The Woodend Winter Arts Festival has established a solid reputation for staging large vocal and instrumental works in St Ambrose Church. Artistic directors Jacqueline Ogeil and John O’Donnell are passionate in re-creating historical works, and as a result of their long leadership with one of Melbourne’s most respected chamber choirs, Ensemble Gombert, and the Baroque instrumental ensemble Accademia Arcadia, these performances are always a sellout; so this year Purcell’s Ode On St Cecilia’s Day (1692) was worthy of two performances over the weekend.
With annual celebrations of St Cecilia’s Day on 22nd November, musical societies in London were enthusiastic about commissioning works to poetry specially written for the birthday Ode. Today we heard the popular setting of texts by Nicholas Brady (1692), while some followers of Purcell may be familiar with the poetry of John Dryden(1739). In this small church, a 21-voice chorus, 4 soloists, a 19-piece ensemble at “front of house” and a chapel organ located in the rear organ gallery, a very warm and sociable Baroque setting was established for a wintry weekend. But like most churches, without a raised stage and handy pulpits for soloists, it was not easy to find the best position for listening and seeing all performers – and we know that everyone wants to see the harp – so heads were hatted for warmth and bobbing sideways occasionally.
An opening Symphony began with a warm blend of baroque oboes, recorders and strings in a pleasant Allegro Moderato, sometimes with small progressive entries and slightly flagging tempos, but woodwind and trumpets added a most rousing and regal style. Sopranos were most confident in the lovely setting of “Hail! Bright Cecilia”, with strings providing beautiful support for the precise and glowing tone of Ensemble Gombert. Purcell’s instrumental writing is so brilliant and varied, with “Soul of The World” highlighting excellent solo work from bassoonist Lyndon Watts. Soprano Elspeth Bawden added a gentle power and charming lyricism to an inviting minuet-like aria with lovely “authentic” harp and cello accompaniment. Jackie Ogeil’s crisp organ accompanied a passionate and engaging solo of bass Jeremy Kleeman, “Wondrous Machine! To see the warbling lute”. Sprightly dancing rhythms brought smiles to our face, with Kleeman’s clear enunciation of the text, delivering a smoothly flowing tone across a wide vocal range. Christopher Watson followed with lyrical artistry and colour singing the alto solo for “The Airy Violin”, proceeding to the gently passionate and lyrical duet with Christopher Roache (alto voice) and beautiful recorder work, for a sweet and elegant “In vain the Am’rous Flute and soft Guitarr jointly labour to inspire”. Such word painting! Trumpets and a resounding timpani fanfare led marching rhythms into “The Fife and Harmony of War”, a piece ending with one of Purcell’s most inventive and unusual cadences. All instruments and choristers joined in a splendid finale: the jubilant Handel-like celebratory chorus, “Hail! Bright Cecilia!”.
In 2024, the Melbourne Cello Octet was a real hit, still being talked about this year with another sell-out concert. Sadly, unforeseen winter illnesses can affect team preparations, but in true spirit and with altered repertoire, re-arranged now for seven cellos, a new show did go on.
Without introduction, the opening mesmerising repeated patterns, which grew from gentle geometrical shapes could only be from one unique composer: Philip Glass – from his Symphony No 3. Written for 19 orchestral string players, the piece worked beautifully for cellos, with players used as soloists, blending at times, varying a repeated harmonic sequence into a hypnotic maze of weaving overlays. Very very beautiful to hear and watch.
Rohan de Korte took the lead to introduce the set of popular traditional art songs by Manuel de Falla, Siete canciones populares españolas (1914). De Korte led the principal melodic work, with accompaniments varying from brighter energetic dance rhythms, to a sorrowful gypsy air with pizzicato string tears falling. A folk dance in gentle waltz time brought us familiar strong downbeats, foot-stamping earthiness and percussiveness. Stringed instruments are the perfect musical vehicle for passionate, timeless Spanish flavours.
Zoe Knighton took the solo for a warm and comforting arrangement of the hymn-like Andante Cantabile from Tchaikovsky’s very gorgeous String Quartet No. 1, Op. 11. Just what the doctor ordered! The accompaniment was gently blended, blocks of chords were most reassuring, allowing the solo line to be free in shape and expression. Swoon moment – the audience brought immediate applause at its close. Josie Vains changed the program to a lighter mood with a detailed airing of Dvořák’s Humoresque, followed by a lyrical and elegant aria-like setting of the Sarabande from J.S. Bach’s 6th Suite for Cello, a piece written originally for 5-string cello.
A final change of scene came with Rock n’ Roll, composed by a favourite contemporary Italian cellist and composer, Giovanni Sollima. It is a work that explores the full range of the cello in varied sections, with chords and rhythms exploring, progressing and climbing over each other in some moments of weirdness and familiar rock beats. Colours, repetition, a final nod to minimalism and a long climbing glissando from de Korte softened the final drifting fragments to the end.
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Julie McErlain reviewed “Ode on St Cecilia’s Day (1692)” and “From Bach to Glass: Cello sound across time and space”, presented as part of the Woodend Winter Arts Festival at St Ambrose Church on June 7 and 9, 2025 respectively.
