Music – Page 8 – Ian Louis Harris

Les Kapsber’girls, St John’s Smith Square, Then On To The New Extension Of The Royal Academy, 18 May 2018

The idea of seeing this concert was partly hatched from John Random’s desire to see some lunchtime early music with me. A couple of suitable Thursday dates were either no good for him or no good for me. But this Friday one, during the London Baroque Festival, looked bang on.

The timing was good too, as Janie had arranged to tour the new extension of the Royal Academy at 15:00 that afternoon. Janie very much liked the look of Les Kapsber’girls lunchtime programme.

As John’s availability is subject to the whims of showbiz administrators, the unreserved seating at SJSS makes it a suitable concert venue for an aproximeeting. I bought tickets for me and Janie, knowing that John would be able to get one on the day if he proved to be available.

The e-mails buzzed over the coming days. There was to be a costume fitting for John, so our gathering was off. The costume fitting had been cancelled – John was on again. The fitting was reinstated – off again.

At that juncture I tried to guilt-trip John…with my tongue rather firmly in my cheek, I might add:

John, John, John…

…I can’t handle all four of those Kapsber’girls on my own. And I’m not so keen on your two. No, no, no, two ladies is plenty:

https://www.youtube.com/watch?v=oPOiaAU_vJg

Moreover, Janie has explicitly stated that she only wants to watch and listen.

Still, we’ll be there come what may and still hope you can join us…

In the end, John was allowed to choose his costume fitting time, so eagerly informed us that he would definitely join us for the concert.

I mansplained the instruments to John with a pathetically low hit rate

John had only seen many of these instruments before in artworks – click here or below for our recent National Gallery experience…

An Afternoon At The National Gallery And Stuff With John Random, 4 May 2018

…so I identified the instruments to John while we were waiting for the concert to start…

…but I got more instruments wrong than right. The big thing I thought was a theorbo turned out to be an archlute; the smaller thing I thought was the archlute was actually a tiorbino (a miniature theorbo), the existence of which only became known to me on the day; the small viol I took to be a treble viol was the even smaller pardessus de viole – a soprano viol which, again, was a new instrument to me on the day. Top mansplaining on my part – waxing lyrical while getting most of the facts wrong – I must have sounded like Alan Partridge to an expert observer.

Then the concert, which was truly lovely.

Here is a link to the SJSS resource on the concert.

The concert was absolutely charming – as were all four of the Kapsber’girls. They are very young and relatively new to performance at this level; not all of them displayed professionally-grooved stage presence throughout the hour, especially when sitting out the odd piece. But they all four play or sing beautifully and are surely all on the road to success.

The music was early 18th century French popular songs, known as “airs de cour” or “brunettes”. Two voices and two instruments. These songs were published in the early years of the 18th century by Christophe Ballard and were phenomenally popular in France during that latter part of Louis XIV’s reign.

Here is a little vid of “our girls” performing one or two of the songs we heard:

They are known as the Kapsber’girls because they admire the music of Johannes Hieronymus Kapsberger (aka Giovanni Girolamo Kapsperger) who was a pioneer of this kind of baroque chitarrone music. Confused yet about the difference between the theorbo, the archlute and the chitarrone? Me too. Click here for a good essay from the 1970s which might explain why even enthusiasts like me can easily get confused…

…and if all that leaves you in the mood to hear some actual Kapsberger (and believe me it’s worth it) here are Les ‘Girls playing and singing some actual Kapsberger:

Of course we didn’t hear any actual Kapsberger in our concert; the focus was entirely on the French airs de cour.

Janie snapped this during the final, lengthy applause

John, true to his word, made an approach to one of the girls after the concert – probably to try to understand the difference between the theorbo, the archlute, the chitarrone…that might have been a long, complicated conversation. Anyway, Albane Imps kindly chatted with and then posed with John:

Is that a tiorbino in your pocket, John, or are you just pleased to see me?

As it happens, Les Kapsber’girls had explained themselves earlier in the day on Woman’s Hour – click here and hopefully listen – as long as you get here quickly enough – BBC programmes of this kind tend to be withdrawn after a week or a month or something.

