NZ Chamber Soloists add lustre to final 2022 Waikanae Concert

Posted on by Steven Sedley

Waikanae Music Society presents:
New Zealand Chamber Soloists
Katherine Austin (piano) ; James Tennant (‘cello)
Lara Hall(violin/viola) : Dimitri Atanassov (violin/viola)

MOZART – Piano Quartet No, 2 in E Major K.493
HELEN BOWATER – Fekete Folyó (Black River)
SCHUMANN – Piano Quartet in E-flat Major Op.47

Memorial Hall, Waikanae,

Sunday, 30th October 2022

Waikanae is a 40 minute drive from Wellington, it has its own musical community, and the concerts that the Waikanae Music Society presents complement the concerts in Wellington. I don’t recall hearing the NZ Chamber Soloists in Wellington, which is a great pity, because you wouldn’t find a better ensemble anywhere. Three of its members teach at the Waikato Conservatorium of Music, Hamilton, and for this concert they were joined by  Dimitri Atanassov, former concertmaster of the Auckland Philharmonia.

The repertoire for piano quartets is, compared with string quartets and piano trios, limited. This concert featured two contrasting landmark works, Mozart’s and Schumann’s and a recent New Zealand work, Helen Bowater’s Fekete Folyó, the latter spanning the narrative of the Danube and the people of its basin from the Black Forest in Germany to the Black Sea in Romania.

Mozart: Piano Quartet No.2 in E Major, K 493

This is the second of Mozart’s Piano Quartets, completed in the year of his set of six String Quartets, dedicated to Haydn, three of his piano concertos, and also  while Mozart was working on his opera, The Marriage of Figaro, which was completed in the following year. There is a profusion of ideas, themes and lively contrasts in this quartet, and operatic snippets pervade the work. It has dramatic contrasts and suspense in the first movement, a beautiful aria in the second Larghetto movement and a suggestion of opera buffa in the last movement. It was impeccably played, with a lovely interaction between the violin and viola above the  firm base of the cello.  Their  lovely tone, allied to a natural ease and fluency, was particularly notable.

Helen Bowater: Fekete Folyó (Black River)

The Fekete  Folyó (in English the Danube), flows from the Black Forest to the Black Sea and on its way it traverses many lands of many people each with their unique and tragic histories. This is narrative music, with no evident formal structure, and the more engaging for that. We hear the wild rhapsodic music of gypsies, exuberant sounds of folk bands, and dark melancholic themes reflecting the tragic histories of the lands, moving Jewish themes echoing the terrible fate of the Jews of Hungary (at one point a sad cello solo taken up by the violin and viola). There is a lot of drama packed into this short interesting work, and it concludes with a most effective ending, the music petering out as the river disappears in the sea. Composer Helen Bowater was in the audience to acknowledge the applause.

Schumann: Piano Quartet Eb Major, Op. 47

For the second half of the concert Lara Hall and Dimitri Atanassov exchanged roles, Dimitri Atanassov played violin and Lara Hall viola. Schumann’s Piano Quartet was written some 60 years after Mozart’s K.493., and in that time the musical landscape, as indeed the entire world, had vastly changed. Although Schumann struggled with depression and bi-polar symptoms all his life, this work has an upbeat prevailing mood.  It starts with a dark opening that resolves into a lively allegro. The second movement Scherzo is playful, recalling Schumann’s childlike spirit that was reflected in his earlier Kinderszenen (Scenes from Childhood) for piano. The third movement is a love song, passionate, and lyrical. The last movement, Vivace, has at its centre a Fugue, joyous, and energetic, and  reflecting Schumann’s lifelong interest in the music of Bach. This is a work full of joy and a happy outlook. Three years later Schumann tried to commit suicide and was institutionalised for the remainder of his life.

This was a memorable concert, a great credit to the team of the Waikanae Music Society for bringing this outstanding group to the Wellington region.

The River of Youth – Arohanui Strings and Orchestra Wellington

Posted on by Anne French

Orchestra Wellington  – The River 

Glen Downie (b. 1991) – Well Within the Madding Crowd
(with Arohanui Strings)

Joseph Joachim – Violin Concerto No 2 (‘Hungarian’)
Soloist: Amalia Hall

Julian Kirgan-Baez (b. 1992) – Reflection

 Robert Schumann – Symphony No 3 (‘Rhenish’)

Orchestra Wellington
Marc Taddei (conductor)

Michael Fowler Centre, Wellington

Saturday, 15th October, 2022

There are two rivers in this programme: the Rhine, for which Schumann’s symphony was named, having been written after the Schumanns moved to Düsseldorf, and the Waimapihi Stream, which runs down Aro Valley (albeit mostly underground). Three of the works were written by young men: Joseph Joachim was the youngest, at 27, and Glen Downie the oldest, at 31.  Even Schumann was only 40.

There is consequently a sense of possibility, of a sunlit progress towards a happy future, about all of them. The tangible evidence of such possibility was provided by the Arohanui Strings, a Sistema-inspired orchestra led by Alison Eldredge, based in Taita, now with groups in Stokes Valley, Mt Cook, and Miramar. The Glen Downie work was commissioned for them by Orchestra Wellington, supported by SOUNZ, and Arohanui players joined OW on stage to perform it, plus a few other short favourites. It was striking that the Arohanui players took all the outside player chairs, and played with confidence and enjoyment.

Glen Downie had cunningly written a work with easy string parts – most of the interest was provided by the wind, brass, and percussion. It began with a spooky theme on the lower strings, with the broad, appealing main theme influenced by Henry Mancini. Downie’s programme note wished the Arohanui players ‘the same sort of fun … that I had whilst playing his music’. If it was Mancini crossed with film and television music, so much the better.

Marc Taddei’s showmanship was, naturally, evident. After they finished playing their last piece, a Scottish reel, he said encouragingly, ‘That went pretty well, didn’t it? Can we play it faster?’ and swung into a much faster tempo which almost everyone kept up with. Then, as the stage was cleared for the next work, he told the audience exactly how to donate (see arohanuistrings.org).

Joseph Joachim is known best these days as one of the famous violin soloists of the nineteenth century. Brahms wrote for him, as did Schumann. Born in Budapest, he was for several years the principal violinist of the Gewandhaus Orchestra under Mendelssohn, teaching at the Leipzig Conservatory. He moved to Weimar in 1848, where Liszt was establishing his cultural influence, then on to the court at Hanover where he was principal violin, and eventually to Berlin, where he founded a department of music performance at the Royal Conservatory.

As a composer, he was a protégé of Schumann and Mendelssohn. This work is a big virtuosic concerto, lasting 35-40 minutes – and is consequently described by violinists as ‘like running a marathon’. It is not often performed. My Hungarian colleague Steven Sedley commented quietly beforehand that he was a bit surprised that Amalia Hall had agreed to put in the time and effort to learn it. He described it as ‘a showy piece’, designed to show off the virtuosity of the performer. I could immediately see what he meant. It is a challenging work, with a huge first movement and lots of very fast playing required by the soloist. The players from the Arohanui Strings who had crept in to watch were delighted. There was general applause at the end of the movement.

