Double Bass CD Reviews

by Marian Heckenberg

Brahms And Hindemith

Sonatas for Double Bass & Piano

Josef Gilgenreiner

(Double Bass)

Matthias Gerstner (Piano)

Austrian Gramophone AG0026 /LC 48665

Michael

Bakrnčev open.spotify.com/artist/4BfkeR6xPC

CDFaKz6i9ooV?si=88HvoOZOT6C_ RNUwTBrMKg

Michael Bakrnčev (b. 1989) is a Melbourne born composer of Macedonian heritage. In 2013, he graduated with First Class Honours in Composition from the Queensland Conservatorium – Griffith University. He is currently studying a Master degree in composition at the Melbourne Conservatorium of Music - The University of Melbourne. His music is heavily influenced by both modern classical music and Macedonian folk music. Bakrnčev’s music has been performed in Australia, Europe, the United Kingdom, USA and Canada. He has also won numerous awards.

He is a member of the Australian Music Centre and also founder and artistic director of the Melbourne Metropolitan Sinfonietta. Calm – Trio for Flute, Violin and Harp’was composed as a wedding gift for his wife and performed in 2017 on their wedding day. It was recorded by Helene Fay (flute), Peter Voronov (violin) and Mercedes Bralo (harp). As a flautist and harpist with some skills in violin, was interested to hear this combination of instruments. The closest is the Debussy Trio which uses flute, viola and harp. Calm has undulating harp arpeggios with a sustained melody in the flute which is then passed over to the violin and then back and forth between the two instruments. The music has a strong Macedonian influence and utilises the tonal aspects of the instruments. At nine minutes, it would be a lovely interlude in a chamber music recital.

GEMS FROM ARMENIA for Cello & Piano

Aznavoorian Duo

CEDILLE RECORDS

Cedillerecords.org

American sisters Ani and Marta Aznavoorian present a CD of Armenian music to honour their homeland. The aim of their project is “to help preserve and promote a treasured musical legacy that has always had significant meaning in our lives”. The music spans three eras. Firstly, the late Romantic composer Vartabed has written five traditional folk tunes arranged for cello and piano.

20th century composers commence with the great Khachaturian with two folk songs, Babajanian who has written an Elegy, Aria and Dance, Terterian’s three -movement Sonata for cello, Kradjian’s traditional Sari Siroun, Arutiunian’s Impromptu and Sharafyan’s Petrified Dance. The CD concludes with the world premiere of Peter Boyer’s 21st century composition, Mount Ararat. There are extensive sleeve-notes on each composer and their works.

The music is sad and soulful with a blend of Middle Eastern and Russian rhythms, melodies and harmonies. After

When listening to the CD, I wondered why these works were not part of the mainstream cello repertoire. Enesco has skillfully written for the cello in a style which could be best described as late romantic. I could not resist listening to this recording several times. We don’t often associate George Enescu with the cello. A Romanian composer, conductor, violinist and teacher, he is known as the teacher and mentor of the late Yehudi Menuhin.

Enescu loved to play the cello and in regular house concerts, he would often borrow the instruments of each of his string quartet colleagues and play a movement in turn.

On the CD are two cello Sonatas: Sonata in F Minor (1898); Sonata in C Major (1935); Allegro for cello and piano (ca.1898); and Nocturne et Saltarello for cello and piano (1897). The Nocturne is especially beautiful. Enescu also wrote a Symphonie Concertante for cello and orchestra (1901) which is not included on this recording.. Rudolf Leopold plays with beauty and sophistication with a seamless piano part by his associate artist, Raluca Stirbat.

Grischuns Dal Cor

Sebastian Bohren, violin Kammerphilharmonie Graubünden cond. Philippe Bach

CLAVES 50-3031 www.claves.ch

This CD is a compilation of four modern works performed by the Kammerphilharmonie Graubünden, a Swiss orchestra conducted by Philippe Bach. There are four works on this CD. The first is Raffaele D’Alessandro’s (1911-1959) Symphony No 2 for Orchestra Op. 72. D’Alessandro is a Swiss composer who studied with Nadia Boulanger. His work can be described as rhythmical, using much percussion for effects. liked his mastery of his use of instrument grouping, thus highlighting the tonal qualities of each instrument.

