Saturday, 12 December 2009, 8 pm
Xavier College Chapel, Barkers Road, Kew

Subscription Concert 5

After two Venetian Christmas celebrations we return to our High Renaissance fare. Three years ago we performed Mouton’s Christmas motet Quaeramus cum pastoribus along with Morales’ Mass based upon it. This time we are singing another Mass based on the same motet, that by Mouton’s star pupil Adrian Willaert. The program is completed by a selection of motets by one of Gombert’s greatest contemporaries, the prolific but mysteriously named Clemens non Papa.

PROGRAM

Jean Mouton Nesciens mater
Jean Mouton Noe, noe, noe, psallite
Jean Mouton Illuminare, illuminare Jesusalem
Clemens non Papa O magnum mysterium
Clemens non Papa Pastores quidnam vidistis
Clemens non Papa Vox in Rama
Clemens non Papa Ab oriente venerunt magi
Clemens non Papa Videte miraculum
Jean Mouton Quaeramus cum pastoribus
Adrian Willaert Missa Quaeramus cum pastoribus

REVIEW

Monday, 14 December 2009, The Age [Melbourne], page 14
Polyphonic Christmas splendour
Clive O’Connell

Melbournes finest choir took little time to weave an impressive fabric of a cappella polyphonic
splendour on Saturday evening. In a program that confined itself to Renaissance music written for Christmas
Day, the Feast of the Holy Innocents and the Epiphany, John O’Donnell’s 16 singers began with a work of
sumptuous amplitude, Jean Mouton’s 8-part Nesciens mater, in which they established a rolling richness of
deep colour that illustrated the paradox of the Nativity’s domestic simplicity expressed in music of
extraordinary complexity and eloquence.
Keeping to a simple format, the Gomberts followed three Mouton motets with four works in the same form
by Clemens non Papa.
Here also, the set’s opening established a radiant placidity as the familiar text of O magnum mysterium was
amplified to include acclamations of Christ’s birth scene, each half of the motet concluding with a powerfully
moving Nowell: moments when the composer’s expressive assurance found splendid realisation, thanks to
these gifted interpreters.
In the night’s second part, O’Donnell revisited Mouton with the still harmonically surprising Quaeramus cum
pastoribus, followed by Willaert’s Mass based on his teacher’s motet.
The Flemish composer’s lucid textures came in for dramatic treatment, O’Donnell and his choir bringing an
urgency of pulse to this work’s various parts with an occasional reduction to limpid two- and three-line
textures before the burnished glory of the final Agnus Dei gave a muted reflection of the program’s opening.
Once again, this group of well-matched voices enriched the festive season with musical performances of high
quality.
Clive O’Connell/Courtesy of The Age

Tour Concert
Memorial Church, Stanford Univeristy, California, USA
22 September 2009

Josquin Desprez – Inviolata, integra, et casta es Maria
Jean Mouton – Quis dabit oculis nostris
Nicolas Gombert – Hodie nobis caelorum Rex
Thomas Tallis – Loquebantur variis linguis
Clemens non Papa – O magnum mysterium
Morten Lauridsen – O magnum mysterium
Elliott Carter – Musicians wrestle everywhere
Vaughan McAlley – In principio erat verbum
Peter Campbell – Sunrise on the Coast
J.S. Bach – Jesu, meine Freude

REVIEW

“Ensemble Gombert’s Crystalline Polyphony”
Joseph Sargent
San Francisco Classical Voice, 22 Sep. 2009

Some early music ensembles approach the performance of Renaissance polyphony as if it were fine crystal: beautiful, but delicate, a fragile object not to be unduly disturbed. Like crystal, the music can occasionally shimmer and reveal prisms of color when viewed through different angles, but it remains a static object, more a museum piece than a kinetic construct. This analogy aptly summarizes the experience of hearing Ensemble Gombert, a 14-voice chamber choir from Australia specializing in High Renaissance polyphony. Under the direction of John O’Donnell, the group’s performance Tuesday at Stanford University’s Memorial Church showcased some fine vocal qualities and several flashes of light, but often without truly taking flight.

O’Donnell cultivates a warm sound from his singers, refined and a little thin, with some dark hues especially in the women’s voices. It’s finely blended within the sections and generally well balanced, though a stronger alto presence would be welcome at times. At its best the group conveys a highly appealing purity of sound, but other times the effect is of immobility, a feature abetted by O’Donnell’s rigid conducting style.

The evening’s repertory choices fell mostly along two strands: Renaissance sacred polyphony and modern choral works. The differences in approach were often palpable, as evidenced by two pieces of different eras but bearing the same title. The Christmas motet O magnum mysterium (O great mystery) of Jacob Clemens non Papa was elegant, careful, and regular to the point of being foursquare. Repeated iterations of the text “Noe” revealed Ensemble Gombert’s capacity for detailed nuance and left you wanting for more of such gestures. Morten Lauridsen’s O magnum mysterium, in contrast, carried a dramatic arc from solemn opening phrases to a dramatic, thrilling close, marred only by some imprecise attacks along the way.

