Review: Sunshine Coast Chamber Music Festival June 9 – 11, 2023

By David Bentley

Chamber music is loosely defined as any art music performed by a small number of performers. Its beginnings date to the turn of the 18th century when it was the preserve of aristocracy. This may explain why so many people associate chamber music with formal settings and constrained behaviour. While it can’t be said that the Sunshine Coast Chamber Music Festival in any way encourages unruliness, this year’s program lent a sense  of invigoration to a somewhat staid format.

Nowhere was this more evident than at the Festival’s Unbearable Lightness of Being event at the Chenrezig Institute in the hills behind Eudlo where a quartet of dancers from Zen Zo Zo Physical Theatre mesmerised then soothed their audience to the sounds of a string quartet from the DeepBlue Orchestra performing works by Bela Bartok, Philip Glass, Sally Greenaway and others. Captivated by the whirling movement of the opening sequences, the audience was imperceptibly drawn into a collective mediation by the graceful choreography and calming music that followed. As the performance unfolded, people stretched out on yoga mats, totally at peace. To close, cellist Wayne Jennings led his musicians off stage with measured, steps,  reciting lines from W.B.Yeats’ poem Aedh Wishes For The Cloths Of Heaven: “But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams”. 

On the previous night at Beerwah Community Hall, the Earth & Sky event held its capacity audience spellbound with a sextet of musicians from Brisbane-based Southern Cross Soloists performing works that were, by turns, engaging, challenging, poignant and occasionally boisterous. True to its name,  the SXS ensemble made space for its members to perform solo pieces, with James Wannan (viola), Tania Frazer (oboe), Courtney Cleary (violin), Guillaume Wang (cello) and Daniel Le (piano) delivering works from Massenet’s evocative Méditation to Debussy’s Clair de lune and Piazzolla’s tango-inspired Primavera. It’s said that a small ensemble can only be as good as its members and these players are very, very good. Main man at Beerwah, however, was didgeridoo master Chris Williams (also a highly regarded classical trumpeter) who delivered three sonorous works, including the world premiere of his composition The Wise Woman written in collaboration with renowned Australian composer Sean O’Boyle. This work pays tribute to Wakka Wakka Elder Maureen Williams whose passion for education blessed her with an extended family of well-qualified children and grandchildren, among them Chris Williams who holds a Masters Degree from London’s Royal College of Music.

Earlier that same evening, a stylish penthouse in Maroochydore provided the setting for an intimate house concert by Brisbane-based classical pianist Alex Raineri, a man whose quiet appearance belies the power and exuberance he extracts from a grand piano. Raineri set his audience at ease from the outset, opening with a slightly souped-up version of George Gershwin’s Rhapsody In Blue followed by an accomplished reading of Beethoven’s Moonlight Sonata. Raineri’s interpretations are studded with interest. Sensitive moments juxtapose with thundering passages. The piano weeps, then it roars. With the audience clearly in his thrall, Raineri went on to perform lesser known works, among them Brownhill Creek in Spring by renowned Australian composer Miriam Hyde. This is a stunning piece and Raineri did it justice. Rippling chords and poignant passages painted an aural landscape so vivid one had the feeling of actually standing beside a running stream. 

Sunshine Coast musician Linsey Pollak, whose trio ‘Gosti’ performed at the Festival’s second Sunset Salon event in Maleny, has forged an enviable career as an innovator, instrument maker and musical explorer. To attend one of Pollak’s concerts is to be charmed and surprised by his quirky compositions and eccentric hand-crafted instruments. It’s highly unlikely that you’ll find anyone other than Pollak improvising on self-designed wind instruments such as the cylisax or hybrid duduk though, given how mellow these things sound, perhaps more musicians should give them a try. His fellow players are no less offbeat in their choice of instruments. Percussionist Tunji Beir makes something resembling a disappointed tambourine sound like a full-sized drum kit. Beier also works wonders with such instruments as the zarb, mridangam, kanjira, ghattam and morsing. Third member Philip Griffin, uses an array of stringed instruments ranging from the lute-like rabab, an ancient instrument from Afghanistan, to modern electric bass guitar. Maleny’s Tranquil Park was an inspired choice as venue for this concert. Mountain views at sunset lent an almost surreal backdrop to Pollak’s unique multi-instrumentalists and their refreshing approach to music.

Singing Up Country, the closing performance of the Sunshine Coast Chamber Music Festival in Buderim Park, gave impact and meaning to the Artistic Director Dr Lynne Bradley’s mission to make classical music accessible while simultaneously extending respect to First Nations performers and their culture. This was a major concert, directed by Kabi Kabi Elder Aunty Helena Gulash, with well-known singer-songwriter Deline Briscoe as Musical Director. It featured a host of Indigenous singers and dancers enjoying sympathetic input from indie classical quintet Topology. Sunshine Coast Kabi Kabi identity and songman Lyndon Davis opened the show, along with the Gubbi Gubbi dance troupe. After Aunty Helena delivered the Welcome To Country, on came the incredibly talented line-up of singers - Fred Leone, the Sugar Cane Mamas, Emma Donovan, Deline Briscoe, Tenzin and Tamala, Rah-Nae, Sally Dastey and, naturally, Lyndon Davis. Topology performed pieces from their indie classical repertoire but essentially this was a night for First Nations people and Topology seemed happy to assume a supportive role. Emma Donovan was a standout, using her big, soulful voice to celebrate the music of the late Archie Roach. However Sally Dastey stole the show with a heartfelt reading of  Roach’s Always Be Here. All of the singers gathered on stage for the finale and, although it had started to rain, the crowd stayed for a truly moving version of We Won’t Cry…and then an encore. A memorable finale to a successful festival.

David Bentley is a composer, musician and journalist. He holds a Gold Walkley Award for journalism and is the author of international rock classic In A Broken Dream.

Note: David was unable to attend the opening night performance of CAMERATA IN CONCERT, or the Community Engagement concerts which featured Francis Atkins (piano) and Camilo Lopez (baritone)