Giovanni Consort Premieres Baltic Sounds in Ethereal Guildford Chapel Recital
Clear skies and crisp autumnal air enhanced the sublime atmosphere of Giovanni Consort's Baltic Sounds recital at Guildford Grammar Chapel on Saturday, a program showcasing Western Australian premieres of choral works from the Baltic region and beyond.
Opening with Ethereal Harmonies
Sopranos and altos initiated the performance in the sanctuary with Maija Einfelde's Lullaby, their overlapping melodic lines carolling and cascading to merge into warm, resonant harmony. The ensemble then transitioned to exquisite modulation, introducing discord in Nijole Sinkeviciute's Ave Maria before resolving into euphony to support soprano soloist Sarah Cranfield, all meticulously shaped by artistic director Nick Dinopoulos towards an ethereal Amen.
Deep Resonance from the Gallery
Tenors and basses commenced their segment from the west end gallery, chiming in with organ accompaniment for Arvo Part's De Profundis, a composition featuring a deep drone that led into lighter-than-air melodies. Accompanist Daniel van der Moezel maintained a steady pace as voices resonated across the vaulted ceilings and marbled floors in Part's mesmeric style, building in layers with the organ providing attentive support.
Dense harmonies then introduced Vytautas Miskinis' Ave Maria Nr 6, evoking rolling waves that sketched a distant, remembered soundscape. A brief pause cued a fragment of plainsong before a return to crushed chords, rising to an irresolute cadence that left a haunting impression.
Uniting Voices for Compassion
Male and female voices united for Australian-Latvian composer Ella Macens' When The World Closes Its Eyes, a paean to compassion rooted in folksong and protest traditions. Alto Charley Vukojevich led unaccompanied, delivering a powerful statement of intent for the world's vulnerable, joined by soprano-alto and tenor-bass sections in a billowing, consoling choral cloud.
Vocalised rhythm buoyed the flow as folkloric strains refreshed the musical mix, swelling the central theme and drawing all elements together as Vukojevich rose above a humming chorus to add a final, poignant touch.
Liturgical Fusion After Interval
Following the interval, Ugis Praulins' Missa Rigensis united eastern and western influences through Latin liturgy infused with Latvian riffs, originally composed for Riga Cathedral. A stentorian attack in the Kyrie announced Praulins' intent, with a splash of sound dissolving into rivulets and darker depths, falling to a whisper before bursting back to reprise the opening.
Tenor Kieran Lynch launched a delicate round, spiced with soprano highlights to open the Gloria, creating a mystic mélange of choral connection with soaring solo voices that channeled shades of Allegri. The Credo broke into urgent, insistent repetition, falling back in contemplation before reigniting devotional fervour.
Dynamic Climax and Serene Finale
A translucent quality suffused the more worshipful moments, morphing into drama through declamatory phrases offset by sudden silences. Dinopoulos skillfully drew deft dynamic and tonal changes, taking the microphone to intone over the combined force of the consort before resiling again to silence.
The Sanctus rang out from tenors, running through the vocal range to an anthemic Hosanna. A long pause for a passing train then led into the Agnus Dei, with a serene introduction from tenor Jason Kroll triggering intricate interwoven lines across the ensemble, flowing to an angelic plea for peace. Finally, a barely-there humming chorus embraced Dinopoulos' closing encomium.
Encore and Future Performances
In encore, Miskinis' Dum Medium Silentium brought a Christmas theme to Eastertide, capturing the reversal of seasons in the atmospherics of high northern latitudes, quivering with the quietude of fresh snow. Giovanni Consort will next present Games of Love and Chance: Romantic Chamber Music on July 10 and 11 at St Mary's South Perth and Dalkeith Road Church of Christ.
