Tag Archive: Australian Brandenburg Choir

The Australian Brandenburg Orchestra’s All Mozart Program Including the C Minor Mass in Sydney

Mozarts Geburtshaus. Photo by Marion Kalter.

Since the resurrection of certain large and important Mozart works, Idomeneo being the main example which only came back to theatres and concert halls again around 60 years ago, much of his sacred music remains unsung or at least rarely heard. The Requiem mass, the C minor mass, the Coronation mass, Ave verum corpus are more or less ubiquitous, and do deserve many hearings. There are certain others a little less often heard, but there remain very many masses, mainly short youthful ones, litanies and fragments, starting from Mozart’s childhood in the late 1760’s through the ’70’s, with many fewer in the ’80’s when he was writing his finest operas. These sacred pieces, as well as the church sonatas which are thought to have been played as part of some of the masses, and also I might add Mozart’s ceremonial masonic music which also has a particularly strong and direct metaphysical sense (though masonic music has its own peculiar style), approach the universe in a very Mozartean way, surprisingly similar to his secular music, even though they respond to different texts or purposes. These sacred pieces’ clear dramatic sense makes them well suited to the concert hall, even if they can loose some of their gravity in the more modern workaday venues. Still they aren’t operas and obviously the separate religious importance matters greatly whatever the occasion which sees them played, even if both Mozart’s sacred choral and secular music span human existence with such deep and sensitive empathy. Mozart’s thoughts and music-making about the divine are al the more powerful when one considers that though he wrote less sacred music in the 1780’s, at the same time (or at the latest by 1790), he greatly desired the job of St. Stephen’s cathedral composer, to the point of volunteering to assist the aging incumbent.

Christmas Music As It Was Meant to Be: Noël! Noël! with the Australian Brandenburg Orchestra

Carlo Braccesco. Detail of Annunciation, part of a triptych. Fourth quarter 15th century. Tempera, oil on poplar board. 52 x 105 cm. Musée du Louvre.

The stuff of music is not stuff. Music’s physical presence, like dance’s too, is gone forever almost as soon as it is played. As Christmas and the planet Earth become more and more burdened with stuff, permanent stuff at that — at least permanently in the landfill — and people seemingly more and more frantic that they’re not spending enough money, you can feel more and more by contrast how music had to have such an enormous part of the festival. To fill an honest need of another person you love is another thing, but even if there is a physical thing involved, it is not the thing itself but the love to which the thing is a mere shadow and the mutually filled need itself. Carpeting one’s wants and feelings of insufficiency with stuff will always miss.

The Australian Brandenburg Orchestra Plays Johann Sebastian Bach and His Contemporaries

Paul Dyer says he sees playing Johann Sebastian Bach as the “ultimate experience for a musician,” rightfully so, the same goes for a listener too, and in naming his orchestra after the most famous of Bach’s instrumental works, he puts his money where his mouth is, but more importantly so in the fine, detailed playing, expressiveness and unforced enthusiasm, which show much care and thought in the preparation of this program. Sydney perhaps is not and never claimed to be a great Bach town, but either way, as a lover of his music, I can feel sorely deprived of him, despite the odd performance on period instruments or otherwise over the last two years. So it felt like a parched walker coming upon a water-hole to hear a program where the whole first half was devoted to Bach and the rest to contemporary (with a small ‘c’) music. The ABO has pulled out many of the stops (within reason), assembling a larger-than-usual group of 10 violins, four violas, three cellos, one bass, two flutes, three oboes, one bassoon, two horns, three trumpets, theorbo, timpani, organ and harpsichord, as well as a choir of about 35, though of course not all of these for all pieces.

A Christmas Australis with Real Music with the Australian Brandenburg Orchestra and Choir

Having grown up in the northern hemisphere, the winter Christmas is ingrained in me, but the event is fundamentally connected to mid-winter. The pagan winter solstice festival with its strong connection to nature, namely the Sun, a celebration of the days starting to lengthen and a new year beginning, is tied to Christmas as the scriptural imagery is compatible with the older ritual’s. Zeus, Dionysus, Apollo, and Mithras are all also alleged to have been born on the (northern) winter solstice and St. Chrysostom said of the timing of the Nativity in the 4th Century ‘while the heathen were busied with their profane rites the Christians might perform their holy ones without disturbance’ but also thought it a suitable birthday for the ‘Sun of Righteousness.’[1] In that sense it naturally and intuitively doesn’t feel like the right festival for the southern hemisphere’s summer solstice. So unique traditions evolve here and the more appealing ones are strongly connected to nature — spending all your time outside enjoying the long daylight while it lasts, roses blooming, surfing, eating seafood, fresh fruit, especially cherries, etc. —, but still are colored by the northern traditions. With his Australian Brandenburg Orchestra, Sydney’s main squeeze for Baroque music and period instrument lovers, Paul Dyer provides the best music for this austral summer solstice Christmas, music which makes natural and festive sense. It is very serious, ‘scholarly’ music, but with the artistic spirit of the Baroque steeping it, it has a bright festive sunny quality too, especially in the style of their playing. Dyer has assembled a varied program of traditional carols played very thoughtfully, Spanish popular music from the 16th Century, late Baroque instrumental music and early Baroque motets and more recently composed pieces. Somehow Dyer’s enthusiasm, sense of occasion and serious-festive-art approach to music allows all this to hang together comfortably.