Bendigo Chamber Music Festival | Day 5
9 February, 2025, Bendigo, VIC
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Sunday 11.00am Capital Theatre
Mozart – Horn Quintet in E flat major K.407 (Peter, Natsuko, Justin, Tobi, Howard)
Chopin – Nocturne op 27 no 1 (Ignas)
Prokofiev Romeo and Juliet op 75 (Daniel)
Friar Laurence
Dance of the girls with lilies
Romeo and Juliet before parting
Ellington arr. Schiff – Clarinet Lament
Cox – Frozen Pillies
Gershwin – Blues from An American in Paris (Lloyd Daniel)
Mozart – Concert Aria K. 505a (Alexandra, Louisa, Tutti)
Beginning the concert, Peter joked with the people in the front seats whether they paid more (or less) for their seats. He explained that he had to release a lot of fluids from the horn at regular intervals. For me the Mozart andante was a standout amidst excellent playing of the whole quintet. The andante had a timeless calm which supported feelings of floating through the whole movement which was followed by an easy jollity in the final rondeau.
A welcome extra item to this programme was the Chopin Nocturne opus 27 no1 with Ignas’ signature sensitive touch and musical integrity. After this, two pieces performed by Charlotte and Daniel by Tedesco were added as well. Sea-Murmers arranged for violin and piano by Jascha Heifetz and another piece the name I did not quite catch were performed with the mute which rather made me think of the haunting sounds of the Armenian instrument the Duduk. These were highly evocative pieces in the quiet moment we were treated to.
Daniel followed with the Prokofiev pieces and chose three of the quieter more introspective of the ten movements arranged by Prokofiev from the orchestral work. This beautifully continued the atmospheric calm created by the previous items. Demands for the pianist are considerable in these subtle pieces with elements such as the contrasting and simultaneous touches of legato and detached or staccato being executed with extraordinary and convincing handling of the texture.
Moving with a complete change to the jazz influenced world Lloyd and Daniel gave three perfect renditions of pieces arranged for clarinet and piano. we saw Daniel in a new light with his extended jazz solo in the second piece as well as a suitably impressive glissando in the last piece which also ended in what I think was a very high “C” for the clarinet.
The Mozart Concert Aria piece was possibly a farewell to the soprano Nancy Storace in Vienna in 1787 and has an obbligato piano part making the piece partly similar to a piano concerto. As such it was a fitting end to the whole festival with Alexandra displaying her stunning vocal range and technique. Featuring Louisa on the piano we had two brilliant soloists in amongst the “full” orchestra. With the winds taking a prominent section, no one was forgotten! At times it also was redolent of a trio sonata with piano and soprano as soloists and the strings providing the “continuo”. Starting with recitative it continues with an extensive aria followed by a rondo which culminates in coloratura passages and a glorious ending. It couldn’t have been a better finale for the festival.
“you really should go”
If you want a holiday in a regional area with high quality classical music you really should go to Bendigo in early February. Situated in the heart of Bendigo and centred around the Capital Theatre, the Art Gallery is next door, there are a number of exquisite shops with delightful (and expensive) artefacts and the lush botanical gardens are at the back to keep your steps up or simply to enjoy a shady picnic in. Take your bathers and swim in the pool nearby.
The standard of all the performers was very high and their professionalism in mixing and matching with the other performers, some of whom they met for the first time, and producing wonderful results was second to nothing. With no programme notes beyond the listing of the pieces the performers introduced the pieces and their backgrounds giving valuable and well-chosen insights to the pieces. The philosophy of working together with all levels and inclusion of local musicians is a commendable and positive move in a festival like this. Programming was clearly to produce variety and mix well-known with quite obscure gems and forgotten masterpieces.
Sadly, I did not see many younger people in the almost capacity audiences (even the masterclass was well attended) and would hope that this changes. I myself invited an 18-year-old student of mine to the first three events on Saturday and the three wildly different events were a complete revelation to her.
The acoustics were variable in the venues and most satisfying with their resonant sound, were the renovated gaol, Ulumbarra Theatre, and the Beehive originally a Mining exchange built in 1872 with brokers on the first floor and then sold to Allans music in 1927 who created art deco shop fronts. The Forest St Uniting Church was also quite satisfactory especially from the gallery at the front. Staff on the doors were volunteers and staff from the Bendigo City Council and all were very helpful friendly and accommodating. My congratulations to the hard work and first-class vision of the festival directors Chris and Howard and their team.
The 2026 dates have been set already so visit, https://bendigochambermusicfestival.com.au/
Read more reviews from Bendigo Chamber Music Festival:
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WEDNESDAY + THURSDAY concerts >>
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