Category: Concerts

Mozart Exultate Jubilate & Haydn Harmoniemesse (2014)

Sunday, 19 January 2014, 8 pm
St Patrick’s Cathedral, Ballarat

Organs of the Ballarat Goldfields Festival
Closing recital

PROGRAM

Wolfgang Amadeus Mozart Exultate Jubilate
Joseph Haydn Harmoniemesse

SOPRANO ALTO TENOR BASS
Deborah Summerbell Yi Wen Chin Peter Campbell Andrew Murray
Carol Veldhoven Kathryn Pisani Tim Van Nooten Thomas Bland
Katherine Norman Niki Ebacioni Vaughan McAlley Mike Ormerod
Maria Pisani Rachel Martin Stuart Tennant Tim Daly
Sarah Harris Thomas Bell
Claerwen Jones

—
Jacqueline Porter, soprano
Lotte Betts-Dean, alto
Daniel Thomson, tenor
Michael Leighton-Jones, bass

Accademia Arcadia – conducted by John O’Donnell.

Violin 1 Viola Oboe French Horn
Davide Monti John Quaine Michael Pisani Tom Campbell
Briar Goessi Heather Lloyd Adam Masters Tobin Frost
Simone Slattery Cello Clarinet Trumpet
Chris Ruiter Edwina Cordingley Ashley Sutherland Tristram Williams
Violin 2 Josephine Vains Jodie Upton Tristan Rebien
Lucinda Moon Violone Bassoon
Elizabeth Welsh Ruth Wilkinson Simon Rickard Timpani
Jen Kirsner Flute Brock Imison Organ
Felicite Heine Greg Dikmans Jacqueline Ogeil

 

 

REVIEW

Tuesday, 21 Januart 2014, The Age [Melbourne], n.p.
Music review: Organs of the Ballarat Goldfields Festival
Clive O’Connell

Mozart and Haydn
Organs of the Ballarat Goldfields Festival
St Patrick’s Cathedral
January 19

Held under more pleasant climatic conditions than the initial concert from Newman College’s Choir and La Compania, the Ballarat festival’s finale gained from its compact content – an early Mozart motet and Haydn’s last Mass – and the participation of several singers and instrumentalists of unquestionable talent.

John O’Donnell conducted both works, soprano Jacqueline Porter making inroads on the demands of Exsultate, jubilate, before heading a quartet of excellent soloists for the Harmoniemesse, O’Donnell’s Ensemble Gombert doing the work’s hard yards. For reasons of acoustic balance, I suppose, the orchestral forces were stationed well forward, all strings situated in front of the altar steps while the wind and brass choirs sat behind.

For the motet, Porter sang from the far side of the church from my seat so parts of her work were muffled. Porter made a more positive impact in the Mass, especially in partnership with alto Lotte Betts-Dean. One of the stars of the opening concert, Daniel Thomson brought his reliable tenor to the mix, bass Michael Leighton Jones a compelling presence as well. Sadly, the fine Gombert personnel were often eclipsed by the hefty wind corps in this work.
Clive O’Connell/Courtesy of The Age

Christmas Carols in the Garden (2013)

Saturday 14 December at 5 pm
Duneira, Mt Macedon

PROGRAM

King Jesus hath a garden
A Christmas Carol
Angels, from the realms of glory
Away in a manger
O little one sweet
The holly and the ivy
Zither Carol
Infant holy
Noël nouvelet
A un niño llorando
Riu, Riu, Chiu
A Christmas Carol
Rise up, shepherd, and follow
The Virgin Mary had a baby boy
Stille Nacht
We wish you a merry Christmas

–
SINGERS

Soprano
Deborah Summerbell
Carol Veldhoven
Maria Pisani
Kathryn Pisani		 Alto
Yi Wen Chin
Niki Ebacioni		 Tenor
Tim van Nooten
Vaughan McAlley
Stuart Tennant		 Bass
Andrew Murray
Thomas Bland
Thomas Baldwin
Mike Ormerod

Christmas to Candlemas: Old & New (2013)

Concert 5: Saturday 7 December at 8 pm
Xavier College Chapel, Barkers Rd, Kew

Subscription Concert 5

Due to illness, the planned concert of Jacobean music with viols and organ was postponed until 2014.