The second movement is a tender and beautiful rhapsody in the style of a Romany ballad, featuring lots of small duets between the soloist and flute (Karen Batten), clarinet (Nick Walshe), and horn (William Loveless), with a long duet with the cello (Inbal Megiddo). The third movement is full of fiery Hungarian themes, as though it was about to launch into a Hungarian dance at any moment. My knowledgeable colleague noted afterwards that the concept of Hungarian nationality was a development of the Hungarian national movement of 1848 and afterwards; and also that gipsy music, emphasising bravura, scintillating music, a strong beat, and rich melodies, was the music played in well-off homes. It is refined music, not raw peasant music.

Amalia Hall played brilliantly by any standard. She captured the rhythmic subtleties and the heart-warming melodic passages. Further, she looked as fresh when she finished as when she started, so she has extraordinary stamina as well as technical virtuosity.

And then the interval. I felt as though I had sat through a whole concert already, but there were still two works to go.  That is the nature of an Orchestra Wellington concert.

The next work, Reflection, was by Julian Kirgan Baez, known mainly as an orchestral and jazz trombonist (playing with the Royal New Zealand Air Force Band and the Richter City Rebels as well as Orchestra Wellington and the NZSO). He has also been OW’s ‘Emerging Composer in Residence’ for the past year, working with John Psathas. This work, Marc Taddei told us, ‘embraces the harmonic language of Mahler, Strauss, and early Schoenberg’.

It begins with percussion instruments making sounds like water running over stones, with wind and brass, and then an entry from the strings in the big Mahler/Strauss late romantic style, with a brass underlay. The brass section was big: four horns, three trombones, and a tuba as well as two trumpets – all put to excellent use. The brass and wind writing was, I thought, very assured (although when the principal clarinet switched to bass clarinet I found the sound was swamped by everything else that was going on). Then the spirit of Schoenberg seemed to take over (the programme notes spoke of ‘angular harmonic and melodic gestures’) before a big announcement by the trombones and trumpets, and a final climax. This was an interesting work I would have liked to hear twice. There was excellent playing by percussionist Naoto Segawa and timpanists Brent Stewart and Ben Whitton, as well as trumpets Matt Stein and Toby Pringle and the trombones and tuba.

Finally, the Schumann symphony. The Third is very well known, but for Marc Taddei it was a teachable moment. He explained to the audience how the themes of the four outer movements use the interval of the perfect fourth, but the intermezzo at the heart of the work does not. For people not very familiar with the perfect fourth, the strings’ demonstration of how Schumann conjures beautiful tunes out of such an angular interval (to modern ears) would have sounded like a kind of magic. Taddei also told us that Mahler studied Schumann’s symphonies assiduously – as well as reorchestrating them to suit his own taste.  Nor was Mahler the only one – a film composer called James Horner stole the theme from the first movement, turned it from Schuman’s flowing 3/4 into 4/4, and added a shakuhachi (a Japanese flute). There was a burst of music over the PA system to illustrate the point.

This time the music examples were shorter but provided some structure to the listening experience for anyone unfamiliar with the work. The orchestra played well, with great solos from flute (Karen Batten), oboe (Merran Cooke), and great playing by all five horns. I especially loved the Bach-like chorale played by the brass in the solemn fourth movement, Cologne Cathedral, succeeded by the sunny and dancing final movement.

This was a complete musical experience, from the Arohanui kids to the glamour of Amalia Hall’s playing. And Taddei being the salesman he is, there was a pitch for the orchestra’s 2023 season, which includes Bartok’s Miraculous Mandarin, Mahler’s Das Lied von der Erde, Walton’s Belshazzar’s Feast, Psathas’s Planet Damnation (for timpani and orchestra), and Alban Berg’s Wozzek.  It is a great overstuffed rich plum pudding of a programme, and I can’t wait.

 

The stage of the imagination – NZ Opera’s Macbeth

Posted on by Anne French

New Zealand Opera presents:
VERDI – Macbeth

Cast:  Macbeth – Phillip Rhodes
Lady  Macbeth – Amanda Echalaz
Banquo – Wade Kermot
Macduff – Jarred Holt
Malcolm – Emmanuel Fonoti-Fuimaono
Lady-in-Waiting – Morag Atchison

With Orchestra Wellington
Conductor: Brad Cohen

Director: Netia Jones /Lightmap
Assistant Director: Jacqueline Coats
Lighting Designer: Matthew Marshall
Chorus Director: Michael Vinten

St James Theatre, Wellington

7th.October 2022 (also 9th October 2:30pm,)

The dark stage is raked up to the left. Not steeply, but enough to throw all the lines and angles off plumb. It is bare and black, with a gauze at the front creating spatial ambiguities.

Long before the last audience member has taken their seat, we are in the dark, crooked world of Macbeth, in which fair is foul and foul is worse than you imagined.

This is a reimagined Macbeth. There is nothing historic and Scottish about it. These are not – despite what the programme says – the brutish leaders of brawling clans, dashing from one pele tower siege to the next. Nor has it been updated to the unstable present. No one carries blue and yellow flags as Birnam Wood retakes Dunsinane.

Instead, the drama is set on the stage of the imagination.

What happens when someone conceives of a wicked act to advance themselves, and then carries it out?  Shakespeare imagines that they become unhinged.  Lacking a moral compass, there is no guide for where to go next. Verdi agrees, though he points to the political and human consequences (the refugees in Act 4). And the director of this production thinks that the desire to kill may be accompanied by other beastly proclivities. In this Macbeth, Lady Macbeth is ravenous for power and sex. She is powerful and controlling. He is weak and often uncertain.

The stage in the opening scene reminded me of a black-and-white television set.  Lots of black, with ambiguous straight lines. Then a woman enters, dressed in black and white, reading a piece of paper – followed by another and another. Finally there are about 20 of them, lined up along the wall on the left-hand side of the stage. They are the witches; in Verdi’s version not three women but ‘three groups of witches’. This is an unfortunate decision on the part of Verdi or his librettist. If they had asked me, I would have argued against it. It sacrifices the particular drama of the three weird sisters, each individualized, for a mass effect – and in this scene the witches look like a group of schoolgirls diligently studying their homework.

Indeed, in his essay on Macbeth the play in the programme, literary scholar Tom Bishop says that the witches ‘were a strong selling point’ in Shakespeare’s productions and the many subsequent revivals. (Samuel Pepys saw it nine times, calling it ‘one of the best plays for a stage … that I ever saw’.)

When Macbeth (Philip Rhodes) enters, he is wearing a stylish dark overcoat that he is careful to show us has a scarlet satin lining. The colour symbolism of the production design is straightforward: lots of black and dark grey, some white (but it doesn’t indicate purity), splashes of scarlet standing for death and lust, sometimes relieved by an intense turquoise. And that’s it.

The lighting design is simple. The stage is mostly shadowed with one or two points of light. Sometimes there is a kind of inhospitable grey light – the blank grey of a black and white television screen with the power off. But creative energy has been poured into the projections. Branches indicate a wood; an enormous closeup of Macbeth’s face with touches of red and turquoise indicates his power as king; giant hands covered in blood or washing themselves indicate guilt. Almost everything is in monochrome, maintaining the moral murk of the action.

With the visual language so simplified, the focus is thrown on the singers. Again, Verdi’s choice of voices is interesting. Macbeth is a baritone, as are Banquo (sung by Wade Kernot), the singing Assassin (Stuart Coats), the Doctor (Matthew Landreth), and the male Apparition (William McElwee). There are no tenors on stage until Act 4, when Macduff (Jared Holt) and Malcolm (Emmanuel Fonoti-Fuimaono) arrive to defeat Macbeth’s army at Dunsinane and take back the throne of Scotland. It is a relief.