Paul Juon (1872-1940) was born in Moscow. Burletta for Violin and Orchestra Op. 97 composed in 1939 was one of his last works. Commissioned by Max Strub, the piece contains folk music and other thematic material. Gion

Antoni Derungs (1935-2012) wrote ten symphonies of which this is the ninth. Tre poeme per orchestra Op. 173 is a departure from his other works where he employs a chamber symphony. Derung’s music can be described as enchanting, ethereal and pastoral in mood. Oliver Waespsi (b.1971) wrote La Partenza in 2011/2012, receiving first prize in the Société Fédérale des Orchestras. It is based on the Grison’s folk tale of Margriata and is programmatic in nature. The music is skillfully performed, displaying the unique stylistic characteristics of each composer.

Italian composer Ivan Fedele’s style is best described as post modern. He studied piano, composition and philosophy and has a passion for mathematics which he owes to his father, a mathematician. These works for solo cello have been “engaged with the perceptual mechanisms inherent in ancient forms as archetypes to be reinterpreted in modern forms”. Here the inspiration is the Baroque form based on a single idea and reimagined in a new and innovative way.

There are four pieces on the CD. Three presented here are Suite Francese III composed in 2010. This has four movements and comprises exclusively open strings and harmonics. Suite Francese VI and VIb were both composed in 2018. They are in the style of a Baroque Suite with a Preludio, Ostinato, Corrente I, Interludio and Corrente II. Fedele uses harmonics, microtonal intervals, tremolo, playing on the bridge, harmonic glissandos, crushed quarter-tones, and percussive effects in the left hand. The final work is Partita, written in 2019. The movement is entitled Hommagesquisse, Threnos, X-Waves and Z-Point which provides a clear indication of the style of the music. Fedele’s music is interesting from an intellectual perspective and deepens one’s understanding after reading the background and performance notes. This is ideal for a musician with a special interest in modern and new music.

Swiss Chamber Soloists

Xavier Dayer

Heinz Holliger – oboe

Felix Renggli – flute

Irene Abrigo– violin

Daria Zappa – violin

Jürg Dähler– viola

Daniel Haefliger – cello

CLAVES 50-3007 www.claves.ch

The Swiss Chamber Soloists formed in 1999 to create “a common cycle between Basel, Geneva, Lugano and Zurich”. Their repertoire encompasses Baroque music on Period instruments and extends to modern and contemporary music, often presenting premiere performances of new works. This CD is a compilation of works by Xavier Dayer (b.1972). This Swiss composer studied with Eric Gaudibert at the Geneva Conservatoire. In 2004 he joined the teaching faculty at the University of the Arts in Bern where he now directs the Masters course in Composition. Dayer has written operas and chamber music. There are five works on this CD each with different instrumentation: Solus cum Solo (2009) for solo cello; Come heavy sleep (2016) for flute, viola and cello; De Umbris (2018) for flute and string trio; Mémoire, cercles (2011) for oboe and string trio; and Nocturne (2014) for flute and string trio. The CD comes with extensive programme notes in French, German and English which provide insight into the background and rationale of each work. Dayer’s music can be best described as post-modern in style with depth and complexity.

Sharon Lierse

Josef Gilgenreiner is a true double bass virtuoso and his collaboration with superb pianist Matthias Gerstner playing the Brahms E minor Cello Sonata and Hindemith’s famous double bass composition transports the listener. Purists who know the Brahms cello sonata may need time to adjust to hearing this adapted version, but will quickly be wowed by bassist Gilgenreiner‘s mastery of this challenging work. It is truly an uplifting experience to hear a world class double bassist perform a master work like the Brahms. There is no hint of the extreme technical challenge bassists face when adapting such a piece for an instrument that is twice the size than the original. This interpretation blooms with expressive lines, especially dark colours and stylish touches. The Hindemith is an important work for double bassists as few renowned composers have historically written for this giant of the string family. Gerstner effortlessly takes the listener through this fascinating work; the jazz influence and rhythmic intricacies combine with grace and humour while the tender slow movement pulls at the heartstrings. Gilgenreiner and Gerstner approach these works as equals creating authentic chamber music together. Their performance will charm and inspire.

Marian Heckenberg

Concert Reviews

by Ros Hurst

MUSICA VIVA VAN DIEMEN’S BAND ‘BORDERLANDS’

Llewellyn Hall, Canberra May 12, 2022

This brilliant group of six young Baroque musicians, comprising two violinists, Julia Fredersdorff, Artistic Director and Violinist, Simone Slattery, violinist and recorder, Katie Yap viola, Laura Vaughan Bass viol, Anton Baba Bass viol & cello and Donald Nicholson Harpsichord are well known Australian and international performers.