We took a snack lunch in the crypt after the concert (Janie’s favourite place at SJSS) where we met a couple of Kapsber’girls again – Axelle Verner chatted with us charmingly for a while – before the girls headed off, returning to France that very day.

The girls were very self-conscious about the quality of their spoken English, although John’s assessment (and he does teach English as a foreign language) is that their spoken English is actually very good. John remarked that the French accent is a very forgiving accent for spoken English – especially when the words are delivered by charming young people! So snap out of it girls – your English is just fine.

John seemed a little star-struck, so we conducted a filmic thought-experiment in which John might make a brief-encounter-like dash to St Pancras for a touching farewell scene with Les ‘Girls, but sadly John decided against.

Meanwhile I secretly flirted with the impressario-like idea of bringing together Les Kapsber’girls – who might reasonably be described as the most exciting early music girl group to emerge in recent years, with The Gesualdo Six – which I recently described as “the hottest boy band of the early music vocal consort world”:

Fading: The Hour Is At Hand, The Gesualdo Six, St John’s Smith Square, 28 March 2018

Not all that many people composed baroque music for eight voices and two instruments, but let’s try naming my thought experiment combination of The Gesualdo Six and The Kapsber’girls “The Zieleński Ten“.

Always good to have a name that is hard to spell and pronounce, I feel.

John was clearly inspired by the “baroque girl power” he had seen, so he parted company with us in search of Millicent Fawcett’s statue, at Parliament Square, while Janie and I went on to our appointment with the new extension of the Royal Academy.

In fact it isn’t really a new extension – it is the old Burlington Gardens building behind the main building, which has been conjoined with the main building to bring the whole of the Royal Academy together. This project has been donkey’s yonks in the making and Janie was very excited, as a member, to be allowed a sneak-preview before the doors opened to the public that weekend. Here is a link to a page and vid that explains it all.

Before wandering around and poking our noses into all the new bits of the Academy, we took a quick look at the first exhibition in the new space – Tacita Dean, Landscape – click here for the RA resource on that exhibition. Not especially to our taste, in truth – we were there for the opening more than for this exhibition – but I did like several of the works that fused photographs with spray-on chalk and gouache. One or two of the larger ones were truly stunning and also, strangely, the technique worked well in miniature on postcards.

Then we wandered around the Burlington Gardens extension.

Tim Marlow himself was there, available to chat with the members. We didn’t chat directly with him, but we did chat with several members of staff who were visibly excited about the whole thing. Extra exhibition space, workshop space, studio space and a soon-to-be completed lecture hall with all the modern gadgetry:

Ged is desperate to deliver the first lecture in this place…

…”this beautiful Burlington Gardens building dates from 1831…”

We also had a quick look at the PACE section of Burlington Gardens, where they are exhibiting some large works by Julian Schnabel. We took some celebratory refreshments in the old Senate Room, which is now a swanky new bar which is bound to be a favourite spot for visitors given its beauty as a room and its appointment to take advantage of the natural light during the day. Janie is kicking herself that we didn’t photograph it but in truth you would have needed a special lens to capture the stunning look of the room – click here to see a stunning professional photograph of it.

We then retired back to the City quarters for siesta before grabbing some Persian food and retreating to Noddyland for the weekend. We’d had a super cultural day.

Samuel Pepys The Guitarist, Gresham College, 16 May 2018

To St. Sepulchre Without Newgate for the last time (at least for the purposes of this lecture series) to see Christopher Page’s last Gresham lecture. This one covers Samuel Pepys’s interest in the guitar later in his life.

I have long been fascinated by Pepys – indeed one of my working titles for Ogblog was “Mr Poopys’s Diary” – based on the notion that it would be like an on-line cross between Mr Pooter’s Diary and that of Mr Pepys…

…but I digress.

Here is a link to the full Gresham College resource on this lecture, including the video. If you simply want to watch the vid, I have embedded it below:

I had missed the previous lecture, The Guitar At The Restoration Court, in March, due to work commitments, but did find the time to watch it on the web ahead of my May visit, so my attendance at today’s Pepys meant that I have seen all six of them; three live and three on the web.

I got to the church in good time and chatted ahead of the lecture with an interesting gentleman who encouraged me to watch Ian Christie’s lectures on early motion pictures and stereo photography – both areas of special interest to me.

