Music / “Pictures at an exHERbition”, Luminescence Chamber Singers and the Luminescence Children’s Choir. At Gandel Hall, May 28. Reviewed by IAN MCLEAN.

THIS interesting concert concept, which attracted a large and appreciative audience, was centred on composer Sally Whitwell’s musical depiction of the work of a number of Australian women visual artists.

The 1874 “Pictures at an Exhibition” suite by Russian composer Modest Mussorgsky, a famous example of music inspired by visual artists, was the catalyst for Whitwell’s “Pictures” which aimed to capture and celebrate the often unrecognised artistic contribution of contemporary Australian women artists.

The “Pictures”, short musical reactions to Whitwell’s list of personal favourites, featured in three distinct spots during the concert but there were other musical tributes to visual art endeavours dotted throughout the program.

An a cappella, 1200-year-old gothic chant, “O Wisdom”, for both the Luminescence Chamber Singers and the Luminescence Children’s Choir, (visually and aurally pleasingly lined around the perimeter of the audience) set the tone for an afternoon of fine entertainment with tuneful, well balanced and confident singing.

Tight harmony featured in John Tavener’s “The Lamb”, a setting of William Blake’s poem, with text thoughtfully and tastefully projected on a rear screen.

Sally Whitwell then introduced the first of her “Pictures”, a collection of six short songs that were inspired by paintings as diverse as the Sydney Harbour Bridge, visions of Rushcutters Bay and the Constance Stokes 1930 painting, “Portrait of a Woman in a Green Dress”.

Sung by the Chamber Singers, each little tune differed significantly in style from its predecessor but all featured beautifully clipped and precise phrase endings and clean, clear diction. 

There was real diversity as tenor Dan Walker sang “Sports et Divertissements”, a 1914 collection by Eric Satie of five comedic and fun sports-related images. Whitwell’s piano playing was somewhat overpowering as Walker impressively sang all songs in French in styles ranging from a tango to a “Tea for Two” type cha-cha. Another directional turn with an inventive Walker vocal arrangement of Don McLean’s “Vincent”, a homage to van Gogh, inspired by McLean’s reading of a biography of the Dutch painter.

On to round two of “Pictures” and a majestic fanfare-like “Shadows”, contrasted with the gentle imagery of “You Held My Hand”, irregular rhythms of “Swings” and the pleading of children in “Can We Keep Her”, the Whitwell reaction to the 1957 Joy Hester painting, “Child with a Yellow Bird”. 

Bass Alasdair Stretch performed works by Poulenc that combined poetry, painting and music then three world premieres to open the nine songs contained in the final set of “Pictures”.

“The Westbury Quilt” musically interpreted the Misses Hampson painting of the same name, whilst “Polygonical” pondered the introduction of a new word to aptly describe “an object of such wonder”, the cut acrylic 2008 work by Gemma Smith, “Boulder #2”, held here in Canberra at the National Gallery.

Other fascinating songs in the final collection ranged from “Cherry”, based on “Girl with Cigarette”, Margel Hinder’s “Mother and Child” and “Bite Me!”, a take on Tania Ferrier’s 1989 work “Angry Underwear”.

The concert ended in equally diverse fashion with the children’s choir taking up ukuleles to accompany the combined voices singing of “The Dog Days Are Over” from the 2023 “Guardians of the Galaxy Vol 3” soundtrack then Stephen Sondheim’s “Sunday” from “Sunday in the Park”, his musical based on a Georges Seurat painting.

This intriguing concert certainly showcased the clever composing ability of Sally Whitwell as well as her refined and inventive programming skills. Fine singing from the Luminescence Chamber Singers and the Luminescence Children’s Choir enhanced the musical choices with the wide array of musical styles captured competently, confidently and with joy and passion.

A discerning audience exited into a gloomy and cold Canberra late afternoon with smiles on their faces and in their hearts.