The baritone rumble throws the soprano of Lady Macbeth (Amanda Echalaz) into the spotlight. She is the most animated character, with a full emotional palette from ambitious to exultant, lascivious, frustrated (by Macbeth’s weakness), and finally remorseful and unhinged. Accordingly she is given terrific clothes as well as great arias. My favourite outfit was the black and red dress in the Act 2 banquet scene. She vamps around the stage in what seems to be a scarlet skirt with black leggings underneath, throwing herself at her husband with all the propriety of a pole dancer, eventually throwing off the scarlet skirt to show her true self in trousers, taking action.

This being NZ Opera, the production is musically stunning. An essential Orchestra Wellington played well under Brad Cohen, with some great brass playing at portentous moments, and some lovely clarinet and bassoon solos. The chorus sang well, and the soloists were fantastic. I have always been a fan of Philip Rhodes, and he and Wade Kernot (Banquo) carried much of the opera on their shoulders.  South African soprano Amanda Echalaz was excellent. She has a lovely voice with all the brilliance required, and acted well. Readers of my review of Opera Wellington’s recent La Traviata will recall my excited rave about newcomer Emmanuel Fonoti-Fuimaono. He did not disappoint here as Malcolm, mastering the right amount of youthful nobility and strength of purpose, and singing beautifully alongside the experienced Jared Holt (an audience favourite, to judge by the applause).

My favourite moments concerned the apparitions. After the interval, the raked stage is revealed to have a huge fissure in it.  I thought at first it was symbolic of a rift in something – the body politic? – and was painted on. But in Act 3, summoned by the witches, the apparitions rise up from it, singing their fateful prophecies, and eventually a series of nine little child kings emerge, all dressed in red, with small iron crowns on their heads, like Macbeth’s own. They are Malcolm’s children, who will inherit the throne despite Macbeth having murdered their ancestor Duncan.

This is a theatrical device that Shakespeare would have approved of, having used the trapdoor in the stage of the Globe Theatre to have the witches suddenly appear and disappear.  In fact, I think he would have enjoyed the whole production. Verdi’s libretto is more economic than the text of the play – which is itself concise. But this production carried the same diabolical power as the original, and the same ghastly depiction of evil and its effect on the human mind.

 

 

DUO ENHARMONICS Piano Duo – a Blockbuster of a Concert!

Posted on by Peter Mechen

Wellington Chamber Music Sunday Concert Series 2022 presents:

Duo Enharmonics – Nicole Chao and Beth Chen (piano duo)

WOLFGANG AMADEUS MOZART – Piano Sonata in D, K.381 (`1772)
FELIX MENDELSSOHN – Andante & Allegro Brilliante Op.92 (1841)
JOHN PSATHAS – Motet (1997)
FAZIL SAY – Night (2017)
HANNA KULENTY – VAN…. (2014)
IGOR STRAVINSKY – The Rite of Spring (1913)

St,Andrew’s-on-The-Terrace, Wellington

Sunday, 2nd October

A quick look at Middle C on my part brought forth some previous “other” enthusiastic opinions regarding the music-making of Duo Enharmonics, made up of the piano duo of Nicole Chao and Beth Chen (formed in 2017, and whose names are here alphabetically ordered) – to my surprise, I hadn’t actually heard them play before, perhaps confusing my somewhat over-vicarious enjoyment of the reviews of their performances by my colleague Steven Sedley with the “real thing”, and especially in the case of a concert featuring a presentation for four hands of Ravel’s “La Valse”, along with the Mozart Sonata we heard today. (The memory is obviously not what it was…..)

Matters of familiarity with the pair’s playing were put right for me with a vengeance today – I confess the concert’s main drawcard was hearing the Stravinsky work performed on a single piano four-hands! – how, I had asked myself when looking at the concert programme a few days before, could that be possible, or more of anything but academic interest?  Of course I should have consulted the Middle C record earlier and been reminded of the duo’s performance of “La Valse” (another piece I would have thought well-nigh impossible to bring off satisfactorily, before reading my colleague’s enthusiastic review….)

By way of preparing for the music’s onslaught in this particular form (of course I’ve known – and gradually gotten to love – the original orchestral “Le Sacre du Printemps” (The Rite of Spring) ever since my first open-mouthed teenaged encounter with the work on record in the 1960s), I had the bright idea of finding an existing performance for piano duo on You Tube beforehand, simply to get an idea of how it would all translate in pianistic terms. What surprised me on doing so was the extent to which everything suddenly sounded more “harmonic” than I’d ever previously heard, the music’s harmonies, tones and colours actually competing with the piece’s rhythms for my ear’s attentions! It made me look forward all the more to what Chao and Chen would do with this iconic score.

However, there seemed almost another concert’s-worth of other music to be got through beforehand, here! – with each scheduled item having its own intrinsic interest either by association or repute – the one blank I drew was with the name Hanna Kulenty, and upon investigation was suitably mortified to find a catalogue of completed works any composer would be proud to own, thus furthering my education in yet another direction, that of contemporary Polish composition!

Partly because the piano was still in its infancy, there are surprisingly few works for keyboard four- hands from the time before Mozart, the most prominent being a handful of sonatas by Johann Christian Bach, who, of course was the former’s only acknowledged composition teacher. This work, in D Major K.381, dates from the time when Mozart’s regular performing partner was his sister, Nannerl, a child prodigy like her brother, their father touring them around Europe as wunderkind – at that time their chosen instrument was probably still the harpsichord, rather than the newfangled fortepiano (the forerunner of the modern pianoforte).

The duo‘s spirited attack at the Sonata’s beginning soon gives way here to expertly-nuanced dynamic contrast as the music announces its “orchestral” quality of loud/soft and staccato/legato passages. The music has all the character one might expect from such a living, breathing organism, including a telling minor-key shift at one point before the jovial mood reasserts itself, though I liked the way the movement’s end was gracefully, almost enigmatically voiced, rather than merely hammered for brilliances’s sake.

Richly-wrought, beautifully-rounded tones characterise the slow movement’s opening, the gentle dying fall at the exposition’s end “leans” us eagerly into the following sections, markedly highlighting the work of each player, primo and secondo (Chao the former, and Chen the latter, incidentally)…… then the finale’s fanfare-like opening and contrasting exchanges of leading voices make for an almost operatic scenario of “give-and-take” throughout, complete with contrasting trajectories alternated between tumbling triplets and snappy dotted rhythms – such a joy!

From here we leapfrogged into a new century of sentiment and sensibility with the music of another youthful prodigy, Felix Mendelssohn, in the form of his Andante & Allegro Brilliante Op. 92, a piece he wrote to perform with the young Clara Schumann. The piece’s layout strongly reflects, both physically and musically the idea of partnership and harmonious balance, qualities emphasised by both players in their spoken introduction to the work. Strange as it might seem to anybody upon hearing the work’s exquisitely contrasting parts, it was first published with the opening Andante omitted – but fortunately a new age has restored the composer’s original concept of a coming-together of contrasting impulse in friendship.

Chen and Chao straightaway establish a mood of seamless flow of concerted lyricism, beginning with the secondo player alone, and then handing over to the primo as if it all came from a single pianist. The Allegro suddenly and impishly irrupts from the lower registers, spreading its joyful energies over the whole spectrum, the players here combining delicacy with sparkle and brilliance, all the while literally and delightfully playing into one another’s hands – towards the end comes a lonely luftpause, a couple of tentative impulses, and then an explosion of whirlwind elfin energies bringing to us the conclusion.