I also realised when Christopher Page made his closing remarks that I would find several of his earlier lectures (before this year’s series) fascinating – all early music (apart from his first series which was on romantic period guitar) – and they are all on-line too:

So that will no doubt be some interesting evening activity over the coming weeks and months.

Leading Lights Before The English Civil War, Phantasm, Wigmore Hall, 14 May 2018

When Janie said, “viols again?”, even I had to admit that I’d gone a bit crazy booking mid 17th century viol music this season.

“But this is rarely-heard English viol consort music from just before the Civil War”, I protested.

While Janie announced afterwards that she couldn’t honestly tell the difference between English style and European styles…

…and I had to admit that I’d struggle to pinpoint time and location in a “blind tasting”…

…we both agreed that, as usual, we thoroughly enjoyed hearing this type of viol consort music.

Phantasm are supremely professional, masters of their instruments and seasoned at coping with the complexities of this multi-voiced music.

Here is a link to the Wigmore Hall stub for this concert.

I don’t think I’d knowingly heard any William Lawes before – certainly not his viol music.

He looks like a quintessential cavalier of the period, which sums up his career and untimely death (reportedly “casually shot”) soon after entering the theatre of war for the first and last time.

There’s not a lot of Lawes viol music played by Phantasm to be found on the web, but here is the paven from the consort set in F, which we heard on the evening:

…we didn’t have the organ accompaniment, but we did have a sixth viol player in the second half for those pieces that demand six viols.

Likewise, I was not familiar with the work John Jenkins – his viol music was a little lighter in tone, although all such viol consort music is, by its nature, pretty moody.

Even harder to find on line, here are some other dudes playing a John Jenkins Fantasy a6 other than the ones we heard. You’ll get the idea and it is still lovely:

Something about this sort of music heard live touches the soul – I think it is the close proximity to the vibrations of all of those viols.

We both felt so calm and tranquil after the concert we could hardly get our act together to eat when we got home, but somehow we managed it. A very pleasurable end to a Monday off work.

Two Fine Baroque Concerts – Versailles: The Improbable Dream & Paris-Madras, With Some Fine Grub In Between, St John Smith Square, 12 May 2018

There were two London Festival of Baroque Music concerts at St John’s Smith Square that evening and we really liked the look of both of them.

So that’s what we did – we went and looked at them both.

Versailles: The Improbable Dream

The first was Fuoco E Cenere – all music pertaining to Louis XIV and Versailles.

Here is the SJSS card for this concert.

This ensemble was recently involved in a French TV series about Versailles – said to be the most expensive ever made in France – here is a short musical extract from the TV programme:

Mercifully for the down to earth SJSS audience, Fuoco E Cenere did not ponce about in 17th Century wigs and outfits for our concert.

Here is a more down to earth vid and interview about Les Folies d’Espagne by Marais, which they did play on the night:

The highlight of this concert, for us, was the singing of the young guest soprano, Theodora Raftis. She has an outstanding voice and tremendous stage presence. She seemed a little overwhelmed by the occasion at first, but it was great to see her warm to her work and become the highlight of the show by the end of the concert. She was clearly well appreciated by the audience and her fellow performers. Remember the name: Theodora Raftis. Not much of her to be found on-line, but here is some Donizetti – trust us, she’s upped her game big time since this vid was recorded:

https://www.youtube.com/watch?v=sszddZG0cEQ

The Platters

No , we didn’t see a 1950s vocal group, but we did eat charcuterie and cheese platters with salad and a glass of wine between the concerts. I won’t dwell on the shenanigans involved in booking a table and arranging the platters – let’s just celebrate the fact that waiters David and Ramon did us proud and that we thoroughly enjoyed our twixt concert supper.

Paris-Madras

It was this second concert that really inspired me to book the evening – the notion of a fusion of French Baroque and Indian raga music. How on earth might that work? Well, it pretty much did.

Here is a link to the SJSS resource for this concert.

