It hardly seems a year since my report on the Birthday Concert - a joint effort, you may recall, of Kyle & your blogger. But yes, another year has evaporated, and here we are marking its progress. In a much more modest fashion this year, though featuring good friends, pavlova and Penfolds. in the birthday gift department, books ranked very highly. Muchas gracias, mis amigos.
Indulgent though it is, the birthday this year, having been hooked to the wagon of Kyle's 50th, just seems to go on and on...I do not yet have any photos from the Concert After Party, since I elected to have others take them, so that I could mingle with all the fabulous guests who made the occasion so special. What I can tell you is that it was one great party.
The Press House Wine Bar (obviously before we got there!)
Stephanie and her team at The Press House wine bar behind St Bride's were brilliant - professionally serving what she called 'mini mains' - rissotto, fish and chips, rataouille, sheperd's pie, mini-burgers - to the hungry concert goers and relaxing artists. The wines that Kyle and I had had such fun tasting and selecting were the subject of many compliments. In the relaxed ambience of the historic wine bar people could sit, stand, dance, relax - it was such a great combination. And then the cheese came out - oh, yes! And I haven't even mentioned Gloria yet - the DJ from Colombia in her rakish hat, keeping the party jumping. 'I Come From The Land Down Under"....
Kir Royale
These festivities were interrupted only briefly when I took the microphone and made my Birthday Speech. I can't give you the text, because it was extempore...but I do recall proposing a toast to the artists, with Kyle, in our traditional after-opera cocktail, the Kir Royale. Silliness is no reason not to preserve a good tradition.
The last revellers made their way home at about 1 am. Petra (visiting from Zurich) walked me all the way to my front door, carrying the enormous bunch of flowers which had been conferred upon me by the gorgeous Madame Thomas. The unaccustomed stilettos were killing me, but I slept the sleep of a contented Birthday Girl.
Madame Thomas serves the French toast
And the next day...ahhh! Madame Thomas cooked us brunch at Kyle and Andrew's house. Escargots! French toast! A big American platefull of sausage, bacon and scrambled eggs! Quenelles! Chocolate mousse! Champagne! A party of eight or ten lingering friends, artists, guests from out of town, and dogs, sat around the big hospitable table, and talked and talked about the wonderful evening just past. I learnt much from Simone, Tamara and Barton about how tough it is to make a living in classical music. But also how much they love what they do, and how passionately they want to excel at what they do, not only for their audiences but for their own creative satisfaction. The weather was rainy. The two big dogs, Kaiser and Greta, were well behaved.
Brunch!!
Barton and Tamara chill out...
Escargots. No, I didn't.
The happy throng at Sarastro
As the out-of-towners made their way to various airports, there was time for a last-night dinner with visiting Ottawans Ken and Paul, plus Catherine and David. Sarastro in Drury Lane was chosen and one of its tiny balcony tables reserved. They do a bit of rough and ready cabaret at Sarastro (which is, by the way, the name of a character from Mozart's opera 'The Magic Flute'), so our dinner was enlivened with some violins, and then a couple of opera singers being Mimi and Rudolfo amongst the waiters and diners...a fitting end to a crazy and splendid weekend.
You will be relieved to know that I spent Monday morning drawing up a study plan and catching up on my reading on Descartes. Yes, I did really.
I arrived at St Bride's laden with flowers. All the artists were there, looking superbly relaxed. It was, I guess a 'day at the office' for them. Some last minute rehearsal was under way. Andrew had just arrived and Tamara put him through his paces on a couple of songs. His special tenor voice rang out through the beautiful nave, Christopher Wren designed, ornate and lofty. I was surprised at the volume, and the lovely resonance of the accoustics. Then Simone rehearsed one of her pieces. It was the first time I had heard her soprano voice, and it sounded so lovely.