Came a further shift both forwards in time and here to these shores with John Psathas’s 1997 work Motet – and here we were given the treasurable bonus of not only having the composer present but (unexpectedly for him!) brought to the platform to introduce the work, which he did, presumably to honour the efforts of these, his former students at the School of Music! Psathas held us spellbound as he described both aspects of the work’s character and its actual premiere in this same venue, given by pianists Michael Houstoun and Diedre Irons. He also recounted to our merriment the incident of a hapless audience member attempting to noisily extricate a cough lozenge from its plastic wrapping during a quieter sequence in the music, and being silenced by a hissed admonition from Houstoun!

Beth Chen took the primo here, for this remarkable work, a kind of “ritual” in four parts, the music beginning with the duo opening up vast, nebulous vistas, a wandering treble picking its way over bardic-like spread bass chords, the effect almost aleatoric, as if enacting the discovery of a new land. A third voice intones a long-breathed melody, chant-like at first, but gradually becoming more rugged and jagged in effect, the sounds gathering weight and the harmonies clashing acrimoniously – such flavoursome volatility conjured up here! – with the ensuing chaos dissolving into silence.

Twice more the music rises from its own embers, firstly with a chordal theme hoisting a beacon which sparks off a toccata-like irruption from the textures, buoyed by rallying shouts and vigorous scintillations of dancing figures! When this also spectacularly implodes, the musicians again bring their energies to bear on the work’s repeatedly-checked trajectories, which once again revive and begin to pulsate with renewed life as they plunge towards the liberating resolution of a single chord,  completing the ritual! – all that’s left at the end is an ambience of wonderment, and a welcome reassurance that life and our world are worth preserving……

Virtuoso Turkish pianist Fazil Say appeared next on the programme as a composer, with his 2017 work Night (commissioned by the Dutch Piano Duo Lucas and Arthur Jusson). Say had previously (2013) gotten into trouble with Turkish authorities over remarks which he had “tweeted” being considered disrespectful to the Islam religion , to the point where he was convicted and given a suspended jail sentence, and his music banned from performance – as a gesture of support the dedicatees of Night actually played the work on tour in Ankera as an encore after it had been officially removed from the original programme. Ostensibly the piece is about contrasting qualities associated with the night and its mysteries, both sinister and enticing, though each of the contrasting moods might well readily lend themselves to subversive interpretation regarding repressions which could be exerted on individuals by an authoritative government.

Say’s piece opens with a shadowy, careering juggernaut-like propulsive character, somewhat reminiscent of the manner of Prokofiev in his earlier piano works, when at his most percussive and relentlessly rhythmic. Chen (primo) and Chao (secondo) build the excitement unerringly and remorselessly until the trajectories break off, and the players transform the ambiences with subtle manipulations of the piano strings inside the lid (evocations of the “alluring siren call” mentioned in the programme note). It’s as much music of “flight” and danger as of mystery and allurement, and its ending packs an almost self-destructing punch!

Polish Composer Hanna Kulenty’s work “VAN…” was next, after the interval. Originally written for a concert during the state visit to Poland by the King and Queen of the Netherlands in 2014, it wasn’t performed on that occasion for whatever reason, and was instead premiered later in the year by the aforementioned Dutch Piano Duo, Lucas and Arthur Jusson. The piece opens gently and spaciously with ascending/descending repeated chords in both the middle and higher registers of the piano, before the secondo player (Chao) abruptly beginning a toccata-like figure, soon taken up by the primo player, both of whom then enact an extended kaleidoscopic exchange of repeated impulses which constantly interact through exchange, reflection and alternation. The harmonies are tonal, and most wonderfully resonate both unto themselves and relative to their progressions, the effect being a kind of perception of a reality that’s constantly made to change, not unlike the effect in some minimalist works I’ve encountered. The players suddenly and abruptly stop the toccata figure upon a held chord, one whose resonant decay poignantly colours the return of the opening chordal figures into and through an amazing silence…..beautifully done…..

I couldn’t help feeling that the concert was become one of two distinct halves at this point, if not weighted quite as I was expecting, thanks to the outstanding musicianship of Beth Chen and Nicole Chao in making the diverse characters of the different works we’d so far heard really come to life – as someone whose prime purpose in attending the concert was to experience the final scheduled item “live” I found myself already replete with musical stimulation, and wondered as well how Chen and Chao would physically and mentally shape up to the Stravinsky work “The RIte of Spring” that we were about to hear, and  especially after despatching the first part of the programme so vigorously and convincingly.

As it turned out I had absolutely no cause to worry, though I confess the subsequent effect of both the performance of “The Rite” and its character as a piece of music surprised me, particularly so in the wake of my having heard that other piano duo performance on You Tube. My first impression upon watching the latter was that the piano version for me had radically changed the whole character of the piece from one whose primarily nature was rhythmic to one which at the very least stressed the equal importance of harmony. Having grown up exclusively hearing orchestral versions of  the piece, I’ve found, particularly in the more heavily-scored passages, the rhythmic complexities of the music to my ears have dominated and indeed often submerged things like harmony, colour and (in places) actual pitch of notes! For this reason it was like unexpectedly listening to a new work for me, one far less insistent and subjected to a hegemony of percussion and heavy scoring, as in most recordings I’d heard. I made no judgement of either in qualitative or quantitative terms, regarding both versions as equally valid, and especially after having read somewhere that the composer worked concurrently on both a piano and an orchestral score at the time of composition.

My second surprise, however, came at this point in the concert with the incredible playing in the same work of the wonderful Duo Enharmonics pair, which (unlike the You Tube version I’d watched and listened to) bore out the statements made by the programme’s note-writer relating to the piano as a “percussive instrument”, and the “heightened brutality” of the piano version – made, according to the writer, “on an instrument that is capable of becoming a machine”. And all because, unlike the on-line piano version I’d encountered and listened to, Beth Chen and Nicole Chao seemed to literally “take no prisoners” with the work, bringing to its presentation an attack, an edge, a richness of tone, a strength and an energy that for me rivalled many orchestral versions of the ballet I’d heard.  I’d actually go so far as to say that, for me, it all seemed at times even a bit too much of a good thing, with Chen and Chao pushing hard in places (such as in some of the detailings of the Introduction to Part One, where more light-and-shade of touch might have afforded some welcome variety; as could have parts of the Ritual of the Rival Tribes,  where I found the hammered tones now and then over-insistent).

It might seem as if I’m contradicting myself, here, but I did wonder to what extent Chen and Chao might have made themselves familiar with the work’s orchestral versions, so as to get such sounds as a kind of “reference” in their heads. In fact they may even have thought such a course was unnecessary, given that they were playing the composer’s own piano version with its own tailor-made dynamics. Having said all of this, I must emphasise  the fact that I was truly stunned by the Duo’s playing of the work, lost in admiration of what they were actually achieving, however much in places I might have wanted slightly more varied and transparent tones. It’s important to pay proper attention to what is actually done in order to convey as fully as possible one’s appreciation of it all – and therefore to what Duo Enharmonics achieved overall with this concert I take my hat off in sheer admiration and wonderment – “Sacre bleu!”