Le Concert De L’Hostel-Dieu provided the baroque element. In truth, we got more out of the ragas than we got out of the Leçons de Ténèbres. The wonderful weather of the previous week had turned to miserable cold weather that day, so neither of us was much in the mood for the lamentations of Jeremiah. More seriously, we’d seen the Leçons de Ténèbres quite recently and didn’t realise that the concert would pretty much give us the whole lot un-fused with the ragas…plus ragas unfused with the lamentations.

On the ragas, in particular, we liked the bansuri flute and the sarod. Soumik Datta, the sarod virtuoso involved, is far more rock’n’roll than the rest of the performers on show that night. Here is his showreel:

Below is the explanatory vid in French about the Paris-Madras project, in which you can hear Ravi Prasad sing and Patrick Rudant play his flute, as well as the baroque players of course:

The absolute highlight of this concert for us was the few passages when the musicians segued between the two styles and the ending when they all played together. Perhaps they judged the fusion to be risky, so they minimised its use, but to our mind it was a risk that came off big time and the fusion was the reason we went to see the concert.

Anyway, we came out the other side of the evening feeling very pleased with the whole occasion.

Dreams And Dances Of The Sun King, Hille Perl, Lee Santana, Wigmore Hall Lunchtime Concert, 30 April 2018

I booked this concert (along with others from the Wigmore Hall spring programme) before Christmas.

Strangely, Janie and I went to the cinema a few days later and saw Happy End…

Happy End, Curzon Bloomsbury, 23 December 2017

…in which Hille Perl makes a cameo appearance as the viola da gamba and sexting interest…

…it really isn’t often you’ll see those two terms – viola da gamba and sexting – in the same sentence.

Then, recently, DJ kindly bought me an electric ukulele in the style of an oil can:

…inducing me to comment to Ian Pittaway, after my last baroq-ulele lesson, that I now no longer know whether I seek to emulate Lee Santana or Carlos Santana.

Anyway, Janie and I were very excited that we would be seeing this remarkable couple, Hille Perl and Lee Santana, playing at the Wigmore Hall.

Here is a link to the Wigmore Hall resource on the concert we saw.

After such a build up and such high expectations, it wouldn’t be surprising if the concert turned out to be a disappointment, especially as we needed to brave unseasonably awful weather to get to The Wig. But no such thing – we were truly entranced by the music and their performance as a couple. It really was a beautiful concert from start to finish.

We found their style of remaining on stage throughout and looking so captivated by each other’s music making was quite touching. In particular, when Lee Santana played a few solo pieces on a slightly smaller theorbo; a “théorbe des pièces” to be precise, Hille Perl looked transfixed. As were we – what a sweet sound that solo instrument version of the theorbo had – I don’t think we’d ever heard one of those before.

You don’t have to take our word for this if you are coming to this Ogblog piece soon after the event. It was broadcast by BBC Radio 3 as a lunchtime concert and is still available for most of May 2018 – click here.

Hille Perl and Lee Santana concluded the concert with Les Folies d’Espagne by Marin Marais, which is the very piece that Hille Perl plays solo in the movie Happy End. If you want to see what Hille Perl and Lee Santana look like playing together, here is a little embedded vid of them playing that very piece together:

They played us an encore on the afternoon which was unexpected and unannounced. I’m pretty sure it was O’Carolan’s Dream, which you can see/hear them play on this embedded vid:

The afternoon was an absolute treat; a super way to enjoy a Monday off work!

Tabea Debus, St John’s Smith Square, Lunchtime Concert, 12 April 2018

I was determined to get to SJSS and see this concert, as I had earmarked this particular concert as an interesting one for some time.

Here is a link to the SJSS page for the concert.

Just in case that link no longer works, here is a scrape of that page.

The week had somewhat run away with me, though, having ruled out much of the previous work day unexpectedly for Hazel Jacobs’s funeral, followed by the Middlesex CCC AGM, which also had a somewhat funereal feel to it this season.

Anyway, I got to the office after an early meeting at the LSE and managed to get my office stuff done by the appointed hour, so I was able to hot-foot it to SJSS on time.

I thought Tabea Debus came across really nicely – showing great enthusiasm and academic interest in her instrument and the topic of the concert, while projecting also the poise and folksiness of a true show-person. A star in the making.

