Before every staged concert in the Capital Theatre, it was the familiar lyrical tones of “Good evening, ladies and gentlemen!” spoken by Chris Howlett that became the expected cue for audiences to settle their excitement and let official proceedings begin. Smiles came to people’s faces, with expressed appreciation and admiration for Howlett’s inexhaustible presence in multiple roles: M.C, key Festival performer, Festival co-director with Howard Penny, plus co-director of Australian Digital Concert Hall, livestreaming Festival concerts across the nation. Penny described events like this as “a smoothly floating duck above water, but beneath, and not seen by the audience, is the frantic paddling and hard work.” Both aspects are essential no doubt for a festival that is increasing in stature and recognition.
The final two concerts in the Bendigo Chamber Festival were musically grand programs, with varied programs and quality repertoire including all festival artists.
Saturday’s Summer Night Series 4 – Mayor’s Gala, opened with a very cool treat on a hot summer’s night with Tim Young as soloist for Mozart’s Piano Concerto No. 11 in F major, lightly scored for a more intimate chamber ensemble, and most tastefully written by Mozart – a quattro – with four accompanying strings. An unusual first movement in triple time was tasteful and imitative in design, with Young adding more drama into a cadenza with fine trills and added showmanship. The Larghetto allowed Sophie Rowell to lead with strong aria-like, affectionate melodies, spaciously designed with simplicity and beauty preceding the piano entry. An unusual third movement in minuet form rounded off this opening “nice one!”
In his Seven Popular Spanish Songs, (1914) composer Manuel de Falla successfully transformed traditional Spanish folk songs and dance rhythms for voice and guitar into a fine art form in this passionate, emotive and touching collection. Mezzo soprano Ashlyn Tymms touched our hearts with truly plaintive laments and sorrowful expression, particularly in the final song, Polo, where pianist Anna Goldsworthy took us to the heart and soul of Spain, emulating guitar strums and percussive accents with true flair and flamenco spirit. Great chamber music kept coming with Françaix’s Trio for Oboe, Bassoon and Piano (Armand Djikoloum, Lyndon Watts, Tim Young), adding a contemporary colour, architecture and a merry-go-round of musical surprises in a buoyant and quite “zappy” piece. With much athletic lightness, technical interplay and theatrical wit from both double reeds there was rousing applause and audiences shared the joy and amusement obvious between the trio members. The concert finished with a brilliant and authoritative performance of one of Schumann’s most famous works, the popular Piano Quartet in F major, Op. 17. The Scherzo movement was such a joy, so cleanly united, and the final fugue episode drew to a close with an admirable crescendo. This was top work.
Which leads us to the morning after, with the Sunday Farewell Concert – Until Next Year. Sunday morning means J. S. Bach – Concerto for Oboe and Violin, with a very busy festival guest Armand Djikoloum teaming with Holly Piccoli, Principal Violin of Adelaide Symphony. Brisk, yet unhurried sturdy secular themes and aria-like melodies shared by soloists and string ensemble gave us timeless beauty and thematic clarity. Saint-Saens’ Bassoon Sonata in G gave us further appreciation of the bassoon as a solo instrument in the hands of a true master. On such a demanding instrument, where strength in breath control and embouchure are a must, Lyndon Watts impressed us with his repertoire of colourful virtuosity, showing a range of timbres from mellowness to brightness, moods varying from scampering joyful runs with skipping rhythms to melodic charm and elegance, the demanding runs from low to high notes were accomplished with ease. Yes, the bassoon can be charming and elegant. Daniel de Borah delivered the perfection we love and expect in a warm and tonally varied presentation of Haydn’s Andante and Variations in F minor. Ornamentation, pristine phrasing and finely controlled crescendos were a delight.
At times seductive, occasionally darkly comedic, but always with fine diction and expressive physical movement, selections from Beethoven’s 25 Scottish Songs, Op. 108, were presented by Ashlyn Tymms with piano (Tim Young) and string (Holly Piccoli and Howard Penny), accompaniment as a complete and classic love story in three songs: The Sweetest Lad Was Jamie, O Cruel was my Father and Jeanie’s Distress.
International star violinist Irene Duval joined the final ensemble of Festival strings to perform N. Gade’s Octet in F major, Op 17. With influences from both Mendelssohn and Schumann, this work was full of forward rhythmic drive, sensitive conversational work, a scherzo with soft dynamics and charming elements of a light folk dance, and a final assertive movement full of bustle and good spirits. An ideal Sunday morning Festival program.
As we raise our hats and glasses to the remarkable achievement and growth of BCMF, we quietly hope that the teeny-weeny percentage of works by both Australian and female composers in this year’s program is increased in future Bendigo festivals. With next year’s Festival dates already announced, (5th – 9th February, 2025), we can look forward to another festival of music “royalty”.
Photo supplied.
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Julie McErlain reviewed “Summer Night Series 4 – Mayor’s Gala”, and “Farewell Concert – Until Next Year”, presented as part of the Bendigo Chamber Music Festival at the Capital Theatre on Saturday February 3 and Sunday February 4, 2024, via Australian Digital Concert Hall.