St Bride's, Ludgate Hill
Kyle was there, both of us dressed up for our Birthday Concert, so long in the planning. The verger was running about, very helpful, shooing away the odd member of the public who wandered in on this cold February evening. The Green Room (aka the church vestry) was hung with a major frock in dark red, scattered with dress shirts and sheet music, and littered with fruit, water, nuts and snacks. Oh, and a cello case. The cameraman arrived and set up his camera and audio recording equipment. Tamara, our Musical Director, shooed us ("The Producers") to the Green Room while the artists ran through the final 'surprise' number. We sat and went over our short speeches. *Excitement building*
Tamara Anna Cislowska
In the foyer, Stephanie from The Press House wine bar had the Veuve Cliquot on ice. Soon she and her helpers appeared with the foie gras and other delectable canapes; and before we knew it the first guests were arriving. Into host and hostess mode, Kyle greeting his friends and I greeting mine. Soon there was a convivial crowd, its conviviality ably assisted by the Veuve. Then the verger rang his big brass handbell, we herded everyone into their seats in the nave, each festooned with a program giving the artists' bios. We promised that the concert would be over by 8.30 pm - hey, it only ran half an hour over time. Kyle and I stood up and introduced ourselves, explained why we were all here, who the artists were, a little about St Brides...then took our seats expectantly. A hush fell...Tamara walked out, introduced herself and sat at the piano...Peter followed with his cello...and this is what we heard:
Bach Suite No. 1: Prelude Peter Hoerr, Cello Solo
A 'Prelude' to our concert, the solo cello soaring through the nave...
Mozart Dies Bildnes Andrew Goodwin (Tenor), Tamara
Andrew' special voice singing Tamino's aria from 'The Magic Flute'. I have heard him sing this (in full sumptuous costume) in the opera in performance three or four times in Sydney and Melbourne. Tamino has been given Pamina's picture and falls in love with her...in three mintues....
A beautiful Brahm's song about the peace of nature and the storm of internal passions, with the music changing from a wondrous lilt to a stormy and energetic climax...
Brahms Dein blaues Auge Peter (Cello), Tamara
Because Peter adores Brahms...and shows it in his playing....
Peter Hoerr
Grainger/Strauss Ramble on Der Rosenkavalier Tamara (Piano solo)
One of Australian composer Percy Grainger's marvellous "rambles", this one on the love duet from Richard Struass's 'Der Rosenkavalier', possibly the number one favourite opera of both Kyle and I...
Tchaikowsky Lensky's Aria from Eugene OneginAndrew (Tenor), Tamara
I have heard Andy sing this Russian aria in full production with the Bolshoi at La Scala, Milan, and in Madrid, and he can make me cry. Lensky has been rejected by Olga, has challenged Eugene Onegin to a duel, and is facing his likely death...for love...*wipes eyes*
Andy singing the Lensky aria in a full production with the Bolshoi.
Faure En Priere Simone (Soprano), Tamara
A lovely 'prayer' sung in Frenchby Simone's beautiful soprano voice...
Chopin Nocturne Op.9/No. 1 Tamara (Piano solo)
A special request from me...I played this Nocturne myself many, many years ago and have always loved it. This morning, post-concert, standing in the shower, I burst into tears remembering Tamara's completely inspired rendition. I thought of my old music teacher Margaret Woolf, struggling to help me learn it; and my Great-Aunt Leila whose copy of the music I inherited. And of Tamara's unique and extraordinary genius in interpreting Chopin's music...
Messiaen Praise to the Eternity of Jesus Peter (Cello), Tamara
Moving to contemporary composers, we heard eight minutes of a remarkable, other-worldly sound which had me for one riveted and transported. Messiaen wrote this while imprisoned in a POW camp in WWII...
An unidentified player, but this will give you a taste of the Messiaen.
Edwards The Lost Man Simone (Soprano), Tamara, Daniel Jones (percussion)
This was only the third performance ever of this amazing song,composed by Australian contemporary composer Ross Edwards: its premiere as part of a larger work; a performance by Simone and Tamara at the Canberra International Music Festival last year; and tonight. It is about a man lost in a rain forest, and about having to go through the dark forest to attain the light...it is instantly Australian, evoking space and heat...I was transfixed...and then the wood-block echoed from the minstrel's gallery high up in the nave....*skin tingles*
Staggs Postcard[Premiere] Daniel Jones (Vibraphone), Peter (Cello), Tamara (Piano)
Daniel Jones
And then to the composition created especially for this evening by Australian composer (and wonderful friend) Barton Staggs. Extraordinary sounds coaxed from the cello and the vibraphone (very unusually played with two bows - virtuoso work by Daniel), with the piano sitting underneath, moving through unresolved chords...words cannot adequately describe the other-worldly sounds, the musing, nostalgic mood evoked, the leaning forward into the space that the music was taking you...I told you words were inadequate!