For their final concert for 2013, Ensemble Gombert’s Christmas to Candlemas concert also spans the centuries. Francis Poulenc completed his Four Motets for Christmas Time in 1952, and held them in very high regard amongst his choral pieces. They are also great favourites among choirs and audiences.

Ensemble Gombert, directed by John O’Donnell, presents each of Poulenc’s Christmas motets along with two Renaissance settings of the same text. Herbert Howells’ atmospheric Nunc dimittis also receives the same treatment. The Renaissance pieces include many perennial Ensemble Gombert favourites.

 

Program
Hodie Christus natus est Francis Poulenc (1899–1963)
Andrea Gabrieli (1532/3–1585)
Giovanni Bassano (1560/1–1617)
O magnum mysterium Francis Poulenc
Nicolas Gombert (c.1495-c.1560)
Clemens non Papa (1510/15–1555/6)
Quem vidistis, pastores? Francis Poulenc
Tomás Lis de Victoria (1548-1611)
Richard Dering (c.1580–1630)
Videntes stellam Francis Poulenc
Giovanni Pierluigi da Palestrina (1525–1594)
Orlande de Lassus (1532–1594)
Nunc dimittis Herbert Howells (1892–1983)
Costanzo Festa (c.1490–1545)
Giovanni Pierluigi da Palestrina

 

SINGERS

Soprano
Deborah Summerbell
Carol Veldhoven
Katherine Norman
Maria Pisani
Claerwen Jones
Kathryn Pisani		 Alto
Belinda Wong
Yi Wen Chin
Niki Ebacioni
Rebecca Collins		 Tenor
Peter Campbell
Tim van Nooten
Vaughan McAlley
Stuart Tennant		 Bass
Andrew Murray
Thomas Bland
Thomas Baldwin
Mike Ormerod

–

REVIEW

Monday, 9 December 2013, The Age [Melbourne], n.p.
Brandenburg and Gombert ensembles serve very different Christmas fare
Clive O’Connell

Noel Noel: Christmas To Candlemas
Australian Brandenburg Orchestra and Choir
Melbourne Recital Centre, December 7;
Ensemble Gombert
Xavier College Chapel, December 7

Just like last year, these two ensembles presented contrasting programs on the same evening. For a full Murdoch Hall, Paul Dyer and his Sydney visitors went for a stroll around and beyond the Christmas repertoire, the Brandenburg Choir at its best in firmly drawn versions of two Anglican favourites in Hosanna to the Son of David and Farrant’s Lord, For Thy Tender Mercy’s Sake, later showing more well-balanced ensemble in Silent Night with verses sung in German, Gaelic, Welsh and a reassuring English to finish, followed by a gutsy O Come, All Ye Faithful.

Christine Leonard’s saxophone reappeared, as clear-cut as last time, complemented by Matthew Manchester expertly alternating between cornetto, tin whistle, border pipe and the drone-like Hummelchen. The rest of the ABO ensemble comprised five strings, Tommie Anderson’s guitars, a chamber organ and some percussion, with Dyer hamming it up at the harpsichord. The vocal soloist, countertenor Maximilian Riebl, was exercised throughout. With a well-projected voice that still has much to learn about breath control and phrasing, Riebl led the Wexford Carol and Rolf Lovland’s Raise Your Voices!

Some aberrations crept in, like a camped-up Santa Baby and a glee-club White Christmas. But the reception was consistently warm.

John O’Donnell and his formidable ensemble chose five seasonal texts, then illustrated their interpretations by various composers. Poulenc’s Quatre motets and Herbert Howells’ Nunc dimittis opened each segment, followed by settings from notable Renaissance masters – Clemens non Papa, Victoria, Palestrina, Lassus and Gombert (naturally).

The modern works came over with considerable flair, as did some of the earlier-composer pieces, like Clemens’ haunting O Magnum Mysterium and Richard Dering’s concise Quem vidistis setting.

But the group’s vocal mix is less coherent than in previous years, not as emotionally transporting. An over-prominent tenor, ragged high soprano entries and an underpowered bass line distracted from the occasional flashes of glowing choral meshes that used to be consistent fare at these recitals.
Clive O’Connell/Courtesy of The Age

Vespers for the Feast of St Andrew (2013)

Saturday, 30 November 2013, at 4.30pm
Newman College Chapel, 887 Swanston Street, Parkville

Newman College 2013 Advent Festival

Australia’s leading Renaissance choir, Ensemble Gombert, performs a Vespers service featuring polyphonic music from the cathedrals of Italy and Spain for the Feast of St Andrew.

