probably) a chamber organ, Hannah Lane bringing her triple harp into play for the third time this festival, and overall director of everything during these past days, Laura Vaughan plays both her gamba and a lirone. Tickets are currently unavailable on the usually reliable Humanitix website – not the best of omens. But I'd anticipate that they mirror those for the opening night and everything else – $10 for students, $35 for concession holders, $45 for adults with the by-now traditional small booking fee that seems to be necessarily attached to any event for which you either book online or pay by credit card. | | | | |
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