It’s been a long overdue meeting of minds, the marvellous Sydney Symphony paired for the first time with Australian Recorder Virtuoso Genevieve Lacey. Directed from the Violin by Concertmaster Andrew Haveron, they performed at Sydney’s City Recital Hall in Angel Place in a program titled “Labyrinths of Time”. The program consisted of a widely diverse range of works from the 1400s up to a contemporary World Premiere.
Lacey arrived on stage in a metallic mix of copper and bronze clothing which offset her red hair. The skirt seemed to almost exactly match the wood of the surrounding string instruments creating a visually cohesive ensemble.
The concert opened with a Montage created by Australian composer Erkki Veltheim. He created a reworked mix of tunes from the original mid 1600’s publications collectively called “The English Dancing Master or, Plaine and Easie Rules for the Dancing of Country Dances.” This series had been published by John Playford and sold in The City of London at the time. Veltheim’s rework must have taken a huge amount of research and is titled “A Playford Maze”. The outline gives the feeling you are walking through a maze and, at each turn or corner where you look, there is a different country tune. It began with a country jig filled with joy, droning cellos and skipping rhythms. Lacey’s mastery was on display as she flew over her descant recorder. The musicians, particularly Haveron, looked like they were having a great time too.
The montage moved through sea shanties and other simple dance tunes within an updated setting. An interlude temporarily ceased the dance rhythms and became completely contemporary as if lost in the maze. Lacey used a sopranino recorder to make bird song. Then, as if finding their way again, descant recorder and ensemble jumped back on the dance wagon to take it through to the end.
Moving back in time to the oldest piece in the program, Lacey left the stage, Haveron conducted and Fiona Ziegler took the Concertmaster’s position with some wonderful lead playing. “Chansons” was written in the 1400’s by Gilles Binchois and has been arranged by contemporary composer Lisa Illean. The work was truely soulful, beautifully supported by the sensitive playing of Benjamin Ward on double bass.
Three modern pieces followed. “Prelude” by Tom Coult loosely based on music by the Sainte-Colombe family who made viola da gamba instruments in the late 1600s. “Swellsong” by Lisa Illean worked around a text from the Song of Songs featuring a simple base recorder line from Lacey and the ensemble backed by pre-recorded sound. “Entr’acte” by Caroline Shaw was originally commissioned by the Boston Chamber Orchestra “A Far Cry” in 2014.
Each presented soundscapes, sometimes some pizzicato, sometimes a feeling of anxiety, sometimes the violins playing so quietly the notes disappeared and they were just scratching the bow over the strings. The highlight was excellent solo work by principal cellist Catherine Hewgill. Composer Lisa Illean was on hand for the acknowledgement of the world premiere of her work.
Lacey returned for the highlight of the evening. A Recorder Concerto by Giuseppe Sammartini from the early 1700s. The work expounded pure happiness, form and order; very similar to Vivaldi and highlighted more of Lacey’s incredible technique and musicality. Just divine.
Following was “Shanty – Over the Sea”, a modern interpretation by English composer Thomas Adès. Shanties were used by sailors to make laborious work more interesting (think about American gaol birds working on railroads or highways using song in the same way). They were also used to break out, have fun, keep fit and celebrate with a tot of rum. Adès version was like a nightmare music box. In his own words, very mechanical, ruled by a “petty captain” and stirring up mutiny. It was a big contrast to the previous work of Sammartini.
The final work “Nose-Scrunch Reel” by Alice Chance, launched with a strong chord from the ensemble and Lacey walking on stage playing a Celtic folk tune, very light and fun, much to the delight of the audience. Designed as an Encore for the Australian String Quartet, it’s tricky, fast and a little crazy. The perfect way to finish the evening. The audience gave generous applause and several curtain calls for Lacey.
It was a curious, contrasting program. Certainly unique in its offering and a delightful chance, as always, to enjoy the incredible playing of Genevieve Lacey.
Program
ERKKI VELTHEIM- A Playford Maze – Montage from “The Dancing Master”
GILLE BINCHOIS (c.1400-1460) arr. ILLEAN – Chansons
TOM COULT- Prelude (after Monsieur de Saint-Columbe)
LISA ILLEAN – Swelling. World Premiere.
CAROLINE SHAW – Entr’acte
GIUSEPPE SAMMARTINI (c.1695-c.1750) – Recorder Concerto in F
THOMAS ADÈS – Shanty – Over the Sea
ALICE CHANCE – Nose-scrunch Reel
Performers
Concertmaster: Andrew Haveron
Recorder Soloist: Genevieve Lacey
First violins: Fiona Ziegler, Jennifer Booth, Sophie Cole, Alexander Norton
Second violins: Emma Jezek, Monique Irik, Wendy Kong, Bejamin Li, Rikka Sintonen
Violas: Justin Williams, Rosemary Curtin, Stuart Johnston
Cellos: Catherine Hewgill, Fenella Gill, Adrian Wallis
Double Bass: Benjamin Ward
Keyboard: Neal Peres da Costa
Theorbo: Simon Martyn-Ellis
Related Links
More about Genevieve Lacey Concert Recorder soloist: https://genevievelacey.com/profile/
More about Sydney Symphony: https://www.sydneysymphony.com/
What else is on at City Recital Hall? https://www.cityrecitalhall.com/whats-on/