Director, organ: John O’Donnell

Program
Organ Prelude:
Intonazione del settimo tono
Domine ad adjuvandum
 Andrea Gabrieli (1532/3–1585)
Giovanni Giacomo Gastoldi (c.1554–1609)
Dixit Dominus septimi toni
 Giovanni Giacomo Gastoldi (c.1554–1609)
Laudate pueri octavi toni Claudio Monteverdi (1567–1643)
Credidi octavi toni Vincenzo Ruffo (c.1508–1587)
In convertendo octavi toni Anonymous faux-bourdons adapted by John O’Donnell
Domine probasti me octavi toni Costanzo Porta (1528/9–1601)
Intonazione del quarto tono Andrea Gabrieli
Hymnus: Exsultet orbis Gregorian chant with even-numbered verses as organ improvisations
Intonazione del primo tono Andrea Gabrieli
Magnificat a 6 primi toni Claudio Monteverdi
Organ Postlude:
Andreas Christi famulus  

 Cristóbal de Morales ( c.1500–1553)
Organ intabulation by John O’Donnell with soprano ostinato “Sancte Andrea, ora pro nobis”

SINGERS

SOPRANO ALTO TENOR BASS
Deborah Summerbell Belinda Wong Peter Campbell Andrew Murray
Carol Veldhoven Yi Wen Chin Daniel Thomson Thomas Bland
Katherine Norman Niki Ebacioni Vaughan McAlley Thomas Baldwin
Kathryn Pisani Rebecca Collins Stuart Tennant Mike Ormerod
Claerwen Jones

–

REVIEW

Wednesday, 4 December 2013, The Age [Melbourne], n.p.
2013 Advent Festival, Newman College
Clive O’Connell

2013 Advent Festival
Consort Of Melbourne,
Ensemble Gombert, Early Voices
Newman College
November 20 – December 1

For this pre-Christmas musical feast, artistic director Gary Ekkel and his Melbourne University college hosted many of Melbourne’s early music ensembles specialising in liturgical choral music.

Over two days, participants were invited to take up roles as the program observed the monastic offices – matins, terce, sext, none, vespers – interspersed with lectures on Gregorian chant singing and religious art alongside interludes from violinist Rachael Beesley and guitarist Slava Grigoryan.

For Catholics, the weekend’s content provided much gratification, Proustian recollections sparked by polyphonic choral music and enough sung Latin to make the Second Vatican Council seem like a bad dream. Each day, the fulcrum event came in a Mass: Saturday’s Feast of St Andrew bringing the Consort of Melbourne to centre-altar for Marc-Antoine Charpentier’s Assumpta est Maria setting of the Common, while observation of the first Sunday in Advent found Vivien Hamilton’s Early Voices singing the luminous Palestrina’s Missa Papae Marcelli, the work that allegedly legitimised contrapuntal writing for church ceremonies.

Using spartan resources – six singers, a string quartet, an organ – Ekkel produced a lean-textured, accurate reading of the Charpentier work with well-honed upper voices although the bass line sounded strained, the Credo a congenial, if long-winded, episode in a sequence that included Gregorian chant and motets by the French composer.

Later, the Ensemble Gombert sang the vespers but, without a program, I was unable to work out which composers were involved, although the general character suggested a late-Renaissance/early Baroque provenance.

The Palestrina Mass was given a straightforward account, even in temper and metre, Hamilton’s forces well served by the two tenor lines the work asks for and exercises heftily throughout.

But the main delight came in the music’s fluent, innate mastery, a reflection of the transcendent in contrast to the prosaic stolidity of the modern-day ritual itself.
Clive O’Connell/Courtesy of The Age

Forty-part Spectacular (2013)

Saturday 26 October at 8pm
The Dome, 333 Collins Street, Melbourne

In this special performance, John O’Donnell and Ensemble Gombert are joined by 20 guest singers to present Thomas Tallis’ famous 40-part motet Spem in alium “in the round” at The Dome at 333 Collins Street. The Dome was originally constructed in 1891 for the chambers of the Commercial Bank of Australia, and is a beautiful example of Victorian architecture in the Italian baroque style.

In addition, Ensemble Gombert proper will sing Missa Dum sacrum mysterium by the young Scotsman Robert Carver. This large-scale 10-part mass was probably first performed 500 years ago at the coronation of the Scottish King James V on the 21st of September 1513.

