During the eighteenth century in Europe marvelous music swept all before it as contemporary composers strove to produce works that exuded ‘noble simplicity and quiet greatness’, qualities that ‘enlightened’ men and women were seeking to gather unto themselves. Converting drama and religion the pedal fugues of Johann Sebastian Bach (1685-1750) lit up many a gathering of the faithful especially when a new pedal organ was installed at Westminster Abbey. The sounds rebounded off the architecture with sounds of unparalleled intensity. It was definitely music that resonates. J S Bach composed music meant for reviving the spirit and nurturing the soul.  Today a lot of younger musicians are discovering its many possibilities for electric arrangements. Although it’s still great just how he composed it. Considering he died over 260 years ago, it is amazing that around the world in schools, churches, halls and grand venues, people still celebrate this extraordinary man and his unique compositions. As Julie Andrews sang in ‘The Sound of Music …he must have done something good’.

Having been brought up as a regular Sunday worship observer in the Anglican tradition, and singing in choirs for nearly the same amount of time, my acquaintance with Mr Bach and his splendid works has been over a sixty-year period. An abiding affection for him is always aroused, especially when the Toccata and Fugue in d minor is played. Although since the ‘80’s a number of scholars have apparently challenged its authorship. We will leave them to work it out…the point is that it is a piece of music that never fails to quicken the step. So do listen to it played by Karl Richter at the end of this piece. Otherwise enjoy Walter Murphy’s version from 1978, entitled Walter Murphy (1952- ) – Toccata And Funk In d Minor DISCO 1978. This may also put a smile on your face, because at that time time American instrumentalist, songwriter and arranger Walter Murphy Jr and his ‘Big Apple Band’ were quite the rage, as was disco dancing. What?

Toccata and Fugue attributed to Bach arranged by Murphy as Toccata and Funk

Johann Sebastian Bach 1685-1750

It was his father who taught Johann Sebastian Bach music, at least up until he was ten years old. His death in 1695 changed the lives of Johann Sebastian and his brother Johann Christophe forever. They were sent away to study the organ in Ohrdruf where Johann also developed an interest in organ building.

An organ is an amazing instrument whose destiny seems to have always been linked to the church, despite organs being installed in many grand venues including public Town Halls across Europe and here in Australia as well as Concert Halls, Universities and Conservatoria.

Then there were the ‘theatre’ organs imitating an orchestra, which were installed during the late nineteenth and first decade or two of the twentieth century in movie cinemas to accompany the popular silent movie genre.

The landmark talking movie The Jazz Singer in 1927 changed everything. Since then first with the decline of silent movies and the many problems besetting the church, it often seems the organ’s fate would, despite the Organ Historical Trust of Australia and its best efforts, be limited.

So it was a great surprise to find out that Sydney Grammar School, always considered one of the most progressive in the country, had a new organ installed as recently as 2004.

On their website it says ‘The new organ was heard in public for the first time in a series of concerts in August and September of 2004. Each of these concerts was recorded for radio broadcast by the Australian Broadcasting Corporation and 2MBS-FM.’ How great is this. The school, like so many others in the country today offer a wonderful music experience to their students, if they wish to pursue a career in the field.

Organist Christopher Cook at St Johns Cathedral Festive Music Series 2004

The organ is such a difficult instrument to play and when staging a series of Festive Music events in St John’s Cathedral at Brisbane in 2004 with organist Christopher Cook, the church provided ‘foot cam’ so that people were able to watch how he played the giant keyboard with his feet, while playing all the others with his hands. It was a huge success as so many people did not realize that this was how it happened. Playing an organ is a bit like rubbing your tummy while you pat your head – two things at once. You have to be amazingly fit, very flexible and versatile. It certainly requires considerable skill and loads of practice, practice and more practice, which organists tell me is the key.

Johann Sebastian Bach became Court Composer at Weimar for two ruling Grand Dukes 1708 – 1717 and then, at Cöthen for a youthful Prince Leopold.  He wrote works for small court orchestra, including toccatas, capriccios, fantasias, fugues, variations, suites, sonatas, and miscellaneous shorter pieces for teaching. His six acclaimed Brandenburg Concertos were dedicated to the Margrave of Brandenburg in 1721. In 1723 he was employed as Cantor for the Choir School of St. Thomas in Leipzig where he was given responsibility for the music life at five principal city churches. This is the period when he composed a huge amount of choral works and also took charge of the University Collegium musicum. His collected works were first published by the Bach-Gesellschaft (Bach Society), 1851-1900 using the Bach-Werke-Verzeichnis (Thematic-Systematic Listing of the Works of J.S. Bach) by Wolfgang Schmieder.

