The Marais Project | The Fantastical Life of Daniel Solander 

November 23, 2025,  Rehearsal Studio 1 Walsh Bay Arts Precinct, NSW

Jenny Eriksson – Artistic Director and viola da gamba
Tommie Andersson – lute and guitar
Susie Bishop – soprano and violin

A little over 25 years ago I read the totally absorbing book, Nature’s Argonaut – Daniel Solander 1733-1782 by the Australian historian Edward Duyker. Simply by telling the story of this brilliant Swedish botanist and support worker to the wealthy Joseph Banks on James Cook’s voyage to New Holland (Australia) in 1770 Duyker has done much to correct an English bias to the botanical discoveries seen on that European trip. This concert by the Marais Project celebrated Solander’s contribution to Australia and science whilst acknowledging the musical work in Sydney by the excellent lutenist/guitarist, Tommie Andersson, another Swede. 

Described as A dramatised musical performance by The Marais Project. Featuring Swedish folk and art music, Australian colonial-era songs, and excerpts from the diaries of Sir Joseph Banks and Captain James Cook, this concert surely was similar to what was referred to as entertainments or a tableaux in the 19th century and into the 20th century. Small musical works from Sweden and Australia interspersed readings from the writings of Banks and Cook and aptly illustrated an English perspective of New Holland. To single out individual works is of no importance as it was the whole that clearly enthralled the enthusiastic audience and the readings from the journals by Angus Evans created a mini dramatisation.  

The performers revelled in the music and the performances were simply charming. Many of the works were arranged by Andersson showing his consummate skill as a musician. Susie Bishop alternated from singing with a clear pure soprano voice to playing violin in various styles – post baroque here, then a touch of folk-fiddling and then tender lyrical lines. Andersson was perfection incarnate. He always had time, had space, to let the music sing through and in this Jenny Eriksson was the perfect musical partner. She was the foundation of the music when required and when needed she let the music sing.    

Having read about Isaac Nathan in footnotes about Australian music it was a delight for me to hear his music in concert for the first time – two colonial era songs. 

It is not my role to make such a suggestion as follows but please indulge me… edited down to 50 minutes with an additional English work from near 1770 this would make a great little production that could be performed at a small venue at the Sydney Opera House and tourists would surely find it just spot on.

Program
Troy Russell – The Acceptance (Arr. by Tommie Andersson)

Carl Michael Bellman (1740-1795) (Arr. by Tommie Andersson)
– Fredmans Epistel No. 2 – Till Fader Berg, rörande fiolen
– Fredmans Sång No 64 – Haga

Traditional Swedish (Arr. by Tommie Andersson)
– Låt till Far (Song to Father) – Pers Erik Olsson (1912-1983)
– Gråtlåten (The Crying Tune) – after Röjås Jonas (1921-1989)

Isaac Nathan (c. 1791 – 1864) – The Aboriginal Mother (Arr. by Tommie Andersson)
Isaac Nathan – The Aboriginal Father. (Arr. by Tommie Andersson) ‘A Native Song of the Maneroo Tribe.’ Text transcribed by Eliza Hamilton Dunlop

Traditional Australian – The Streets of Forbes (Arr. by Llew and Mara Kiek/Tommie Andersson)

Traditional Scottish – Johny Faa, An Old Scots Song (Arr. by Tommie Andersson). From the collections of
Johan Wikmanson (1753-1800) – Sonate för en Zittra
– Allegro moderato
– Presto

Traditional Swedish (Arr. by Tommie Andersson)
– Kristallen den fina (Dalvisa). (From Skattungbyn, Dalarna)
– Polska (from Fu, after Bengt Mattsson, Mora)

George Strong (1853) – Catadon Polka (Arr. by Tommie Andersson)

Traditional Swedish – Gammal fäbodpsalm (Old pastoral hymn) (Arr. by Tommie Andersson) Originally set by Oskar Lindberg
Traditional Swedish – Kom du lilla flicka (Dala Polska) (Arr. by Tommie Andersson) As sung by the famous Swedish soprano, Jenny Lind