She has previous at SJSS and they in fact made a short vid for her first mini-residency as a young artist a couple of years ago – see below:

The concert I saw was mostly Telemann – the theme being the subscription lists Telemann developed during his masterful music business career, plus the high-falutin’ composers who were among his subscribers and friends; Bach, Handel and Blavet.

Below is a video of Tabea performing some delicious Telemann, but not the stuff we scoffed that lunchtime:

Tabea also played a couple of modern works which were part of a commission commemorating the 250th anniversary of Telemann’s death. One of those, Frank Zabel’s “…fizzling out” was extraordinarily complex-sounding and must be a real challenge to play.

Then on to a music lesson for my humble skills – although Ian Pittaway seemed surprisingly pleased with my simple transcription of a Loqueville Rondo.

Then on to punish myself with two real tennis singles matches at Lord’s – 135 minutes unbroken is too long for an old geezer like me.

But I digress.

That lunchtime at SJSS was an hour supremely well spent. I’ll be looking out for Tabea Debus’s name again, that’s for sure.

Fading: The Hour Is At Hand, The Gesualdo Six, St John’s Smith Square, 28 March 2018

I’d heard a lot about The Gesualdo Six – they are currently the hottest boy band of the early music vocal consort world – so I have been keen to see them for some time.

This early evening concert at St John’s Smith Square slot didn’t suit Janie on a Wednesday, so I made one of those unusual but no longer rare concert bookings just for me.

What a super short concert it was.

SJSS had been turned around for this concert, so the audience faces the organ, not the massive, tired-looking stage – something I know they’d been talking/thinking about, but until now I had not yet experienced it. Janie and I have thought for some time that this configuration would work better for soloists and small ensembles.

It does work better.

I got in early to bagsy a good seat and took a picture. You can see my coat draped across a front row seat.

Nice touch with the candles.

The hall soon filled up – several hundred people I would estimate – the largest audience I have seen at SJSS for a while. The idea of doing an early evening concert of this kind ahead of the main event certainly worked for this evening – perhaps also linked to the fact that this concert was part of the Holy Week Festival.

Here is a link to the SJSS web page for the concert that night – click here.

I’ve scraped that page to here, just in case the above link stops working.

The people sitting to the left of me clearly knew one of the singers, Guy James, who chatted with them briefly before the gig. The younger woman in that party asked him to throw in a pop song or two – but he shyly demurred, saying that he’d love to but it would probably get him into trouble with the others. Not very rock’n’roll.

I did and do have an arithmetical problem with this group. When I looked at the picture on their website – click here –and/ or the above SJSS web page and/or indeed the programme for the evening, I kept counting seven people in The Gesualdo Six.

I had a similar problem with the Jackson Five the previous week at The Ladbroke Arms, as reported in my piece – click here or below:

Dinner And Music Biz Chat With Simon Jacobs, Ladbroke Arms, 20 March 2018

A knowledgeable-sounding fellow sat next to me about five minutes before the start of the Gesualdo Six concert – he said that he had seen some of the performers before (e.g. Joseph Wicks recently) but never the entire ensemble together and was very excited to be getting to see them.

I mentioned my cardinal number problem – i.e. the matter of seven people comprising The Gesualdo Six, hoping for some insight from this knowledgeable fellow.

“I know, yes…tough isn’t it,” was that gentleman’s unhelpful reply.

But from now it’s all good news.

There were only six people in The Gesualdo Six on the night – which put me at my ease again.

The music was absolutely lovely.

Indeed, the opening number, Tallis’s Te Lucis Ante Terminum, was worth the price of admission alone (as sports commentators would tend to put it).

I don’t normally go for modern choral music mixed in with early music, but I was much taken by the several lullabies by Veljo Tormis, which contrasted nicely with the Byrd lullaby.

I also enjoyed Owain Park’s own piece, Phos Hilaron. I cannot honestly claim to have got much out of Joanna Marsh’s pieces, though.

But basically I loved the gig – they are a wonderful ensemble – so when Owain Park announced that we could buy pre-release copies (due out Easter Weekend) of the group’s debut album on exit, I was up there with my £12 like a shot.

You can order/buy the album from all the usual outlets or direct from the band’s site by clicking below:

English Motets (2018)

Below is a video from an unspecified place of The Gesualdo Six singing some Tallis – a piece from the album but not from the gig.

