I have been going to the AE @ UNSW for about 10 years now. I was a late starter because for many years, as I lacked a car, the schlepp out to Kensington was too much trouble. Once I started going, I had a car, but the subscription habit crystallised because my friend and former piano teacher, P, also went and I was conveniently (for me) not far out of her way there.
This year has not been a good year for me and the AE. I have only been to 3 out of 5 concerts so far.
The first concert I missed, in August, was a failure of organisation on my part in resolving a clash with my set series seat for Così fan tutte. Then my aunt was taken ill in Albany, WA and I missed the September concert.
In the meantime, at the beginning of September, the Ensemble’s season for 2017 was launched at a function for donors and sponsors.
In past years, next year’s series has been announced at the final concert, rounded off by a kind of party where free drinks and particularly delicious chocolates were dispensed. I fear we won’t be getting those this year. I expect the presence of a children’s choir as guest artists at the final concert might have seemed incompatible with such largesse. If so, that will be a break from tradition which I shall regret.
2017 will be, I think, the second season for which Paul Stanhope is responsible as artistic director. He has taken over after a long incumbency by Roger Covell, and predictably this has been accompanied by the usual motions to re-invent and freshen things up.
Innovation and breaks from tradition are flip sides of the same coin.
It’s true that in recent years there have been a few attempts to shake things up a bit – with dance, multi-media and the like. Mostly I’ve found these just a bit naff. What’s wrong with the repertoire for various ensembles drawn from the Ensemble’s make-up plus some supplementary artists? If variety is needed, there is plenty of scope for that including by featuring more “cutting edge” works.
So yes, I find myself a bit of a fuddy-duddy.
Two aspects of next year’s season are, at least in prospect, less enticing than I would hope.
First, we are to have a program The Sound of Pictures, “hosted” by “Radio National’s The Music Show host, Andrew Ford” which will offer “an exploration of music written by composers for film as well as concert music that makes use of the moving image as part of its presentation.”
My general rule is the less talking at a concert, the better, even if by Andrew Ford, who I’ll freely concede is a great communicator. And I’m not really a fan (as indicated above) of the craze for “film music” concerts. I also squirm just a bit at the implications of the “Radio National” reference. To me this is redolent of Opera Australia’s penchant for casting personalities in musicals, of which the (ultimately aborted) casting of Alan Jounes in “Anything Goes” was but the latest example.
Secondly, there is a usual format for AE concerts and an established ecology of an AE season. The first half of a concert will usually have a number of shorter works, including, often, the novelty and more modern works; the second half usually has the “big work” – most often a stalwart of the mainstream chamber music repertoire – which mostly means nineteenth century big works or well known (and hence crowd-pleasing) C20 works – eg, in September, the Quartet for the End of Time. As to the ecology, over a season the big works will usually make up a mix of standard-format ensembles (string quartet, piano trio, quartet, quintet) and larger ensembles drawing on guest artists.
Next year, the “big works” are:
- March – Borodin, String Quartet No 2
- April – Mozart, Clarinet Quintet
- May – Adams, Gnarly Buttons, with Dvořák’s “American” string quartet as a kind of backup.
- August – Schubert Octet
- September – unclear, this is the “film” music concert;
- October – Tchaikovsky, Souvenir de Florence (for string sextet).
What’s missing? Well, to me, and I expect also to P, what’s missing (apart from the Arensky Trio which is a welcome inclusion in the March concert) is any “big work” for an ensemble including Ian Munro, a pianist we both admire.
What’s going on? It would be pointless to speculate. I can only hope this is a temporary aberration.