Finally Ensemble Gombert and guests will perform the world premiere of EG chorister Vaughan McAlley’s ambitious 40-part motet Omnes angeli. Composed over two and a half years, Omnes angeli evokes St John’s vision of angels singing in heaven from the Book of Revelation. Omnes angeli is, like Spem in alium, fully polyphonic, with every singer having a fully independent part throughout.

PROGRAM

Robert Carver Missa Dum Sacrum Mysterium a10
Thomas Tallis Spem in alium a40
Vaughan McAlley Omnes angeli a40

Singers in Carver’s Missa Dum sacrum mysterium are printed in italics.

SOPRANO
Hildy Essex
Sarah Harris
Claerwen Jones
Kate McBride
Megan Nelson
Katherine Norman
Maria Pisani
Carol Veldhoven		 ALTO
Yi Wen Chin
Rebecca Collins
Niki Ebacioni
Jenny Mathers
Kathryn Pisani
Katrina Renard
Leonie Tonkin
Belinda Wong		 TENOR
Peter Campbell
Tim Van Nooten
Andrew Raiskums
Ben Owen
Sam Qualtrough
Michael Stephens
Stuart Tennant
Matthew Thomson		 BARITONE
Richard Bolitho
Catherine Cowie
Will Cuningham
Robin Czuchnowski
Brian Johnson
Loclan MacKenzie-Spencer
Vaughan McAlley
John Weretka
Kim Worley 		BASS
Ross Abraham
David Brown
Josh McLeod
Andrew Murray
Mike Ormerod
Tom Reid
Julien Robinson
Jonathan Wallis

In memoriam Carlo Gesualdo (2013)

Concert 4: Saturday 7 September at 5.30 pm
Xavier College Chapel, Barkers Rd, Kew

Subscription Concert 4

In memoriam Carlo Gesualdo

Ave, Regina coelorum
Venit lumen tuum Jerusalem
Ave, dulcissima Maria
Reminiscere miserationum tuarum
Dignare me, laudare te
Sancti Spiritus Domine
Domine ne despicias
Hei mihi Domine
Laboravi in gemitu meo
Peccantem me quotidie
O vos omnes
Exaudi Deus deprecationem meam
Precibus et meritis beatae Mariae
O Crux benedicta
Tribularer si nescirem
Deus refugium et virtus
Tribulationem et dolorem
Illumina faciem tuam
Maria mater gratiae
Da pacem Domine
Assumpta est Maria

We have twice performed the complete Responsoria of Gesualdo, but never before have we dipped into his Sacrae Cantiones I, published in 1603. The work was published in two sections, the first containing motets for five voices, the second motets for six and seven voices. But, while all five part-books of the first section have come down to us, the second section is lacking two of its part-books (though the missing bass part-book is apparently in private ownership in Italy). Our program features all of the five-voice motets as well as two of the six-voice pieces; these last two items editorially completed.

SINGERS

Soprano
Deborah Summerbell
Carol Veldhoven
Maria Pisani
Claerwen Jones
Kathryn Pisani		 Alto
Belinda Wong
Yi Wen Chin
Niki Ebacioni
Rebecca Collins		 Tenor
Peter Campbell
Tim van Nooten
Vaughan McAlley
Stuart Tennant		 Bass
Andrew Murray
Thomas Bland
Thomas Baldwin
Mike Ormerod

Voices of Britten (2013)

Saturday, 8 June 2013,4.00pm
Sunday, 9 June 2013, 4.00pm
St Ambrose Hall, Woodend

Daniel Thomson, John O’Donnell and Ensemble Gombert
Woodend Winter Arts Festival

PROGRAM

Benjamin Britten
Seven Sonnets of Michelangelo
Hymn to St Cecilia
Folksong Arrangements
Choral Dances from Gloriana

SOPRANO ALTOS TENOR BASS
Michelle Clark Belinda Wong Matthew Thomson Thomas Bland
Carol Veldhoven Yi Wen Chin Daniel Thomson (Choral Dances only)
 Andrew Murray
Claerwen Jones Niki Ebacioni Peter Campbell Mike Ormerod
Maria Pisani Megan Nelson Stuart Tennant
Kathryn Pisani
Sarah Harris

Bach, Mass in B minor (2013)