Pipes of the Sydney Grammar School Organ

In 1722 Bach completed a collection of 24 preludes and fugues in all major and minor keys, which he called “The Well-tempered Clavier“. During the next twenty years he wrote a further 24, making the present total of 48. They have a complex structure with a wealth of detail utilizing and extending the full possibilities of the organ keyboards, and represent a challenge for any organist.

His now famous Six Suites for Unaccompanied Cello have achieved legendary status. Their emotional range,  intimacy and intensity have made them among the most popular of all his works today.  If you want to understand The Cello Suites a beautifully crafted book tells the tale terrifically of an epic quest undertaken by Canadian rock critic Eric Siblin about his search for the original Baroque masterpiece, a score specifically written for the cello Bach.

The Schübler Chorales were named for Georg Schübler, who published six Chorales by Bach ca. 1748 all of which were unique in Bach’s organ compositions. Five of the six chorales are transcriptions from his cantatas in which the melody is easily heard, because it is assigned to its own keyboard throughout the piece.

In his final decade 1740 – 1750 Bach composed The Leipzig Chorales. Australian organist  Christopher Wrench performed seven of these on Bach’s birthday at Sydney Grammar School in March 2011. They were produced from earlier works when Bach was court organist at Weimar. A keyboard specialist, Brisbane based organist Christopher Wrench has mastered the complexities of playing the organ. He applies sensitive phrasing and rhythm to enhance the interpretation of each of the compositions he tackles. He is well renowned for the virtuosity of his performances and the considerable joy he imparts when making full use of the organ’s wide tonal palette and expressive power.

J.S.Bach-Toccata e Fuga BWV 565-Karl Richter

http://www.youtube.com/watch?v=Zd_oIFy1mxM

Carolyn McDowall, The Culture Concept Circle, 2011

In Australia it seems that many of our historic instruments have been documented with histories, specifications and photos listed on the Organ Historical Trust of Australia website. So if you would like to join or know how you can help do more please contact them directly.

* J S Bach

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Alchemy ensemble consists of Bridget Crouch (Baroque Violin), Margaret Caley and Sarah King (Baroque Violin and Viola), Louise King (Baroque Cello) and Janet Brewer (Harpsichord).

Communicating ideas and feelings to someone else is made possible through the beauty of music. Festive music is meant to be cheerful, joyous and performed in a mood of celebration. In antiquity Christian Greece absorbed the cultural wealth of its so-called pagan period and festivals, that celebrated an abundance of life and its resonant richness became commonplace. Brisbane based ensemble Alchemy will proclaim a truly festive Christmas 2011 by performing stunning pieces of Baroque style music, featuring the superb vocal athletics of soprano Shelli Hulcombe. They will be inspirational events, filled with energy, passion and joy.

Siren of Song Soprano Shelli Hulcombe comes from a family of mathematicians, providing a link to ancient Greece and the Pythagorean Scale that assisted a complex theory of music to develop.

The works they are playing were composed by such great musical icons as Arcangelo Corelli (1653-1713), George Frideric Handel (1685 – 1759), Georg Phillip Telemann (1681- 1767), Marino Marini (1924-1997), Heinrich Ignaz Franz Biber (1644 – 1704). Then there are the divine pieces by Henry Purcell (1659-1695), considered by many one of the greatest composers of the Baroque period of music, and certainly one of the greatest of all English composers.

Today our knowledge of the architecture and sculpture from antiquity is quite substantial, although not so much based on the written evidence, but that of our own eyes through its glorious remains. On the other hand music, while frequently mentioned throughout its literary tradition, in reality remains elusive. We do know that Ancient Greek philosophers attached great value to music and its cultural ramifications, its theorists holding fast to the idea that the entire cosmos vibrated with its harmonies and rhythms.  Music, as played by Alchemy, will echo the beautiful voice of nature.

The poetry of Sappho (600 B.C.) and others was often sung in contests, with melodies and rhythms based on the poetic meters. An eight-tone scale was created by Greek mathematician Pythagoras (c550 BCE) . It assisted a complex theory of music to develop. For instance music was one of the first technologies employed in the design of landscape architecture.

The thoughts of the ancient Greeks, underpinned by Pythagorean mathematics and speculative philosophy, were transmitted by sixth century philosopher Boethius, through publication of his De Musica. It explained a great deal about the theory and practice of music to his contemporaries.