 

A concert of “music from then and now” with the NZSO

Posted on by Steven Sedley

Legacy – The New Zealand Symphony Orchestra

Stephen de Pledge (Piano)
Alexander Shelley (Conductor)

Gillian Whitehead retrieving the fragility of peace
Mozart Piano Concerto No, 20 in D Minor, K466
Brahms Symphony No, 1 in C Minor Op. 68

Michael Fowler Centre, Wellington

Saturday 1 October 2022

This was a concert that spanned almost two and a half centuries, from Gillian Whitehead’s work commissioned by the NZSO and receiving its first performance during this series of concerts, through Mozart’s most popular piano concerto written in 1785, and culminating with Brahms’ First S ymphony of 1876. I found it a collection of works that asked questions about the nature of music, and what this music meant to people of their time and also to audiences at present.

Gillian Whitehead retrieving the fragility of peace

Gillian Whitehead is one of the doyens of New Zealand composers. Over her long and distinguished career she has drawn on the European Modernist tradition, but she has also mined her Maori heritage. Three years ago the NZSO commissioned her to write a piece, Turanga Nui, commemorating Cook’s landing on these shores in 1769. Now, a new work,  Retrieving the fragility of peace, commissioned by the NZSO for this tour, uses a similar soundscape, using the resources of a large orchestra to capture the sounds of the forest, its bird songs, and perhaps the thumping rhythms that suggest haka, war dance.

Forget conventions such as extended melodies and themes – this piece is about the basic ingredients of music, sound, tones, beat and silences. It challenges the listener, steeped in a European classical musical tradition to sit up and listen. There are instrumental interludes of sheer beauty – an extended cor anglais solo, for example, and  a cello solo – flute, winds, brass and a wide range of percussion and string sounds add colour, but significantly, it is silences that define the piece. It ends in silence, a pause over a few bars, a few seconds. The war dance resolves into peace. It has a distinctive beauty of its own.

Mozart Piano Concerto No, 20 in D Minor, K466

Over a period of two years Mozart wrote 11 concertos, most for his series of subscription concerts in Vienna, making use of the new developments of the piano. Of these, only two are in a minor key, D Minor K466, No. 20 and C Minor K491, No. 24, written in the following year. The D Minor concerto was, and probably still is, the most popular of Mozart’s concertos, foreshadowing the later romantic concertos of Beethoven and other composers. It starts with a haunting phrase repeated, calling to mind the final scene of Don Giovanni, an opera that was written two years later.

The soloist who was expected to play at this concert was the Venezuelan pianist, Gabriela Montero, but in the event she was unavailable, isolating after contracting Covid. At short notice the Auckland pianist, Stephen de Pledge was called upon to replace her. In no way did this seem to disadvantage Wellington. Stephen de Pledge played at a relaxed, expansive tempo which let the music breath. The dramatic first movement was followed by a lyrical extended song of the second movement that his sensitive playing did justice to. The unhurried last movement was a fitting climax to the concert, its dark shadow already there in Mozart’s imagination. A notable feature of this performance was de Pledge’s use of additional ornamentation, which seemed very appropriate to the piece. He also improvised his own cadenzas, with echoes of Mozart’s operas and even of Beethoven, who wrote a cadenza that is widely used. The orchestra supported the soloist with precise yet sensitive responses. For an encore de Pledge played Schumann’s Traumerei,  a very personal, romantic reading of which Schumann would have approved.

Brahms Symphony No, 1 in C Minor Op. 68

Brahms had written a number of large scale orchestral works before writing his first symphony. The shadow of Beethoven loomed large and he had to write something that followed Beethoven’s tradition, yet was different and uniquely his. This symphony is, like the Mozart Concerto, in a minor key. Brahms had a grand vision, a work with a confluence, a mosaic, of short themes that developed into overarching subjects to fill out symphonic sonata form. His musical language was that of the North German choral tradition. The coalescence of these themes created a rich many-layered sound, and in a less clearly-focused performance these individual themes could have got lost, overwhelmed by the main theme, – however, the mark of this performance was that every little nuance came through clearly, the competing themes carefully balanced. The first movement is a dialogue between an overtly military theme and a tranquil subject. The second movement is an extended chorale embellished by a beautiful flute solo, then a plaintive melody played by the strings. This movement is one of the most exquisite pieces of music in the symphonic repertoire. The third movement has the feel of a dark German song on which the rest of the movement elaborates. It is all a long way from the cheerful, lighthearted third movements, Minuet and Trios, of earlier symphonies. The final movement is the conclusion, the summation of the previous movements. The horns, winds, call to mind the Wagnerian sound. Then the Allegro con brio introduces the triumphal final theme, a theme that brings to mind Beethoven’s Ninth. And there, in the horns, there is a synergy with the trumpet calls of Gillian Whitehead’s piece that the concert started with.

It was a beautiful, clear, measured performance. If there were some slight inaccuracies that some picked up, these were completely lost amid the overpowering beautiful playing. The audience responded with a spontaneous ovation that you seldom hear at the end of the symphony. There was a general sense of elation, with people walking out at the end of the concert on a high, with the music ringing in their ears.

Masterworks from the WYO

Posted on by Rebecca Stanton

Wellington Youth Orchestra
Mark Carter, conductor
Emica Taylor (flute)

JOHANNES BRAHMS – Academic Festival Overture
CARL NIELSEN – Concerto for Flute and Orchestra
ALEXANDER BORODIN – Symphony No. 2 in B Minor

St Andrew’s on-The-Terrace, Wellington

Saturday, 1st October, 2022

A grey and damp Saturday afternoon in Wellington was the perfect environment from which to seek refuge in this concert of brilliant and invigorating works played by the WYO at the top of its game. While the centerpiece of the programme was necessarily the Nielsen Flute Concerto, showcasing the virtuosity of WYO 2022 Concerto Competition winner Emica Taylor, the works by Brahms and Borodin that flanked it were also a great pleasure to listen to. The concert opened with Brahms’s Academic Festival Overture, a work your humble reviewer was forced to study for School Cert Music in a bygone century and therefore has not (or not deliberately) listened to since.  This was an enjoyable reintroduction.  As is well known, Brahms composed the piece by way of a thank you gift to the University of Breslau upon being awarded an honorary PhD, so that its title (Akademische Festouvertüre in German) refers directly to the joyful occasion of receiving the degree.  However, it can also be understood as describing the contents of the score.  While the “festive” nature of the overture is immediately apparent in the collection of student drinking songs it famously samples, its “academic” qualities emerge in Brahms’s use of counterpoint, and in the orchestration, which cannily exploits the individual colours of the instrumental forces employed.  This means it is a piece of many moving parts, which can feel “bitty” as it moves from theme to theme and colour to colour. The WYO, however, played like a single organism under Mark Carter’s baton.  I really enjoyed their feeling of unity as well as the beautifully articulated “highlights” given to various players and sections. In particular, I was impressed by the disciplined pizzicato in the cellos, and the thrilling fortes that succeeded the tiptoeing opening section. The orchestra also appeared to be enjoying itself, at least if the grins on the first-desk violinists as they rounded the corner into the triumphant finale on “Gaudeamus Igitur” were any indication.  My seat did not afford a clear sightline to the woodwinds (alas! Purely because of my own poor planning), but did offer an excellent view of the two percussionists (both guest players, according to the programme), who also played with verve and evident elation.  (The manic triangle riff at the end of the piece was a particular highlight.)

