|James Wannan (viola d’amore), Argonaut Ensemble, Decadent Purity, BIFEM 2016|
Jason Taverner Photography
Bendigo’s Ulumbarra Theatre, a converted jail, may soon be home to BIFEM’s resident Argonaut ensemble on a more permanent basis. At Friday night’s opening concert Seeing Double, Bendigo festival founder and featured composer David Chisholm waxed lyrical about the “criminal” lack of this kind of permanent new music infrastructure. “All criminals need to be brought to justice, and this is the jail where that can happen.” BIFEM’s opening double bill of double concerti showed us both the possibilities and temptations of that infrastructure, embodied here by large, skilful instrumental forces and consummate soloists and conductors; a veritable toybox for two precocious postmodernists.
Jack Symonds, Decadent Purity
Jack Symonds’ Decadent Purity is a work that attempts to blend quite disparate elements. At the outset a cloud of high harmonics hovers over a stop-start grumble of double bass and contrabass clarinet, opening up a chasm of registral space and spectral colour. The two solo instruments, too, carve opposing roles; the viola d’amore draws out its long line against percussive exclamation marks: elaborated argument against decisive punctuation. The first of seven movements also sets out another more uncomfortable dichotomy: two harmonic worlds in combat. A sturdy neo-Baroque tonality, reminiscent of Arvo Pärt’s Fratres, is pitted against the subtle slippage and inflection of microtones and textural nuance. It’s a promising collision.
Both soloists hold the drama of the work in their phrasing and movements. James Wannan sways on tiptoe, his viola d’amore an ornate, many-stringed creature of clear resonance and line, making the most of the acoustic at the front of the Ulumbarra Theatre stage. Wannan’s approach embodies the decadent purity of the title, imbuing Baroque details with a rich, almost Romantic sensibility. Percussionist Kaylie Melville moves with a pixie swagger, each entry dashed off with a cutting, almost sardonic precision. But her role for the most part remains one of commentary and fleeting gesture, unable to enter the harmonic and melodic realms that form the bulkhead of the work.
As captivating as the soloists were to watch and listen to, the dramaturgy and flow of the work itself at times seemed forced, imposed from above rather than extrapolated from the rich materials already at play. You couldn’t help but be seduced by sighing herds of ascending or descending microtones, but these remained as fixed objects rather than catalysts for generating gesture. The restraint and sensitivity of more spacious sections (for example the penultimate movement with its slow-moving scales) was several times undercut by overtly dramatic tropes. High-energy toccatas recurred throughout the work, most forcefully in the final movement where the marimba propelled us, no, forced us, towards cadential release.
The attractiveness of Symonds’ work is undeniable, but the promise of that initial collision of soloists, ensemble and the stylistic strains of both Baroque and modernist Avant-Garde is ultimately unfulfilled.
|Argonaut Ensemble, Harp Guitar Double Concerto, BIFEM 2016|
Jason Taverner Photography
David Chisholm, Harp Guitar Double Concerto
David Chisholm’s Harp Guitar Double Concerto seemed a more natural and less masochistic pairing than viola d’amore and percussion: here were two forces of equal dynamism and resonance. A striking, hard-edged opening hints at the diverse gestural possibilities of those two soloists. Rapid pinball glissandi in the brittle high reaches of the harp answer a deep upward sweep in the guitar.
Like a flickbook, the opening cuts rapidly from gesture to gesture, often blurring in the orchestral maelstrom of an expanded Argonaut Ensemble. You get the sense that this is a kind of pastiche, but not of direct quotation, or even of particularly strong stylistic allusion. Occasionally more distinctive slivers poke through: swaggering muted brass recall Miles Davis, and later a frantic viola solo has echoes of Elliott Carter, a haywire cog spinning in the wrong machine. These are relatively rare moments, and you sense there might be a wealth of such detail hidden amid some ambitiously thick, even clumpy textures. These aren’t helped by an acoustic that throw the soloists into relief at the front of the stage, while damping the intricacies beyond the proscenium arch.
For much of the work, the action continues in postmodern pile-up fashion, impulsive, rather than linear, time hammered out ecstatically. For a time, this was immersive, like those pools of plastic balls you used to get at some adventurous fast food chain playgrounds, a liquid made of solid objects. But as the piece progressed there was a more and more present feeling that these gestures, constrained as they were in a four-square metric scheme, rarely got beyond fragments. You have to say too that the obvious talents of conductor Maxime Pascal were utilised sparingly with so much martial time-keeping. However within the relatively square metric scheme, Pascal was able to draw out a range of bold shapes and colours from the ensemble.
It wasn’t until the fluid, effortless harp cadenza, a dazzling display of delicacy both from Chisholm and from harp soloist Jessica Fotinos, that we glimpsed an interior alternative to the glitzy, pluralistic mass offered by the front half of the work. Even though, like the rest of the piece, it might have benefited from more space and breath, the finely crafted but rather lengthy cadenza allowed us to pivot towards lyricism and fragility. Out of the cadenza came a positively decadent cor anglais duo from Jasper Ly and Benjamin Opie, foreshadowing their oboe heroics at the exquisite, abrupt ending. In turn the cor anglais led us tag-team into a nostalgic, washed-out kind of texture, strings fluttering between solid pitches and combinations of ethereal partials.
The guitar soloist, Mauricio Carrasco, also had a chance to show off his solo chops, delivering both sheer brutality and lyrical nuance in a much shorter but no less impactful cadenza. In fact, it contained to my mind the evening’s most sensitive, fantastical moment. Out of the resonance of guitar harmonics came a delicate veil of sound, initially difficult to place but revealed as a falsetto vocal hum from Fotinos across the stage. The harmonics and falsetto continued, a true interior world, almost haunting in a fragile continuity against the flamboyance of what had come before. After a brief and brutal swansong in the guitar, we returned to that interior, but more confidently, as if a fresh discovery had been made. Over a breathy mass of sustained string harmonics, the oboes asserted this new, insistent lyricism: at the very end, a way forward.
Bendigo International Festival of Exploratory Music 2016: Seeing Double: Decadent Purity, composer Jack Symonds; Harp Guitar Double Concerto, composer David Chisholm. The Argonaut Ensemble; Ulumbarra Theatre, Bendigo, 2 Sept
One of New Zealand’s leading young composers, Alex Taylor is a multi-instrumentalist, poet, critic, lecturer and blogger (The Listener). He teaches at the University of Auckland and is currently writing an opera based on David Herkt’s The Last Delirium of Arthur Rimbaud.
Alex Taylor was a participant in the 2016 BIFEM Music Writers’ Workshop for five emerging reviewers, conducted by Matthew Lorenzon, whose blog Partial Durations is a joint project with RealTime, and Keith Gallasch and Virginia Baxter, Managing Editors of RealTime.
RealTime issue #134 Aug-Sept 2016 pg.
© Alex Taylor; for permission to reproduce apply to firstname.lastname@example.org