Likewise, the following piece of Thomas Tomkins (seen below in Ely Cathedral) is on the album but wasn’t on show at the gig:

They only sang one piece of Gesualdo on the night – not the following one, but I can’t let you sample The Gesualdo Six without Gesualdo himself:

Finally, below is a little documentary piece about the group from SJSS itself two years ago. They look unfeasibly young in the vid – they still look young but not THAT young. Two years is a long time for a boy band. Another couple of years on the road and they might look like The Rolling Stones by 2020.

All of this rather puts my own attempt at some seasonal, medieval-style performance into the shade:

Canticle For Lauds On The Third Day Of Easter: Deus Intellegit, Litorean Order, c1300

Misty by Arinzé Kene, Bush Theatre, 17 March 2018

Janie and I both found this a very entertaining and unusual piece. A one man show written and performed by Arinzé Kene.

Friends who have seen my own little Mithras performance from earlier in the week – click here or below…

The London Mithraeum With The Gresham Society, 15 March 2018

…might expect Misty to be a sort-of jazz standards musical. You’d be so wrong.

So is Misty a play, a rap musical, an installation performance or what? It is sort-of all of those things.

Click here for a link to the Bush resource on this piece/production.

Below is a trailer showing one of the rap numbers from the start of the piece:

Below is a short “meet the writer” interview:

Kene explains that it is a piece about trying to write such a piece…

…which I suppose makes it a post-modern performance piece.

There’s some weird imagery too, with some orange balloon motifs acting as a recurring theme.

I don’t think this piece is aimed at the traditional theatre audience, but we were captivated by it.

We liked the poetry of Arinzé Kene’s language, we liked the music – both of the musicians, Adrian McLeod and Shiloh Coke (you can see them in the City Creature vid above) were excellent – I was especially impressed by Shiloh Coke, a young multi-instrumentalist – she should go far.

Arinzé Kene is a very talented rapper, along with being a talented writer and actor/performer.

At the time of writing Misty has only just opened, so you should be able to get to see it over the next few weeks – highly recommended as an unusual but entertaining theatrical, musical, image-filled evening.

The World Of Byrd: Consorts Hymns Divisions & Dances, Phantasm, Wigmore Hall, 20 February 2018

This was a lovely concert of English viol music, specifically William Byrd, from the late Tudor/early Jacobean period. Phantasm are seriously good at this stuff.

Janie was up for this one. Wigmore Hall – warmer, much warmer. Byrd too.

Funnily enough, come the interval I realise that, sitting behind me, was the very couple I sat next to at the Ancient Montreal concert the previous week, with whom I had swapped stories about the cold…

Music in New France & Québec, Studio de Musique Ancienne de Montréal, St John’s Smith Square, 15 February 2018

…we all agreed that the Wigmore Hall is much warmer. There’s something warm about Phantasm too. They come across as a very mellow, gentle ensemble. Laurence Dreyfuss always explains things and reads things out as if he is sitting in your private parlour having a comfy chat.

Here is a link to the Wigmore Hall resource on this concert.

Anyway the music was very soothing and relaxing, although it didn’t quite manage to do the de-stressing job on us that particular Tuesday night, while we were both having “a bit of a week”. That is the thing about Tuesday evening concerts.

That’s not Phantasm’s fault, nor the Wigmore Hall’s I do realise.

Music in New France & Québec, Studio de Musique Ancienne de Montréal, St John’s Smith Square, 15 February 2018

I took rare unilateral action to see this concert. I booked myself a single ticket. I’m really glad I did.

It sounded so interesting in the SJSS brochure, but could I persuade Janie (Daisy) a few months ago to agree to venture into Westminster on what she suggested might turn out to be a bitterly cold Thursday evening in February? Could I heck.

Here’s a link to the SJSS rubric, which worked so well on me but not so well on Daisy.

As it turned out, it was a bitterly cold Thursday evening in February.