This appetizer having got the party well underway, it was now time for the main course: the Nielsen flute concerto.  In a brief introduction, Music Director Mark Carter characterized this piece as “fiendishly difficult….a real test for the orchestra.” It was a test they seemed well prepared to pass, even before the soloist, Emica Taylor, made her appearance onstage with enviable poise and in a beautiful gown. Nielsen doesn’t mess around: after a furiously chromatic four-bar introduction – really more of a scene-setting – the solo flute enters in a cascade of limpid triplets, matching the athleticism of the orchestra but introducing a contrast to their vehemently zigzagging semiquavers.  Taylor proved more than equal to the acrobatics required in her relentlessly hyperactive solo line, while the strings and woodwinds traded off duties in the accompaniment – one section providing a rhythmic underlay (I was particularly impressed with the disciplined pizzicato of the string players here) while the other offered lush countermelodies. A series of brief duets between the flute and the various woodwinds were beautifully played: in particular an extended dialogue between flute and clarinet, interrupted by enthusiastic strings and a surprise bass trombone, only to resume and infect the whole orchestra with a lyricism that continued to the end of the first movement.

The second movement was again introduced by vigorous strings only to give way almost immediately to a charming duet between flute and bassoon, gradually pulling in an accompaniment from the lower strings, then the remaining woodwinds. An ethereal adagio section followed, with a bit more canoodling between flute and bassoon, interrupted by agitated strings, ushering in a more playful interlude that in turn gave way to a lively march. A mood of building anticipation culminated in a duet of flute and timpani leading into a triumphant tutti finale. The entire performance felt committed, fluent, and professional.

It is safe to say that the audience was delighted with the concerto, and abuzz over Taylor’s virtuoso playing. This, therefore, was a good moment for an interlude, and the presentation of the Tom Gott cup – awarded annually to the winner of the WYO’s concerto contest, in this case, obviously, Emica Taylor.

The final piece on the programme was Borodin’s Symphony No. 2 in B minor, subtitled “The Bogatyrs” (something like “warrior-heroes” in Russian legend). The symphony has a complicated genesis story; Borodin (working simultaneously at his day job as an organic chemist) worked on it on and off for six years, with interruptions for the opera Prince Igor and the ill-fated opera-ballet Mlada (both also drawing heavily on the legends of mediaeval Rus’). He then proceeded to lose the full score and, having found copies of movements 2 and 3, had to (re-)orchestrate the other two movements while sick in bed.

One might be tempted to imagine that this contributed to the extremely pesante character of the first movement, in which a suitably “heroic,” ponderous theme is introduced by unison strings – the whole movement is dominated by unison or homophonic playing – and then compulsively repeated and returned to.  Interruptions by the trumpets (with a brisker martial-sounding motif) and woodwinds (with more lyrical material) inexorably lead back to the heroic theme, often “enforced” so to speak by the low brass. The second movement, marked “Scherzo – molto vivo” was a (as expected) a merrier romp, featuring more terrific pizzicato, especially in the low strings, and lovely woodwind playing among other delights.  Its syncopated second theme went with a swing – a chance to appreciate Mark Carter’s economical, elegant conducting and his seamless rapport with his players.

The third movement, claimed (by Borodin’s biographer Stasov) to represent the legendary Slavic bard Bayan singing and accompanying himself on the gusli, is easy to imagine as a kind of aural montage. It opens with a lyrical duet of clarinet and harp (presumably representing the voice of the bard and his instrument, respectively), followed by a gorgeous horn solo that seems to take us back to the “time immemorial” of heroic deeds – soon introduced in foreboding tones by orchestral forces reminiscent of the first movement: unison strings and low brass. The mood of agitation in the bottom half of the score is offset by cantabile playing in the woodwinds and horns – the winds and brass really shone in this movement! – which gradually takes over the whole orchestra, until we “fade out” back to the solo horn, harp and clarinet, a sort of musical “the end” which perversely leads straight into the Allegro fourth movement without a break. This movement had everything one might want in a finale – building excitement, catchy tunes, dynamic contrast, lots of tutti playing, and most of all plenty of action for the percussionists! I particularly enjoyed watching them gingerly pass the triangle back and forth in between managing their respective duties on cymbals, drums, and tambourine. Good fun. The syncopation and mixed metres showcased this orchestra’s strong grasp of rhythm and caused more than one toe to tap. 

Perhaps the best thing I can say about this concert is that I frequently forgot to take notes, as the music drew me in.  The WYO on a good day is really a terrific orchestra, and this was definitely a good day. Stellar playing all around and engaged, communicative conducting made for a really invigorating afternoon of music, and I look forward to the next one.

Popular and enterprising fare from the Wellington Chamber Orchestra

Posted on by Peter Mechen

Wellington Chamber Orchestra
Caitlin Morris (‘cello)
Andrew Aitkins (conductor)

KHACHATURIAN (1903-1978) – Adagio of Spartacus and Phrygia from the Ballet “Spartacus”
DVORAK )1841-1904) – Vodnik (The Water Goblin) Op.107
TCHAIKOVSKY (1840-1893)  – Capriccio Italien Op.45
ELGAR (1857-1934) – ‘Cello Concerto in E Minor  Op.85

St.Andrew’s 0n-The-Terrace, Wellington

Saturday, 24th September, 2022

This attractive assemblage of pieces which made up the Wellington Chamber Orchestra’s latest concert presented a colourful, spirited and enterprising programme, combining what one might describe as a clutch of “popular” classics with one piece definitely off the beaten track.

The popular pieces have somewhat different claims to fame, the Khachaturian piece featuring as the theme music for a popular television series within living memory, “The Onedin Line”, the music’s soaring, swooping theme tune evoking sailing ships and their transcontinental voyages – in the composer’s original ballet, set in Roman times, this same music depicted the love between Spartacus and his wife Phrygia, a pair of Thracian slaves captured by Roman forces.

Tchaikovsky’s Capriccio Italien, sketched out during its composer’s stay in Rome during 1880, uses a combination of music he heard in the streets and various folk songs. After completing his sketches he confidently remarked in a letter to a friend that “a good fortune may be predicted” for the piece, an assertion which has, over the years triumphantly proved correct, which opinion wasn’t always his feeling about many a far greater work he’d written and over which he often had serious doubts.

Finally on the concert’s “well-known front” came the Elgar ‘Cello Concerto, a piece whose popularity has been hard-won over earlier years, right from its first performances both in Britain in 1919 and the USA in 1922. The premiere of the work was practically sabotaged by the conductor’s neglect of the piece in rehearsal, to the point where a contemporary critic wrote in a review of the performance  “Never has so great an orchestra (the London Symphony Orchestra!) made so lamentable an exhibition of itself!”. To make matters worse, after the American premiere two years later a critic wrote “It is a long work (!) and it ambles on and on, utterly without distinction, utterly without inspiration”…..

It really wasn’t until ‘cellist Jacqueline du Pre took up the work firstly at the BBC Proms with Sir Malcolm Sargent in 1963, and then via a classic recording with Sir John Barbirolli in 1965 (which became, in the lingo of the times, a “best-seller”), that the work began to convey its true quality and status in more widespread terms, which of course continues today with a new generation of ‘cellists.