Following the opening tribute to our Aboriginal Heritage, the Band performed a collection of fairly obscure 17th century works amassed by the artistic director that explored musical and geopolitical borders. The opening work Becker’s Sonata no 5 in F major covered the 30 years’ war and its aftermath. The Borderlands Suite takes the listener on a journey from war, to loss and grief and then to celebration.

The 2nd half continues this theme with two new compositions intertwining with two period works. Clockworking, by Siegfusdottir, showcases a baroque string trio with prerecorded tape lighting.

The final work Spirals, a commission from the Band’s Harpsichordist has a recurring bass line as a reflection on how history repeats itself, with a Ukrainian prayer interwoven as a tribute to the Ukrainian people.

This program was not only entertainment but an education on how the present is shaped by historic information. The band’s performance was exquisite.

ACO MOZART & BRITTEN Llewellyn

Hall, Canberra, May 14, 2022

When Frank Bridge accepted the young Benjamin Britten as a student, he had already written his Elegy for Strings which was not performed in his lifetime but was premiered in Australia at the start of the ACO’s current tour. An interesting, rather intense piece, it demonstrated the potential of things to come. Britten was a great admirer of Mozart and was indebted to him for much of his compositional style.

Mozart’s Sinfonia Concertante in E flat major, (arr strings) placed a spotlight on the ACO’s newest member and Principal Viola Stephanie Farrand. Together with Richard Tognetti, they gave a magnificent and inspiring performance.

The ACO brought out the colours of Mozart’s score. The Andante, a lament for Mozart’s mother, demonstrated the excellent partnership and matching sounds of the two instruments. This performance was so impressive that it drew prolonged and robust applause from the audience.

Mozart’s Divertimento in D major followed, with a faultless performance by the 18 member ACO.

Britten’s 11 pieces in Variations on a Theme of Frank Bridge were diverse and demanding. The ACO met the challenge with an exhilarating performance.

Aco

THE CROWD & I

Richard Tognetti & Nigel Jamison

Llewellyn Hall, Canberra August 6, 2022

Following a period when pandemic lockdowns left streets empty, this amazing and thoughtprovoking production, The Crowd and I is touring Australia. Directed by Nigel Jamieson, the 80-minute performance features an expanded ACO conducted by Richard Tognetti, the Song Company and pianist Konstantin Shamray, in collaboration with Australian cinematographer Jon Franks.

The project, a decade in the making, is comprised of 14 chapters plotting humankind’s manifestation of a fragile planet, contrasting overcrowded trains in Japan and India with a lone figure walking the Tanami desert. Images of bustling streets, mosh pits, pilgrims swarming the Ganges River, emotional football fans, along with the deeply disturbing Cronulla riots, George Floyd’s murder and ‘Black Lives Matter’ protest marches, were accompanied brilliantly by the ACO. A beautiful rendition of the first movement of Schubert’s ‘Unfinished Symphony’ and Shamray’s sensitive realisation of Chopin’s Nocturne No 7 in C Sharp Minor bookended the performance, providing both consolation and celebration. Other works by Tognetti, Sibelius, Beethoven, Feldman and Adams were decisively placed to add drama and pathos when needed.

Andrew McKinnon presents THE KANNEH-MASON FAMILY Theatre Centre, Canberra, August 16

A large crowd at the Canberra Centre welcomed The Kanneh-Mason family concert which was postponed twice due to Covid lockdowns. To see a family of seven siblings and the fact that they are all outstanding classical musicians almost defies belief.

Cellist Sheku Kanneh-Mason shot to fame when he performed at the Royal Wedding of the Duke and Duchess of Sussex. His sister, pianist Isata, is almost as well known; both have performed extensively, with recordings on the Decca label.

Brother and sister bookended the first half of the program with Frank Bridge’s and Shostakovich’s Cello sonatas in D minor. Both were spectacularly performed but the Shostakovich was especially brilliant. Dark emotion interwoven with whimsical virtuosity captured the audience in Isata’s performance of Gershwin’s Prelude.

The remaining siblings Braimah (24, violin), Konya (22, piano) Jeneba (19, piano), Aminata (16, Violin) and Mariatu (13, cello) joined for the second half of the program. Each demonstrated excellent technique and ensemble work, some on multiple instruments. Three works were performed by the whole family encompassing many genres and played from memory. The highlight was Jeneba’s Hungarian Rhapsody which received prolonged and rapturous audience applause.

The entire family was enthusiastically acknowledged at the conclusion of this wonderful concert.