Rachmaninov Spring Waters Andrew (Tenor), Tamara
Then, as Tamara put it, back to some dead composers! Rachmaninov giving equal time to voice and piano...
Rachmaninov Vocalise Peter (Cello), Tamara
Peter's cello did indeed 'vocalise' a beautiful melody line...
Copland At the River Simone (Soprano), Tamara
Because Kyle "is Australian but was born in the USA" (quoting Tamara again), now to some American composers. This lovely song was familiar to all, but had probably never been heard so beautifully evoked by a soprano voice....
Simone singing Copland
Bernstein One Hand, One Heart Simone (Soprano), Andrew (Tenor), Tamara
The only duet on the program, a love song from Westside Story. The audience going into a new place with the singers as they moved from recital mode, into character and into and embrace....*ahhhh!*
Hanley Indiana Andrew (Tenor), Tamara
Why this song? Because Kyle is a "hoosier" from Indiana -- and because the song is beautiful, especially given the Andy treatment. There was hardly a dry eye. I almost cried myself, and I'm certainly not from Indiana...
And this one made everyone cry: there were quite a number of Australians present. But you didn't need to be Australian to get a lump in the throat as Simone sang all the verses of this moving song, going into a hum as "his ghost may be heard'...
To riotous applause and cheers, the program regretfully ended (well, we all regretted its ending, though we were half an hour over time and the verger was getting tetchy...don't worry, he got over it). Our marvellous artists came out and took their bows, Simone elegant in her gorgeous red frock, Tamara in a divine long, claret-red velvet coat, the men handsome in their suits. Bouquets of flowers for the ladies, books as gifts all round, calls for an encore (resolutely ignoring the verger's pointed thumping in the vestibule).
Encore:
Wagner/Liszt/Howard Abendstern Peter (Cello), Tamara
This is the baritone aria known as 'The Evening Star', from Wagner's opera 'Tannahuser', arranged for cello and piano originally by the great virtuoso pianist Liszt, and later by Howard. It is one of those melodies that everyone 'sort of knows', even if they don't know where it is from. It was an exquisite and appropriate finale to a remarkable program.
And here I pause, as the guests gather their coats, the vibraphone is ensconced in the vestry for pick up later on, thoughts are turning to the loos and some food, and the delightful sancerre that Stephanie is even now setting out in The Press House. The party went on, folks, but that report will have to wait for another day. I must end with heartfelt thanks to the extraordinary artists who brought us this concert which Kyle and I will NEVER forget. Peter Hoerr , one of (if not the) best cellist playing in Europe today. Simone Riksman, an extraordinary young soprano who can melt your heart. Andrew Goodwin, a young Australian tenor I have sponsored for several years, with a wonderful quality in his voice. Daniel Jones, a young British percussionist with skill and dexterity to amaze.
Barton Staggs
And many, many thanks to composer extraordinare, Barton Staggs, whose piece 'Postcard' was utterly moving and unforgettable. I cannot do better than to pause here to quote a little Schopenhauer (indulge me):
The inexpressible depth of all music, by virtue of which it floats past us as a paradise quite familiar and yet eternally remote, and is so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from its pain.
And now it is time to honour the STAR of this show: the title 'Musical Director' is too mundane to describe what Tamara Anna Cislowska put in to this concert: the creative skill with which the program was selected, matched to the artists, rehearsed, interpreted -- and accompanying everyone throughout a marathon evening -- pausing only to deliver two astonishing solos herself! I cannot thank you enough, Tamara, I am overwhelmed with delight, and will never forget the Birthday Concert. xxx
Tell you what - how about we do it all again sometime?
Tamara Ann Cislowska
Tamara Anna Cislowska is the most acclaimed and awarded Australian pianist of her gene-ration. She has performed as soloist with the London Phil and Romanian Phil O., the NHK and New Zealand Symphony O. and the six major Australian orchestras. As a guest performer and chamber musician she has appeared at the Barossa and Huntington Festivals, the Mostly Mozart Series and Sydney Spring International Festival of New Music, and festivals in Germany, Italy and the U.K. As a recitalist she has performed at the Purcell Room in London and at the Concertgebouw in Amsterdam. In the USA she has appeared at the Frick Collection, in Chicago and Los Angeles. In addition, she has toured Japan, performed in Poland, Italy and Greece.
