Reincarnations

Choral music has a unique sound and quality and what better venue and day of the year to demonstrate the talents of this superb group of vocalists than on Anzac Day and in one of Brisbane's iconic cathedrals. Musical Director, and Principal Conductor in this performance, Dr Graeme Morton founded the choir in 1997 which has since grown to become one of Brisbane's  exponents of a variety of choral works from all ages including an accent on original works from local composers, two of whom were present at the concert, namely Joe Twist and Stephen Leek. Included in the program was a contribution by cellist and Chief Conductor of the Queensland Symphony Orchestra Umberto Clerici, performing works in combination with the choir on two very historic instruments, even an encore solo piece for cello by J.S. Bach. This particular concert sought to present a more contemplative flavour as a reflection of the deeper and darker side of human existence including, in keeping with the day of performance, the relevance of the horrors of war. With the acoustics of the cathedral highlighting the ambience of the vocals, the concert also included five chamber instrumentalists as accompanists and a semi-chorus of nine choristers as additional performers for the work by Howard Goodall.

A very choice opening was Svyati, composed by John Tavener who later in life converted to Russian Orthodoxism and based this work on the chants they used for funeral processions. With the cello, played fervently by Maestro Clerici, placed further down the central aisle on a platform, this unusually-sourced piece well-captured the sombre mood of the day with the aptly-chosen instrument symbolizing the voice of the priest at hand. American composer Samuel Barber's work Reincarnations Op. 6 was next, inspired by three poems from Irish author James Stephens and Barber's connection with his involvement in World War 2. A refreshing and intricate interpretation of old Gaelic ballads, this was beautifully sung and a fitting contribution to the theme of the concert. Dedicated to the demise of the composer's grandmother on the day of its premiere, Latvian Eriks Esenvalds' complex work, In Paradisum is a deep and thoughtful expression of his studies in theology and psychology later in life, manifesting itself in a vast and saintly exposition of sound truly emanating throughout all the caverns of the cathedral. A most passionate work.

After interval, during which time I had the opportunity to explore the cathedral along with its religious abstract art display and incredible collection of ancient coins, the program continued with a moving shorter work, Lament for Choir and Cello based on a tragic Old Testament story and composed by local composer Joe Twist, followed by a succinctly performed interpretation of Britain's popular composer and presenter Howard Goodall's commemorative work, commissioned for the 50th anniversary of famous WW2 diarist Anne Frank, In Memoriam Ann Frank. A grand work, including the use of a semi-chorus, emanating tragedy, loss and darkness and a poignant contribution to the evening's play on mortality, its ensuing suffering and impact on the human condition. To complete the evening and fittingly commissioned by the choir, this World Premiere of Australian composer Stephen Leek's seven part work There is Music: A Song Cycle of the Ages provided a more optimistic look at life and its complexities based on sentiments associated with old memories and a text written by poet Jane Greenwood, expressing life's fragility and the importance of music. This is a very soul-searching work and a choice finale to conclude an evening of mourning and exploration.

What I found inspiring about this concert was the ease with which the choir performed what are some of the most musically complex choral works I've ever heard in one sitting, and the time involved in rehearsing and perfecting the standard of performance must have been immeasurable. All of the works are of a more contemporary nature utilizing alternative harmonies and musical idioms, including various abstract verbal sounds, often steering away from diatonicism in an almost recalcitrant way but as an intriguing exploratory expression of the inspired source material or text, possibly contributing, initially, to an intensity of distraction for members of the choir who have to create each note cerebrally. The incumbent result was indeed to be commended, highlighting the experience and talents of Dr Morton, as if touched by magic, evoking a spiritual experience, not only from the composer's source material but also with the subtle use of phrasing, dynamics, elocution and general exposition.

Despite the sombre tone of the evening, it was also an uplifting, yearning and deserving experience considering the toil and trouble associated with its inspiration and creation, from composer/author, even if self-indulgent, to performer though not consistently keeping an appreciative audience in mind.

Brisbane Chamber Choir is always worth a visit for those who enjoy choral music and a high standard of presentation. After all that has been said and done and in keeping with the title and mood of this concert too, one perhaps might ponder whether a belief in Reincarnation, if it exists, is worth contemplating as a measure towards a better world …...

Brian Adamson