This was knowledge transmitted to the humanist scholars of the Italian Renaissance, because it was the most-copied musical text that survived over the centuries to play a dominant role in the development of architectural practice throughout the Renaissance in Italy, especially between the fourteen and sixteenth centuries.

Though their purpose was to recreate ancient Greek drama, the Florentine Camerata, an important group of musical amateurs who met to discuss literature, science and the arts from the 14 January 1573 at Count Giovanni Bardi’s house, effectively altered the history of music by opening a venue for musical creativity and performance–the secular world of the theatre. It ensured that a new and competitive presence, the instrumental accompaniment, would develop.

During the seventeenth century in Europe, encouraged in part perhaps by the towering achievements of the Baroque style in architecture, the success of opening up world exploration, the birth of the sciences, mood of absolutism at the court of Louis XIV where the addition of drama and dance was part of the impetus for change, there began what can only be described as a period of feverish musical activity throughout Europe that flowed on all through the eighteenth century.

In England the first recorded series of entertaining events, that became known as concerts, were organized by violinist John Bannister in his house at Whitefriars in 1672, where for modesty’s sake the musicians were hidden by curtains. In response to growing public demand during the eighteenth century, a number of music societies started promoting public concerts.

The earliest of these was an Academy of Ancient Music, formed in 1710, because they were wanting to promote local content to counter the growing popularity of the Italian style, as represented by George Friderick Händel (1685-1759) who was born at Halle in Prussia. By the time he was seven Händel was performing on the harpsichord and organ and  he was nine when he began composing. He studied law at his father’s insistence, but was a drop out of his day wanting to pursue his passion and love for music.

His works include some fifty operas, a large amount of church music, twenty-three oratorios and the much-loved instrumental works the Water and Fireworks Music. Händel was appointed by George II on 25th February 1723 as ‘Composer of Musick of His Majesty’s Chappel Royal’, a title that had been carefully constructed to allow him to contribute to the musical development of the Chapel Royal, without actually being a member of it. He composed the great anthem ‘Zadok the Priest’ for the King’s coronation in 1727 a piece of music that represents the grand manner of the Baroque style of architecture in every sense. It fills and echoes in grand spaces like St Pauls at London, and has been used at every coronation since.

Attributed to Maker Ralph Agutter 1685 this beautiful violin is carved, sawn and planed sycamore and pine. Made for the Royal Household it includes the Royal Stuart coat of arms before they were modified at the time of the accession of William III and Queen Mary in 1688

Alchemy’s musicians, like their earlier counterparts, are devoted to exploring and presenting seventeenth and eighteenth century Baroque style music, using period instruments. They are helping their audiences to rediscover sounds, which hadn’t been heard for hundreds of years until 1973 in England when the Academy of Ancient Music was reformed. Since then, with a growing number of ensembles and orchestras around the world taking their lead, music lovers of the world have been electrified by all new sounds.

They have been made with stringed instruments whose strings are made of animal gut, not steel, trumpets that have no valves,  violins and violas that don’t have chin-rests, and cellists grip their instruments between their legs, rather than resting them on the floor. This ensures the pitch is different too. Recreating the sounds means getting to the very essence and spirit of the original compositions in performances that are very different too. If and when you produce those performances in Baroque architectural settings, then the result is pure magic.

Such historically informed performance practice by Alchemy, together with an imaginative program helps bring the passion of Baroque style music to life. The result is a dynamic performance, that educates as well as entertains and for many people is a whole new concert experience.

Alchemy’s skilled and experienced musicians strive for an uncompromising attention to quality and detail. They regularly perform for Australia’s classical music festivals, professional orchestras and tertiary institutions. Their style and performance however is not just about the past, but about being creative and inspiring in the present.

Guest singer this Christmas is soprano Shelli Hulcombe. She was born into a family of mathematicians and provides a lovely link to the ancient musical past and Pythagorean scale, which was all about musical harmony being integral to nature (another story).

Alchemy - Harpsichord

She says she managed to rise above the certainty of calculations however,  to pursue her personal passion a love of music. This happened ‘when she realised solving mathematical equations did not allow for the wearing of glamorous dresses’, or visits to exotic climes for that matter.

On the concert stage Shelli has performed as the soprano soloist in Handel’s Messiah, Rutter’s Gloria, Purcell’s Te Deum et Jubilate, Verdi’s Requiem, Vaughan Williams’ A Sea Symphony and Mendelssohn’s Elijah.

She has sung with the Queensland Symphony Orchestra, Queensland Philharmonic Orchestra, Queensland Pops Orchestra, Tasmanian Symphony Orchestra and Melbourne Symphony Orchestra.