In Josquin Desprez’ Inviolata, integra, et casta es Maria (Inviolate, pure, and chaste art thou, O Mary) the group’s dark-tinged sound suitably matched the beseeching nature of the text, though a firmer sense of forward motion might have enlivened the plangent closing pleas “O benigna! O Regina! O Maria!” (O generous one! O Queen! O Mary!). A similar pallor lies over Jean Mouton’s Quis dabit oculis nostris (Who will give our eyes [a fountain of tears]), a lament upon the death of Queen Anne of Brittany. Here the ensemble displayed more-pleasing contrasts, from the pristine opening lines to graceful texture alternations between the upper and lower voices.

With the joyful message of Nicolas Gombert’s Hodie nobis caelorum Rex (This day hath the King of heaven [deigned to be born]) the ensemble gathered energy, proclaiming the words with greater vigor and confidently handling the shifting metrical figurations that close each of the work’s two sections. In Thomas Tallis’ responsory Loquebantur variis linguis ([The apostles] were speaking in different tongues), more could have been made of the contrast between the tenor’s fixed declamation of chant and the meandering polyphony surrounding it.

Elliott Carter’s Musicians wrestle everywhere, set to a poem by Emily Dickinson, is a higgledy-piggledy mixture of contrapuntal melodies, texture shifts, and stark declamations. The group ably negotiated the piece’s rapid-fire shifts and dissonant harmonies. Works by two of Ensemble Gombert’s own tenors further enlivened the program. Vaughan McAlley’s In principio erat verbum (In the beginning was the Word), composed in a Renaissance idiom, infused excitement through contrasting sections of counterpoint, solemn homophony, and a sprightly closing declaration of glory. Peter Campbell’s Sunrise on the Coast conveyed a more impressionist feel, the opening bursts of blowing wind yielding to a panoply of shifting styles and moods, with an interior fugue for good measure.

As a closer, J.S. Bach’s masterful funeral motet Jesu, meine Freude affords opportunities for all manner of expression: lively choruses, contemplative trios, stately chorales, and a brisk central double fugue. The ensemble easily handled each movement’s technical challenges and displayed a pleasing range of moods from quiet introspection to vigorous exhortation, which could have been further enhanced through greater dynamic and rhythmic energy.

Joseph Sargent holds a Ph.D. in musicology from Stanford University and teaches at the University of San Francisco.

Saturday, 12 September 2009, 8 pm
Xavier College Chapel, Barkers Road, Kew

Subscription Concert 3

With Barber, Carter and Lauridsen we make our first foray into American music. Barber’s wonderful 1938 setting of Gerard Manley Hopkins’ God’s Grandeur naturally invites comparison with Kenneth Leighton’s 1957 setting of the same poem, while Britten’s Hymn to St. Cecilia has been a long-standing request. The second half of the program features works by members of Ensemble Gombert, past and present.

PROGRAM

Elliott Carter Musicians Wrestle Everywhere
Morten Lauridsen O magnum mysterium
Samuel Barber God’s Grandeur
Kenneth Leighton God’s Grandeur
Benjamin Britten Hymn to St Cecilia
Peter Campbell Sunrise on the Coast [World première]
Vaughan McAlley In principio erat verbum [World première]
Vaughan McAlley Veritas de terra orta est [World première]
Calvin Bowman Missa Vexilla regis [World première] *

* Writing of this work was assisted by the Australian Government through the Australia Council.

REVIEW

Monday, 14 September 2009, The Age [Melbourne], page 14.
New is old as exemplary choir sings premieres
Clive O’Connell

It all depends on what you mean by “our time”, but the most recently written segments of the Ensemble
Gombert’s latest subscription recital sounded noticeably old-fashioned, if not antique.
After offering a small selection of American and British works, John O’Donnell and his exemplary choir sang
world premieres of short pieces by two of the Gombert tenor personnel.
First was Peter Campbell’s staid, only slightly adventurous Sunrise on the Coast, a setting of an A. B.
Paterson lyric; then came Vaughan McAlley’s responses to two Latin liturgical texts written in a vocabulary
recalling Renaissance masters and the Gabrielis’ Venice.
Calvin Bowman’s new Missa Vexilla regis uses parts of the eponymous plainchant and moves rapidly
through the familiar texts with a pleasure in candid sonorities, spiced by unexpected sideways harmonic
moves. Like his Australian colleagues on this night, Bowman avoids grinding dissonances, making this new
mass easy to assimilate.
The most contemporary-sounding music came in centenarian Elliott Carter’s Musicians Wrestle Everywhere,
a bristling 1945 mesh of polyphonic devices, against which Britten’s almost contemporary Hymn to St Cecilia
sounded tame, if rather rushed in this performance.
But the most affecting music-making emerged during two juxtaposed settings of the Hopkins sonnet God’s
Grandeur by Samuel Barber and Kenneth Leighton: similar but individual, sung with evenly spread
accomplishment right through to their spell-binding final bars.
Clive O’Connell/Courtesy of The Age