Brisbane Reviews

Some things change. Some things stay the same. Change is as good as a holiday, so I am told, but what about when the change includes a holiday? A musical holiday. A change of venue from my neck of the woods (Bangalow) to the forests of Tamborine mountain? Now that's some change. 

Arriving late ("I said, left, not that left!") at the beautiful Shambala Estate, Tamborine Mountain, we arrived at the door of the Galaxy Ballroom and had to wait a minute as the music had already begun. Birdsong. We heard birdsong, inside the venue and outside the venue. The correlation between outside birdies and the music inside was surreal. 

Shuffling in at an opportune moment, my partner and I were seated comfortably: settle down now, let the music wash over me and breathe...

We had come to witness Small Birds Play featuring works by (and I must list all of these works as they were all phenomenal) Hooper Brewster-Jones, 'Bird Call Impressions' (1923); Ralph Vaughan-Williams, 'The Lark Ascending' (1920); Corrina Bonshek, 'As Small Birds Play' (2011); Brenda Gifford, 'Plover Bird (Spring)' (2018) and Robert Davidson, 'The Carnival of Extinct Animals' (World Premiere of New Version). 

Listening to the ensemble pour gold onto the audience, a flood of memories washed over me. This is the soundtrack to my life and birds are ever-present! Violin and piano symbiotic: were the audience all breathing in and out at the same time? Nobody wanted to miss a beat, nor a tweet nor a twitter. A truly visceral experience. "Music stops time," so we were told, and the clarinet, as birdsong, proved that to be correct. "Don't blink or you'll miss it." 

Brenda Gifford's 'Plover Bird (Spring)' had the ensemble plucking and strutting with the piano embracing and enfolding. Robert Davidson's 'The Carnival of Extinct Animals' (with accompanying visuals) was an emotional, powerful piece with creatures extinct, or nearly extinct, depicted on screen and through the arrangement. Davidson "takes recorded voices and visuals, turns them into music." Oh yes. Delilah the singing Sumatran Rhino (only 80 left on the planet with one breeding female) in unison with the ensemble: music holding hands with the rhino song. Awareness courses through me. Music can make this happen. Music, such a powerful force. The piano elicits a wave of grief and inspiration, but will not soothe the savage beast this time. Not a dry eye in the audience, but how could I tell – I was crying.

Let's name names and give credit for this amazing concert: Tim Munro (Flute); Amy Tashjian (Flute); Ashley Smith (Clarinet); William Elvin (Percussion); Margaret Blades (Violin); Karol Kowalik (Cello); Liam Viney (Piano) and Anna Grinberg (Piano). Thank you for awakening me. An unforgettable concert!

The Oravas are next on our music menu for Saturday. Words from the Artistic Director: "The Danish String Quartet are first and foremost a classical chamber ensemble ... digging through the roots of their own musical tradition: Nordic folk music." 'Woodwork' is a result of their efforts and "avoiding the sad", their music tells a story that is not only wistful, but celebratory and soul-lifting. If the room hadn't been packed, I would have been tempted to do a jig. Wonderful. The Shambala Galaxy Ballroom, I must say at this juncture, has the music quality and sound to rival the previous venue (A & I Hall in Bangalow) legendary for sound quality. The Orava Quartet were excited and thrilled to play their "favourite bits" from Felix Mendelssohn's 'String Quartet in a Minor Op.13 No.2' (1827) (to be precise ha ha), telling the audience that "every few bars are enjoyable to play." Contagious excitement: they took us on a journey through their music. Standing ovation and Bravo's all round, with a fiery finale, Manuel de Falla's 'Three Cornered Hat'. 

The SXS Chamber Music Festival is a feast for the senses. Sunday found us back at the beautiful Shambala Estate and the weather was glorious again. Thank heavens (literally) as these events are a herculean effort to pull together. The Southern Cross Soloists (we were told) have had over 270 concerts; 825 artists and continue to nurture the Next Generation of upcoming musicians with professional development alongside virtuoso musicians. Opportunities in real time. 

Sharon and Slava Grigoryan are walking onto the stage with their cello and guitar. Sharon and Slava are our midday concert: their individual musical CV's make my brain swell. Wow. And they aren't even one hundred years old yet! Artistic Director quote: "The Grigoryans take us on a world tour; dancing across Portugal, Brazil and Argentina, kneeling for an Estonian prayer; opening our hearts for a German song; and returning home for a celebration of the human spirit." With 'Flags of Darkness' (translation) influenced by a poem of the same name, Slava and Sharon play us into the music, picking up pace and ponderment. I am Spanish for a nana-second (yes, Nana) and 'Flags of Darkness' are flags of promise, as far as my ears are concerned! Slava and Sharon lingering in melodies of memory. The cello and guitar in Astor Piazzolla's Bordel and Cafe make for captivating narrative, familiar yet new to my ears.  

Standing ovation, happy faces and audience appreciative of yet another musical hug from such talented musicians, we leave the Galaxy Ballroom and filter out into the beautiful day, the beautiful estate and a better world for having witnessed, and been part of, for a fleeting moment, the 21st SXS Chamber Music Festival! See you again next year.