She was a soloist in the opening ceremony of the Goodwill Games in 2001, which is where she got her first taste of Richard de Chazal haute-couture creations! Now she has to keep singing if she truly wants to afford them.

Sagitarrius, designed by Richard de Chazal

Alchemy’s Christmas concerts will all be pure gold as they magically transmute Baroque style music into Xmas Joy. It will be like an enchanting interplay of sunbeams that made up the strings of the Greek God Apollo’s lyre. Their sounds will glide gently over the heart and mind, imparting both inner peace, and a genuine feeling of well being. Audience members will have the opportunity to join in singing ancient Christmas Carols, and enjoy drinking chilled punch and traditional mince pie refreshments during interval. It is sure to be a special experience.

Alchemy Baroque Christmas Concerts 2011

Shelli Hulcombe, soprano with Alchemy Baroque Ensemble

When and Where

Friday 9th December 7pm
White Eagle Lodge, 19 Tesch Rd, Maleny, Ph. (07) 5494 4397

Saturday 10th December 7pm
Butter Factory Arts Centre, 10 Maple Street, Cooroy. Ph (07) 54720222

Sunday 11th December 12 Noon
4MBS Performance Studio, 384 Old Cleveland Road, Coorparoo (07) 3847 1717

Buying Tickets – Please Phone Venue
$25 full, $20 concession, $15 school student $70 family (2+2) (includes refreshments)

*Carolyn McDowall, The Culture Concept Circle 2011

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1. Alchemy, pure gold performing music for strings and harpsichord
2. J S Bach – Unleashing Music Reviving the Spirit and Soul
3. Glorious Music that Resonates – Masque to Mozart

Coloratura Liza Beamish

Internationally-acclaimed Australian operatic soprano Lisa Gasteen, renowned for her performances of the works of Wagner was one of 850+ people praising the program and performances at the final concert in Brisbane City Council’s Music that Resonates Series for 2009 at St Johns Cathedral.  ‘It was a wonderful program’ said Lisa ‘ I enjoyed every minute’ she said.

Her warm congratulations supported hundreds of others flooding in for performances by singers Liza Beamish, Milica Ilic and Peter Vance as well as organist and pianist Greg Hartay Szabo, Brass Roots Live and 10 year old boy soprano Jeremy Beamish, who stole all hearts with his delightful version of the Andrew Lloyd Webber hit song from the ‘Snowman’, Walking in the Air.

‘I had goose bumps listening to Liza and Milica singing Jerusalem the Holy City and the Flower Duet from Lakme’, said Cathedral guide Ann Stevenson…’ and what about Liza singing Let the Bright Seraphim and Milica Rejoice Greatly. They were amazing‘ she said. The works certainly allowed full range to both glorious coloratura voices. ‘You could have heard a pin drop’, said one of the ushers, ‘everyone was so enraptured’.

‘For me it was the duet of Liza and Milica singing Jerusalem, the Holy City and Liza and Peter singing Amigos Pare Siempre…that really was the icing on the cake‘ said President of the Metropolitan Bands Association Helen Hall ‘I had chills running up and down my back it was so superb. ‘…when everyone joined in the chorus of Do You Hear the People Sing I thought I would burst’ said Helen ‘it was so moving’ she added.

‘The crowd was astonishing and so generous’ said Cathedral Verger Michael Dodson after the show. ‘do people always arrive at 9:15 for an 11am concert? By 10am we were over half full’ he said. ‘I thought the whole show was fabulous’ Michael said.

St John’s restoration of its grand Edwardian era organ proved the money had been well spent as it was showcased magnificently by the brilliant playing of Bach’s great Toccata and Fugue in D Minor by Greg Hartay Szabo.  Greg, organist at Albert Street Uniting Church on Sunday’, was pleased present this superb work of the master composer to a whole new audience of people. Bach’s works are undergoing a renaissance around the world following the growing success of Canadian rock music critic Eric Siblin’s award winning book The Cello Suites, a must for everyone’s Christmas stocking.

The Music that Resonates series was presented by Brisbane City Council in event partnership with participating Brisbane churches and its two Cathedrals in 2009, it’s 150th anniversary year. Everyone was very relaxed and very happy as they were leaving and if we touched a heart and left a spirit soaring then we succeeded.

Carolyn McDowall, Compere and Producer, Festive Music at St Stephens (October 27) & St John’s (November 24) Cathedrals 2009

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1. Glorious Music that Resonates – Masque to Mozart
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