3MBS is actually making its mark in creating annual festivals for Melbourne musicians. This 12 months’s second Music, She Wrote competition once more introduced an alluring mixture of (principally feminine) performers into the historic and atmospheric setting of Chapter Home, for a celebration of feminine composers all through historical past. A lot credit score goes to director Katie Yap, who designed a diversified three-night program exploring the theme of resilience, the important life-force for any composer’s journey.
There couldn’t have been a better option than fabulous flautist Eliza Shephard to open the Competition’s RESTORE live performance along with her personal composition Don’t Knock, Smash. Her assured, passionate persona danced along with her excellent musicianship as she moved with vibrant and dynamic vitality on centre stage. Here’s a vibrant and artistic Australian musician, who will certainly encourage at the moment’s ladies to put on a vibrant pink gown, be seen, heard and compose music. In Chicago, composer and flautist Janice Misurell-Mitchell, like Shephard, can also be a one-woman hurricane. Her revolutionary and longer work Typically the Metropolis Is Silent known as for superior flute strategies – breath assaults, cut up tones, flutter tonguing, pitch bends and dives, use of the voice and jaunty, quirky, hip-swinging metropolis rhythms. For bass flute and pre-recorded electronics, Eve Beglarian’s I Will Not Be Unhappy in This World was spell-binding, vibrant and tonally very lovely on this historic venue. Voices of Australia by French composer Sophie Lacaze, and Amy Beth Kirsten’s Pirouette on a Moon Sliver captured the outer surroundings of society at the moment – metropolis or bush surroundings – with pre-recorded accompaniment.
Following interval, the six voices of The Consort of Melbourne delivered a high-quality efficiency of 11 very lovely a capella works by chosen ladies composers throughout the centuries who had been described as “writing in opposition to the chances” – the celebrated Hildegard von Bingen, Renaissance ladies Raffaela and Vittoria Aleotti, then Fanny Mendelssohn, with an extended and languishing work by Clara Schumann, and a closing solemn piece, Shadow, by Australia’s Alice Probability – evocative and significant within the mushy illumination of Chapter Home.
Celebrating baroque and people musicians, the second night, titled RENEW featured the baroque harpist Hannah Lane, who carried out 5 solo Nameless items alternating with beautiful vocal works by a few of Italy’s finest recognized and prolific composers: Barbara Strozzi, Francesca Campana and Lucretia Vizana. The well-loved voice of soprano Chloe Lankshear added pure gold to the melismatic, excellent pitch and tone of those poetic vocal settings, however differentiation between Italian and Latin texts was much less distinctive. It has been instructed famously by Virginia Woolf that the ever-present ANON writers of so many poems or small musical works all through historical past had been ladies, however I really feel that having a proliferation of small compositions in our society continues to be widespread at the moment. The problem of writing substantial and prolonged compositions which will be seen as important and carried out commonly is unquestionably an issue for each ladies and men at the moment. Are miniatures turning into the norm? Tonight, sadly, a damaged harp string and prolonged tuning of that instrument took a while and focus away from this live performance. There appeared to be no Plan B to maintain the music flowing for the viewers.
With stay music now properly out of a two 12 months pause, it appears in 2022 live performance designs are together with an extreme quantity of details about concert events, context, historical past, with maybe an excessive amount of repetition from program notes, presenters, administrators, after which extra info from performers eager to speak about their items. Audiences come to listen to stay music. Tonight, Music She Wrote was in peril of turning into Phrases She Spoke. At interval we welcomed very recent refreshment, with a selection of envigorating non-alcoholic wines – pear and blood orange being fairly scrumptious.
Scandinavian people music duo Large Fiddle, Little Fiddle took us to an enchanting world of uncooked and timeless string taking part in, earthy conventional melodies stretched and woven, harmonic strains swapped between Louise Godwin’s cello and Jessica Foot’s Hardingfele (Norwegian fiddle). This conventional stringed instrument, performed like a violin, with sympathetic understrings, warmed us with the colorful sounds of Northern Scandinavia with hints of Celtic flavours. There was an illustration of renewed spirit and freedom from our barefoot fiddler because the duo’s artistic preparations of latest jigs, polska dance types and diversified time signatures displayed excessive vitality and pleasure. The waltz melody of Jessica’s piece A Cake within the Submit developed modal lyricism and wonderful pizzicato bass strains, whereas the ultimate Witches Reel by Melbourne’s Louisa Clever introduced a lot animation and shocking cackles to this entertaining shut.
For the third evening of Music, She Wrote: REBEL, the Competition String Quartet introduced us some extremely highly effective music making. Violinists Kyla Matsuura-Miller and Emma Hunt, with Katie Yap (viola) and Elina Faskhi (cello) totally demonstrated the ability of ladies in music at the moment. Florence Worth’s set of piano items Thumbnail Sketches of a Day within the Lifetime of a Washerwoman, organized by Elaine Positive, opened the live performance, her wealthy chords and touches of jazz rhythms in A Homosexual Second contrasting with the esoteric and non secular aura of Hilary Kleinig’s Cockatoos. Elena Kats-Chernin’s Blue Silence is a classy work, its recurring haunting and hypnotic, naked six-note theme holding us in wonderment. Lies You Can Imagine In by Missy Mazzoli introduced pleasure, ardour, power and vitality into the room, its accented rhythms and pulses bringing sturdy applause. Greatest recognized amongst Grazyna Bacewicz’ seven String Quartets, No 4 by this extremely prolific Polish composer featured for the Competition’s finale. The musicians tonight had been extremely conscious of the dramatic temper modifications, with fluctuating rises and falls in dynamics and tempos, putting chords and clear exchanges of melodic dialog.
We hope this splendidly curated 3MBS Competition turns into an annual celebration.
Julie McErlain reviewed the sequence of concert events comprising “Music, She Wrote”: RESTORE – RENEW – REBEL, offered by 3MBS and carried out at Alpha 60, Chapter Home, Flinders Lane, Melbourne on April 6 – 8, 2022.