The “odd one out” in this concert was definitely the Dvorak tone-poem Vodnik (The Water Goblin), one of several tone-poems completed by the composer AFTER he had written his Ninth and most famous symphony, the “New World”. Unlike with the symphonies, which he’d composed along the lines of the classical masters, Dvorak turned to the example of Franz Liszt who had first developed this new form of composition, and was from the beginning harshly criticised by conservative musicians and critics who, despite Beethoven’s “Pastoral” Symphony, disapproved of “programme” music.  Dvorak obviously wanted to explore and celebrate a native Czech spirit more freely with these works, which still today lag far behind his symphonies and overtures in popularity, though they are now receiving more notice, as in this present concert with “Vodnik” (The Water Goblin), the earliest of the composer’s ventures into this new territory.

Flanking the Dvorak in the first half were, firstly, the Khachaturian Adagio, and then Tchaikovsky’s rumbustious Italian picture-postcards, each a perfect foil for what followed. The Khachaturian was gloriously played here, the opening dominated by a splendidly-phrased oboe solo from Rod Ford, thereafter handing the theme over to the strings for further lyrical expansion, conductor Andrew Atkins getting his players to vary their phrasings and intensities most beguilingly. Sterner brass and intensely-wrought wind solos took the music through irruptions of excitement and expectation before the entire orchestra gave the music unashamed Hollywood treatment, building to a most impressive climax that was thrilling in its cumulative impact. And how gracefully did the winds, the horns and the harp bring about the piece’s dying fall, with Paula Carryer’s solo violin having the last eloquent word – most satisfyingly done.

At the half’s other end was the ceremonial splendour and contrasting rumbustiousness of a piece once popular but seldom played in concert these days – Tchaikovsky’s Capriccio Italien, a work I first encountered on 78rpm acetate discs (a precious memory) and which I still love to bits! Those brass calls at the start had here a proper spine-tingling effect, to which the different timbres of horns and heavy brasses added thrilling weight, though a couple of the accompanying “ra-ta-ta-plan” figures accompanying the strings’ sombre, but expressively shaped melody were too eagerly raced by the players. I thought the oboe-led winds took the music back most excitingly to the reiteration of the opening brass calls, if rather more tentative this time round. Some more “ra-ta-ta-plans” then led to a melody that’s one of the world’s charmers, played winningly by the winds, then the strings, and building up to a most satisfying irruption of festive sounds.  Away from this sprang the next section, lively, if none too tidily at first but with the performance recovering its poise sufficiently to make a scintillating impression with the concluding tarantella, everything breathlessly exciting!

In between these pieces was the Dvorak tone-poem, its relatively unfamiliar strains most strikingly and impressively brought into being at the outset, with the orchestral winds’ mischievous, spiky rhythms gradually becoming more macabre and frenzied as the eponymous Water Goblin danced along the lakeside in anticipation of capturing a human girl for a bride. Throughout, Atkins and his players vividly and tellingly contrasted Dvorak’s colourful depictions of the story’s grotesqueries with the simple natural beauty of the countryside and of the young girl, whose piteous abduction by the Goblin here occasioned particularly affecting playing from strings (violas) and winds as she lamented her fate. I thought conductor and players did terrific work making sense of Dvorak’s sometimes in places obsessive detailings, particularly throughout the sequences representing the girl’s captivity, the birth of her child, her pleading with her Goblin-husband to be allowed to visit her mother again (he will not let her take the child) and their reunitement. The final scene in which the spirit-husband impatiently comes to fetch his wife home again is fraught with all the tension, cruelty and ultimate horror characteristic of these Czech stories, which the composer knew as verse ballades written by the nationalistic poet Karel Jaromir Ereben. Atkins and his players again gave their all, demonstrating astonishing  commitment to making the composer’s somewhat unwieldy structure work its full dramatic and colourful effect!

After the interval came, for me, the concert’s second piece de resistance, a performance by Caitlin Morris of the much-loved Elgar ‘Cello Concerto. Being of the generation which had listened open-mouthed to Jacqueline du Pre’s “revival” of the work in the 1960s, and thus still having her interpretation well-nigh “imprinted” on my consciousness, I was delighted to witness a younger player’s performance that seemed to take what she needed from du Pre’s intensely poetic vision of the work but bring to it very much her own brand of intensity and poetry, and a technique capable of realising those goals with real verve and brilliance. Right from the opening recitative,  Morris commanded our attention, making the music very much her own and “drawing in” her fellow-players and listeners alike to a world opened up by the music’s unashamedly heart-on-sleeve outpourings.

Atkins and his players seemed at one with her throughout, matching her expressiveness at all points, with only a couple of orchestral interjections in the finale that seemed to me too wilfully brusque, and which caught the players off balance – elsewhere, all flowed as one, the effect being of hearing the music speak as poetry might be delivered by a great actor. What particularly caught my ear in the opening movement was the music’s Elgarian “stride”, that purposeful gait which evokes the composer walking over his beloved Malvern Hills, and which seems to characterise so much of his “Elgar the countryman” personality, with its dogged determination to succeed against all odds. By the time of the ‘Cello Concerto he HAD of course “succeeded” as a composer and a national figure, and the music of the rest of the work takes us beyond such successes and into expressive realms which suggest the sadness of things beyond recall in a rapidly-changing world.

A nimble-fingered account of the playful scherzo featured great teamwork between soloist, conductor and the orchestral winds, Morris’s diaphanously-voiced ascents during the exchanges a delight, as was the “wind-blown” aspect of the accompaniments – though the double-stopped passages weren’t always perfect, there was generated a proper sense of carefree abandonment in the music’s voicings and phrasings that for me captured its spirit.

Perhaps the highlight of the performance was the slow movement, my notes containing repeated references to the playing of soloist and orchestra “as one”, with tones and phrasings literally playing into each others’ hands, time almost seeming to stand still – the finale’s opening is, of course, intended to “break the spell”, though I thought the interjection here overly brusque – significantly, the  concerted passages of the rest of the movement didn’t attempt to match the opening’s vehemence, yet were still forceful enough.

In fact the quixotic mood was well caught, especially the “things that go bump in the night” sequence with its sforzandi-like irruptions; and, together with the soloist, the massed ‘cellos rose splendidly to the occasion with their “all together” recitative. And the final section, where the music has always seemed to me to unashamedly weep, was here given full emotional rein, with its lump-in-the-throat return to the slow movement’s theme. How dramatic, always, is the ‘cello’s return to the opening recitative, as was the case, here – though, right at the work’s conclusion, while I can appreciate how the composer wanted a brusque, “well, let’s get on!” kind of ending, it seemed to me on this occasion over-projected, and ill-timed, out of kilter with the performance’s overall character.

Composure was somewhat restored with Morris and Atkins (the latter on the piano) giving us a “return-to-our-lives” performance of Saint-Saens’ ubiquitous “The Swan” which rounded off the concert in a suitably thoughtful way. Very great credit to these WCO musicians on a number of counts, not least in the enterprise of the programming, and the enthusiasm and commitment with which they undertook the task of making it all work so well.