I had a Skype music lesson with Ian Pittaway before heading off to SJSS. I am working on some very strange and ancient plainchant with him at the moment. I’m trying to sing in a slightly higher register now, which seems to have more going for it with my voice than the lower register I find safer. Also some tutorial on transposing complex lute parts into simpler baritone ukulele (Tudor guitar) parts without turning, for example, Byrd’s “Though Amaryllis Dance In Green”, into a banal three or four chord pop song.

On all of these matters, I’m sorry to say, Ian Pittaway concludes his seemingly helpful advice with the words, “that’s it – now keep practising that before the next lesson.” Why can’t he teach well enough so that I can get it 100% right first time and not need to practice? That’s the sort of teacher I want. I’d even pay a few bob extra for one of those teachers. 😉 I mentioned this evening’s concert and asked Ian if he had heard of Aux-Cousteaux – Ian asked if he was a deep sea diver who also composed music. Does this guy know much at all about early music or is he just spoofing us all with his waggish manner?

Joking apart, the music lessons are going rather well in fact. But by the time I had finished fiddling around with one or two of those ideas in order to try and cement them in my brain, then finished off a couple of pieces of work that I really wanted to get out of the way before the concert, it was time for me to get my skates on…more importantly, time for me to don my hat, scarf and gloves…and head for Smith Square.

Preparing spiritually for a cold Québécois evening

The crypt was swarming with Québécois dignitaries being entertained and fawned over by the waiting staff, so my half-baked plan to pre-book the dining arrangements for my next visit with Janie, in May, came to nought. I hasten to add that the entertainment and fawning was a very dignified drinks and nibbles reception for the lucky Québécois swarm. Nothing “Presidents Club” about it.

Anyway, instead I bought a copy of the CD which seemed to be closest to the evening’s performance…

…then took up position along with a small posse from the regular SJSS front row mafia. The Québécois dignitaries had been allocated that “middle of the front block” which is deemed to be the best seats, although frankly, for a small enemble like this, I think front row is best even in a hall the size of SJSS.

I immediately knew the music was going to be to my taste. Ten voices singing a cappella, beautifully.

On researching the matter before the concert, I wondered why the Québécois considered this French early Baroque music to be their own. After all, Quebec City and Montreal were tiny little trading posts during that early Baroque period – a few hundred people in each place, mostly fur traders with a hundred-or-so monks in each town praying for the inhabitants to be spared famine, pestilence, Algonquian marauders, British marauders or combinations of several such fatal misfortunes.

It was all explained in the programme.

Firstly, some of the music they performed on the night is sung in the Abenaki language – that of the indigenous Algonquian people of that part of Canada – which is quite interesting. So it wasn’t all fisticuffs with the indigenous locals in those days.

In some ways more interesting is the sacred music of the early Baroque period by French composers, such as Henri Frémart, Jean-Baptiste Geoffroy and especially Artus Aux-Cousteaux. The monks brought the current music with them when they settled New France in the mid 17th century. There’s some very good music in there, which apparently would have been completely lost had scores not survived in Quebec, as all known copies of many of these composers’ works were destroyed in France at the time of the revolution.

So in those ways, this music is the Québécois people’s own.

The embedded sample is part of one of the Aux-Cousteaux pieces they performed on the night, so it gives you a very good feel for what we heard. I recommend that those who cannot resist the Aux-Cousteaux/Jacques Cousteau pun listen to this clip while submerged in their bath. Other folk, simply wallow in the delicious sound.

There was one modern piece by a young Québécois composer named Maurice-G Du Berger, who was at the SJSS gig to hear his piece and took a bow with the choir. It might be the first time I’ve seen a composer who was probably the youngest person on the stage in such circumstances.

At the end of the concert, the round of applause was resounding, but it wasn’t until towards the end of it that I realised that the Québécois dignitaries were doing that very North American thing of giving a standing ovation – the result being that the front row mafia was doing the SJSS regulars/British thing of politely but loudly applauding, while the rest of the audience was on its feet.

I hope the visiting choir didn’t think it was being dissed by the regulars, because the few I spoke to were all transfixed by the music and by all accounts the CDs sold like hot cakes in the interval.

It was a truly delightful concert, to round off a very interesting day of early music…

…but by heck it was a cold journey home that night. Not even faintly cold by Canadian standards of course, but for a wimp of a Londoner like me, it was well taters.

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