Friday, 7 June 2013, 7.30pm
Sunday, 9 June 2013, 7.30pm
St Ambrose Church, Woodend

Woodend Winter Arts Festival


PROGRAM

Johann Sebastian Bach
Missa (BWV 232)

Kyrie
Gloria
Interval
Credo
Sanctus
Osanna – Benedictus – Osanna
Agnus Dei

SOPRANO ALTOS TENOR BASS
Deborah Summerbell Belinda Wong Peter Campbell Thomas Bland
Carol Veldhoven Yi Wen Chin Will Cuningham Andrew Murray
Fiona Seers Megan Nelson Stuart Tennant Thomas Baldwin
Katherine Lieschke Niki Ebacioni Lyndon Green Joshua McLeod
Jennifer Cook Rebecca Collins Mike Ormerod
Maria Pisani
Kathryn Pisani
Sarah Harris
Michelle Clark

–

SOLOISTS
Greta Bradman, soprano
Jacqueline Porter, soprano
Tobias Cole, alto
Matthew Thomson, tenor
Michael Leighton Jones, bass

Accademia Arcadia – conducted by John O’Donnell.

Violin 1 Cello Oboe Trumpet
Davide Monti Rosanne Hunt Adam Masters Tristram Williams
Briar Goessi Jamie Hey Jane Blanchard Louisa Trewartha
Violin 2 Violone Sophie Hoffman Tristan Rebien
Lucinda Moon Ruth Wilkinson Bassoon Timpani
Lizzy Welsh Flute Simon Rickard Arwen Johnston
Viola Greg Dikmans Peter Moore Organ
Christian Read Alison Catanach Horn Jacqueline Ogeil
Heather Lloyd Mark Papworth

Britten Centenary (2013)

Concert 3: Saturday 11 May at 5.30 pm
Xavier College Chapel, Barkers Rd, Kew

Subscription Concert 3

Choral music constitutes a major part of Britten’s output, having occupied the composer throughout his creative life. Indeed it was a major choral work written at the age of 19 whose BBC broadcast made Britten a household name overnight. This program presents a mixture of sacred and secular works, all settings of English poetry (with a little macaronic verse), from anonymous Medieval writers through Robert Herrick, George Crabbe and John Clare to Gerard Manley Hopkins, W.H. Auden and William Plomer.

PROGRAM

Choral Dances from Gloriana
Hymn to St. Cecilia
A Hymn to the Virgin
Five Flower Songs
Sacred and Profane
A M D G

SINGERS

Soprano
Deborah Summerbell
Michelle Clark
Carol Veldhoven
Katherine Norman
Maria Pisani
Claerwen Jones
Kathryn Pisani		 Alto
Belinda Wong
Yi Wen Chin
Megan Nelson
Leonie Tonkin		 Tenor
Peter Campbell
Tim van Nooten
Vaughan McAlley
Stuart Tennant		 Bass
Andrew Murray
Thomas Bland
Thomas Baldwin
Mike Ormerod

Passion Music from the Eton Choirbook (2013)

Concert 2: Saturday 23 March at 8.00 pm
Xavier College Chapel, Barkers Rd, Kew

Subscription Concert 2

With guest soloists Daniel Thomson (Evangelist) and Jerzy Kozlowski (Jesus)

The Eton Choirbook is the major repository of English choral music from around 1500. The greater part of its repertoire is Marian, that is, works addressed to the Blessed Virgin Mary, such as Wylkynson’s resplendent nine-voice Salve regina featured in past programs. Passion music is by its nature less dazzling, though the writing remains rich and complex. All three Stabat mater settings take full advantage of the dramatic possibilities of the text. And Davy’s Passio is among the earliest polyphonic settings of St Matthew’s account of the Passion.

PROGRAM
John Browne Stabat mater
Richard Davy Stabat mater
Richard Davy Passio Domini in ramis palmarum

Note: William Cornish ‘Stabat mater’ advertised in subscription brochure but not performed.

SINGERS

Soprano
Deborah Summerbell
Carol Veldhoven
Katherine Norman
Claerwen Jones
Kathryn Pisani		 Alto
Belinda Wong
Yi Wen Chin
Niki Ebacioni
Rebecca Woods		 Tenor
Tim van Nooten
Peter Campbell
Vaughan McAlley
Stuart Tennant		 Bass
Tim Daly
Andrew Murray
Jerzy Kozlowski
Mike Ormerod