From our Snake Valley Correspondent P. Ness
Ever since my brother Elliott and I were youngsters we have never failed to get excited over the prospect of watching young girls playing cello’s. If you combine this with your organ you are bound to end up giving a very woody performance. So it was with lasts months Organ Recital at the Uniting Church in Snake Valley. Although still called ‘Organs Of The Goldfields’ of the total of 23 different recitals in as many different venues only 14 actually involved an Organ at all. I worry that if this trend continues we may end up with ‘Lutes and Oboes of the Goldfields’.
It was intriguing to hear the ambience prior to the concert as the level of audience discussion rose up and down in unison with the organist rising up and down fiddling with his handkerchief, he certainly wasn’t mining for nuggets, but the symmetry of the sound rising and falling seemed more than coincidental.
Even though the Snake Valley venue has a wonderful instrument (the largest in rural Victoria) fully five minutes was spent between each composition with the Belgian organist Johan Hermans fiddling with his stops and starts and twiddling with his tremolo’s and swizzle sticks ) hardly more than a dozen keys were used in any piece. The arrangement of the Church, although ideal to observe the organ in action left a lot to be said about the positioning of the Cellist Fabienne Venien, level with the audience, and even though one could see the occasional waving of the bow above her head one could not see her lithe legs wrapped around the Cello making passionate music. Someone sitting in the front row directly ahead of the performer made comment that “she had an instrument between her legs that millions could enjoy and all she could do was sit in front of me and slowly scratch it”.
By the end of the first round it looked like at least half the audience had drifted off to sleep. The compositions chosen would have made a funeral sound like a rock concert. I like dirges but even these were too dreary to listen to. The comment that these composers were expert at entertaining an audience brought to mind that their original audiences must have been the marble angles in a cemetery.
The second half commenced with three less audience members. One ran out screaming, one died and the third was last seen digging through the floor into the crypt. The second round picked up a bit with two compositions by the recitalists themselves. One which took eleven years to write and was about as tonal as the music from ‘The Tonal Deaf’. The second piece was probably the best, written for this series and called ‘Ballarat’ it was enjoyable, if you’re into sado-masochism, and seemed to be a cross fertilisation of the music of Mendelssohn's Wedding March played backwards and Peter Sculthorpe played in any direction.
All in all I’m still wondering if the price tag of $25.00 was worth it. At least the rear pews had cushions and located close to the exits.
If you feel like sticking your head in an oven you could do well to go along to next years recital to discover that even if you were in hospital paralysed from the waist down, plagued by a never ending visit from Dame Edna and stuck with hundred year old grapes you would thank God for the fact that things can’t get any worse unless they wheel you into a Cello and Organ concert.