MUSICA VIVA Z.E.N. TRIO

Llewellyn Hall, Canberra August 18, 2022

The Z.E.N. trio takes its name from an acronym for the three musicians’ initials, pianist Zhang Zuo, violinist Esther Yoo and cellist Narek Harkhnazaryan. All three are brilliant international soloists, prize winners and recording artists. They met at the BBC’s prestigious New Generation scheme and recognised their compatibility and love for chamber music. This magnificent trio thinks with one mind and displays remarkable sensitivity.

The Brahms Trio no. 1 was immediately notable for the breathtakingly beautiful cello line, the almost faultless intonation and dynamic control and the combined expressive lyricism of the fully invested players. The scherzo was masterfully articulated while the violinist and cellist expressed great sensitivity in the Adagio. The Finale was both rhythmic and passionate.

Matt Laing’s composition Little Cataclysms, a highly complex and technically demanding work of five pieces inspired by a line from a song or poem, was premiered brilliantly by the players.

Babajanian’s Trio in F sharp Minor transported us through a full range of emotions with the players capturing every nuance of the music. Pianist Zhang Zuo unleashed immensely powerful, passionate playing at the conclusion, ensuring that together with the brilliant performance of Brahms’ Hungarian Dance as an encore, this would be a never forgotten concert.

Ros Hurst

Austa

Australian Strings Association Ltd

ABN 72 010 228 789

PO Box 187, East Brunswick VIC 3057

Tel: +61 439 885 754 www.austa.asn.au

Patrons

Simon Fischer

Barry Green

Donald Hazelwood OBE, AO

Eduard Melkus

Elizabeth Morgan AM

Graham Wood OAM

Patricia Pollett

Robin Wilson

Howard Penny

Past Patrons

John Curro AM, MBE

Frank Callaway AO, CMG, OBE

Richard Gill AO

Yehudi Menuhin, OM, KBE

Sheila Nelson

Robert Pikler OBE

William Primrose CBE

Max Rostal

Jan Sedivka AM

Board of Directors

National President

James de Rozario president@austa.asn.au

National Secretary

Cara Taggart secretary@austa.asn.au

National Treasurer

Lubino Fernandes austatreasurer@austa.asn.au

ACT

Louise Butler act@austa.asn.au

NSW

Victoria Jacono-Gilmovich nswpresident@austa.asn.au

QLD

Melissa Dineen qld@austa.asn.au SA

Samantha Raftery sapresident@austa.asn.au

TAS

Mission Statement

AUSTA is an association of teachers, players and makers of bowed string instruments which promotes excellence in all aspects of performance, teaching, composing, conducting and string instrument making. AUSTA inspires and supports the string community and facilitates communication at local, national and international levels.

Administration

National Treasurer

Lubino Fernandes austatreasurer@austa.asn.au

National Administrator

Emily Dittman admin@austa.asn.au

National Accounts

Gina De Francesco accounts@austa.asn.au

Social Media

Catherine Hughes socialmedia@austa.asn.au

International Tour Director

Stephen Chin chin@everythingstring.com

Accountant

Saward Dawson Accountants

Auditor

McLean Delmo Bentleys

Stringendo

Publications Manager

James de Rozario publicationsmanager@austa.asn.au

National Journal Editor

Susan Pierotti stringendo@austa.asn.au

National Reviews Editor

Mary Nemet reviews@austa.asn.au

National Advertising Manager

Adele Gibson advertising@austa.asn.au

Design

LBB Design

Tel: 0403 065 496 louise@bodal.com.au

Editorial

Stringendo is the national journal of the Australian Strings Association Ltd and is published twice a year by the Australian Strings Association Ltd.

David Sanzone dsviolinist@gmail.com

VIC

Hamish Paterson austavicpresident@austa.asn.au

WA

Helen Tuckey wapresident@austa.asn.au

National Consultancy Committee

Philip Carrington p.carrington@austa.asn.au

Loreta Fin l.fin@austa.asn.au

John Quaine j.quaine@austa.asn.au

Elizabeth Morgan AM e.morgan@austa.asn.au

Gwyn Roberts g.roberts@ austa.asn.au

Stephen Chin s.chin@ austa.asn.au

Andrew Patrick a.patrick@ austa.asn.au

Helen Tuckey wapresident@austa.asn.au

It reflects and represents the objectives outlined in the Memorandum and Articles of the Association. It is not the intention of Stringendo to promote any particular person or product. The ideas and opinions expressed in this journal are not necessarily those of AUSTA. Permission to reprint articles from this journal must be obtained in writing and the proper credit given.

April Issue 2023

Contribution Deadline: 6 January 2023

Advertising Deadline: 20 January 2023

Contributors and advertisers, please enter these dates in your Forward Planner now.