Tamara began her career early, gave her first public performance at two, playing Bartok, and recorded several pieces for ABC Radio at three. She began studies at the Sydney Conservatory at 6, and 2 years later gave her first performance with an orchestra. At 14, she was the youngest pianist ever to win Australia's most prestigious classical music award, the ABC 'Young Perfomers' Award'. Soon after, she was named Sydney's Finest Performer, resulting in a tour of Japan and the United States as a cultural ambassador. She has been a major prizewinner at international competitions, including the Maria Calls, National World Power and Rovere d'Oro. In 2003 she was awarded the Music Council of Australia/Freedman Foundation Fellowship in Classical Music. In addition, she has been nominated for 3 ARIAs (Australian Recording Industry Award) for Best Classical Release. Her wide repertoire includes 40 piano concertos and she has given 15 world premieres of new works. In 2003, her performance of Rachmaninov's 2nd Piano Concerto was named as one of the year's ten best performances in Australia.
She has performed regularly with the Mozart Piano Quartet and has recorded the Brahms and Mozart quartets for Arte Nova, the Dvorak piano quartets for MDG and the complete chamber music of Gustav Jenner for German Radio.
Tamara has also recorded 5 solo albums for Artworks - including Liszt, Scriabin, Tchaikovsky, Grieg, Hovhannes, Berio and Grainger. In addition, she has joined the Sydney Symphony, New Zealand Symphony and the London Philharmonic on recordings for ABC Classics, Chandos and Naxos.
I know that the regular readers are probably waiting with bated breath for the Birthday Instalment. Forgive me if it is brief -- all eyes are on The Concert tomorrow night. The artists are all in town, and have been rehearsing for days at a secret location (it is not really secret - it is in Brixton). I've seen the "play list" and it is going to be divine. Unlike the reviews of "Anna Nicole - The Opera" which opened at Covent Garden last night. Those disappointed critics should get themselves down to St Bride's, Ludgate Hill, tomorrow evening.
St Swithin's Lane - Entrance to The Don
Meanwhile, it has been great fun catching up with the first of the guests arriving from far flung points (well, from Canada, anyway). Thanks to the hospitality of Otto at The Don Restaurant in St Swithin's Lane, the Actual Birthday was celebrated with a cosy group of close friends (think IP law and adventure trekking) and some excellent wines. We were given use of a private room in what was once a domed brick port cellar - The Don has an interesting history, and I can do no better than to give you the story from their website:
The spirit of The Don has been an integral part of 20 St. Swithins Lane since 1798 when the young Perthshire Scot George Sandeman took over the site as the cellar for his port sherry and wine company. The black-caped figure of The Don with his flat black sombrero has long been a symbol of excellence in the world of ports and sherries.
Those ports and sherries were shipped to London from Oporto and Jerez on the Iberian Peninsula in their handsome wooden casks, which were lowered down into the basement bottling cellars by the handturned Capital Patent Crane. The Crane, which was at that time considered a remarkable feat of engineering still stands in the shed that is today the entrance to the Don Restaurant and Bistro.
The tradition of generous hospitality and fine restauration has always run deep at 20 St. Swithins Lane. One of the younger Sandeman lads wrote thus of a dinner here in 1814:
"I dined at my uncle's in St. Swithins Lane at six o'clock. Such late hours I dislike - otherwise things were most agreeable. The party consisted of six French gentlemen connected with the wine trade. We had variety of fine wines, clarets, ports and other kinds whose names were quite new to me. I was tempted to take five or six glasses of Madeira, besides some others. Not being accustomed to such liquors, I felt some degree of fever through the night but my head was not affected at all."
Ports, sherries, and those Madeiras continued to be bottled here until 1969 when the now world-famous 'Sign of The Don' was lowered from its site high above Number 20 St. Swithins Lane and shipped to Oporto where it has been hanging in the Sandeman Museum.
George Sandeman, the present chairman, thought it appropriate that the sign should be returned from Oporto to its orginal home at 20 St. Swithins Lane, trusting that the spirit of The Don would inspire a new generation of enthusiastic connoisseurs.
Birthday Dinner locator: St Swithin's Lane, London
And so to our lovely evening at The Don...here are the pictures, worth a thousand words, I'm sure.
