Making music in a building of such eloquence demands a partnership with an extraordinary architectural musical instrument. The height and length and light become an integral part of the music making, something that I think inhabits the listener as much as the performer and breeds a wonderful intimacy.The golden light pouring through the western windows before the Vasks finale seemed a benison on the afternoon's music making.
One of the great challenges of being Artistic Director is deciding what music we need to sing. I put it like this because music pokes you in the back, whispers in your ear, sings in your head, gets in your throat when you are doing the most mundane things, and shouting at you that it needs to be heard! And of all these pieces of music, you have to choose the ones that talk to each other, perhaps argue with each other, creating a storyline that shapes into a concert.
Our next performances are on July 28th in Castlemaine and 29th in Melbourne, and their backbone will the the thrilling MissaRigensis by Latvia's Ugis Praulins, a quite unforgettable piece written for the great choir of Riga Cathedral.
Threaded through this are motets, Palestrina's delicious Sicutcervus, Handl's motet Eccequomodo which Bach placed directly after his performances of the St John Passion. To close, we will perform the Australian premiere of a commission from Eriks Esenvalds for the National Youth Choir of Great Britain, a setting of Rabindranath Tagore's words, '...let all my senses spread out and touch this world like a raincloud of July...'