Still Night: Music in Poetry Image: Natasha Blankfield
REVIEW
Still Night: Music in Poetry, Salon, Melbourne Recital Centre, Friday 25 November 2016, 7pm
There is a gradually growing section in our hallway book shelves that contains poetry, yet it is all too rarely visited. In that respect it is like death, which we too often avoid confronting until it is thrust upon us.
So much can be conveyed in poetry if we give it the time to reflect upon it that it deserves. So much can be conveyed in music if we give it the attention it deserves, by listening.
In Still Night composer and pianist Andrea Keller gave us the opportunity to hear the music in poetry as well as the time to reflect on the many strands of thought expressed in 10 carefully chosen and very different poems that deal with death, grief and loss.
Keller (piano) joined Julien Wilson (tenor saxophone, bass clarinet), Stephen Magnusson (guitars) and vocalists Gian Slater and Vince Jones in an hour-long set in the acoustically rich Salon space that was totally absorbing.
Keller’s program notes explain that this project arose out of a realisation that her isolated experiences of death, grief and loss, as well as the inadequacy of Anglo-Australian culture to deal with the emotions of such realities, differed sharply from the life evident in a Copenhagen cemetery she visited in 2007, where people enjoyed picnics, admired the beauty of the gardens and paid respect to loved ones.
Still Night: Music in Poetry Image: Natasha Blankfield
This concert worked on many levels, but I found myself slipping easily between momentary explorations of the ideas conveyed by the words and the pure joy of experiencing voice and other instruments.
From the opening poem, Listen, Listen by Izumi Shikibu, it was clear we would be given time to reflect on the words and to feel their meanings conveyed on surges of sound, as if ocean waves washed them to us.
In E.E. Cummings’ Finis, the power of piano contrasted with the fragility and purity of the voices, which were undulating, rocking, ebbing and flowing, Slater’s notes bending with great agility.
One of the most effective of the night’s poems was Proust’s bleak So Tired of Having Suffered, Slater’s voice beginning as a whisper and gaining strength, drama coming from Keller and Wilson, and Jones adding a kind of mantra with a jazz feel.
The chemistry between Wilson and Slater in Yeats’ Where My Books Go was given additional synergy by Magnusson and Keller.
Anyone familiar with Jeannie Lewis’s rendition of Thomas’ Do Not Go Gentle Into That Good Night will understand that I have long associated those lyrics with power, but Jones’s gentle vocals made this more of an appeal than an exhortation. Magnusson’s guitar journey in this was superb.
The words of Richard James Allen’s poem Hamlet’s Reply convey loss and emptiness in a powerful way, especially the last lines: “Alone, with nothing but the night. Alone. And soon, just the night.” I thought that Jones’s voice was vying with the sax in this, so those lyrics were a little lost at a crucial point.
Slater’s voice — ethereal and boundless — was eminently suited to Whitman’s Darest Thou O Soul, floating over the strong piano patterns created by Keller. And Magnusson’s spindly, fine tendrils of sound were ideal for Teasdale’s optimistic If Death is Kind, in which the vocalists blended and crossed beautifully.
Julien Wilson’s work on tenor sax and bass clarinet was an absolute delight during this concert.
In considering how Still Night: Music in Poetry might contribute to our responses to death, Andrea Keller quotes Robert White that “meditating on a beautiful expression of sadness can help to provide a thoroughly uplifting sense of consolation”.
Each member of the sold-out Salon audience will know whether this work succeeded, but I can say that to me it was a journey to places that I needed to explore.
ROGER MITCHELL
PS: Ode to a Nightingale is my favourite Keats poem, and I love these lines:
Darkling I listen; and for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a musèd rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.
Andrea Keller performs at Wangaratta Festival of Jazz & Blues 2016
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