 

 

Music to celebrate an anniversary of international friendship

Posted on by Steven Sedley

Chinese Arts and Entertainment Group presents
East / West: A Symphonic Celebration

XILIN WANG The Torch from ‘Symphonic Poem from Yunnan’
DOUGLAS LIBURN Drysdale Overture
YUANKAI BAO Chinese Sights and Sounds
Happy Sunrise
Green Willow
Lan Huahua
Song of Riddles
Dialogue on Flowers
TIAN ZHOU – Gift (Commissioned work of the Shanghai Symphony Orchestra)
TRADITIONAL Pokarekara Ana|
SHIGUANG WANG The song of the Yangtze River
PIANO CONCERTO ‘Yellow River’

Orchestra Wellington
Conductor: Brent Stewart
Soloists: Jian Liu, piano
Joanna Foot, soprano
Bo Jiang, tenor

Wellington Opera House

Tuesday, 20th September 2022

This concert, presented by the Chinese Arts & Entertainment Group, celebrated the fiftieth anniversary of the establishment of diplomatic relations between the People’s Republic of China and New Zealand. What a lovely way of celebrating this anniversary, with a full symphony orchestra, distinguished soloists and appealing music, Chinese and New Zealand.

Xilin Wang is one of the most remarkable older Chinese composers. The Torch Festival conjures up images of the traditional Yunnan province festival. Energetic wild  rhythmic celebratory passages are interspersed gentle melodious sections.

This Chinese landmark composition was followed by a work of New Zealand’s senior composer, Douglas Lilburn. Drysdale Overture was his first major composition. He wrote it while he was still a student at the Royal College of Music. It is a tribute to his father and the farm on which he grew up. It sounds a little like the music of his teacher, Vaughan Williams, but there are also echoes of Copland.

Pokarekare Ana is a popular traditional New Zealand love song probably originating during World War 1. It has been widely recorded, notably by Kiri Te Kanawa, with orchestral accompaniment, but it is also moving with only a simple guitar accompaniment. On this occasion, it was sung by the well known New Zealand operatic soprano, Joanna Foote. Lovely voice, impressive stage presence.

To balance the New Zealand item the next item was the popular Chinese song, The Song of the Yangtze by Shinguang Wang, President of the Chinese Opera. It was sung as a duet by Joanna Foote and the tenor, Bo Jiang, both well known opera singer.  Bo Jiang enhanced the performance not only with his fine light tenor voice, but also with his engaging smile and his dramatic gestures. The song was clearly very meaningful to the young Chinese woman sitting next to me, her eyes lit up, this was something she was very familiar with.

The Yellow River Concerto is a piano concerto arranged by a collaboration between Chinese composers, including Yin Chengzong and Chu Wanghua, and based on the Yellow River Cantata by composer, Xian Xinghai. This was done by order of Jiang Qing, wife of Chairman Mao. It has been popular around the world ever since. It is rousing music with vigorous dramatic virtuoso passages alternating with simple folk song like interludes. It was played with brilliance by Jian Liu, Head of Piano Studies and Director of Classical Performance at the New Zealand School of Music, Victoria University.

As an encore Joanna Foote and Bo Jiang sang the popular Chinese song, No Sleep Tonight, much liked by the Chinese members of the audience.

This was an interesting concert of  music, largely unknown to a local audience, but it was more than that. It was a gesture of friendship, a statement that music is international with no barriers.

Heartland of the Romantic Piano Repertoire – Michael Endres at Waikanae

Posted on by Steven Sedley

Michael Endres (piano)

SCHUBERT Drei Klavierstück, D 946

LISZT Rhapsodie Espagnole, S 254

SCHUMANN Kreisleriana, Opus 16

Memorial Hall, Waikanae

Sunday 18th  September 2022

A solo piano recital featuring the heartland of the romantic piano repertoire, Schubert, Liszt, Schumann, is very rare indeed in Wellington. International luminaries flit in occasionally, play a concerto with an orchestra and flit our again, and the solid works that were once the rock foundation of piano recitals are just no longer heard. We must therefore be grateful to the organizers of the Waikanae Music Society for engaging Michael Endres for this recital. We in Wellington have not had the opportunity to hear him recently, though, going through the reviews on Middle C, I see that he has played in Waikanae a number of times over the years. Part of the problem is, of course, that we don’t have a suitable hall in Wellington at present, nor a piano that can compare with Waikanae’s magnificent Fazioli.

Michael Endres has world-wide reputation, has made a number of recordings, and a range of his concerts and recordings can be accessed on YouTube, and he has made the very sensible decision to move to Christchurch.

He started this recital with Schubert’s Drei Klavierstücke (Three Piano Pieces). Schubert wrote this in the last year of his all too short life, a year in which he wrote some of his greatest works including some of his monumental sonatas. This, however is a work on a much more modest scale. It is like a set of three Impromptus, and it is the more personal, moving for that. Endres brought out its understated lyrical charm and its sometimes innocent child-like quality. He brought out the contrasts, the drama and the gentle melodies. His sensitive playing did justice to the music, that flowed like songs, much like Schubert’s accompaniments to his songs, and underlying it all was a touch of nostalgia, very much part of this music.

Schubert was followed by Liszt’s Rhapsodie Espagnole. This was a striking contrast to the self-effacing modest mood of the Schubert work. Liszt’s piece is based on two Spanish dances that he had heard during the time he had spent in Spain and Portugal in 1845, La Folia de Espagnol and Jota, It is a dazzling bravura work. Endres did justice to the virtuosity of the piece. He exercised great control, while bringing out the elements of sheer fun. He let the music breath, playing it with natural fluency, straight from the heart.

The second half of the concert was devoted to Schumann, the central figure of romantic music. It started with Kreisleriana, Opus 16, It is a series of eight contrasting fantasy-like pieces in which Schumann attempted to encapsulate the constant swings of moods of Kappellmeister Kreisler, a character in E. T. A. Hoffman’s novel, something that must have been close to Schumann’s heart. He wrote these pieces in the course of just four days in 1838. Hoffman’s Kreisler was an eccentric musician at odds with the world around him, half crazed and intensely passionate. This might have meant something very personal for him with his own issues of mental balance. In the eight short pieces you hear the full gamut of moods and passions, but you also hear the power and musical resources of the piano. It is one of Schumann’s most popular piano pieces, and one is unlikely to ever hear a better performance of it then Endre’s, with its subtlety and sensitivity to the range of moods.

The concert ended with transcriptions of two of Schumann’s songs,  firstly Du bist wie eine Blume (You are like a flower), transcribed by Clara Schumann, and,Frülingnacht (Spring Night),  transcribed by Liszt. 

For an encore Endres played a charming little piece Pensée Fugitive by Smetana.  It was a most satisfying and enjoyable concert. Come back again Michael Endres!

Towards a new Romantic language

Posted on by Anne French

Orchestra Wellington: Leviathan

Wagner Lohengrin Prelude to Act 1
Psathas Leviathan Concerto for percussion
Schumann Symphony No 2

Alexej Gerassimez (percussion)
Marc Taddei (conductor)
Orchestra Wellington

Michael Fowler Centre, Wellington

Saturday. 17th September, 2022

The whole concert took the title ‘Leviathan’, which was, frankly, misleading. Much more than half the concert came from the soundworld of nineteenth-century German romanticism. But still, ‘Leviathan’ was a better marketing pitch. And the concert was traditional in format: an overture, a concerto, and a symphony. But this being Marc Taddei’s programming, the effect was anything but traditional.

This concert, like all Orchestra Wellington concerts, began with an introduction to the works by conductor Marc Taddei. The OW audience obviously enjoys these little chats.  The opening words concerned the 2023 season. It was, Taddei informed us with a dramatic flourish, to be called ‘Inner Visions’ (like the Van Morrison song?) and summed up by this quote from the painter Kandinsky: ‘That is beautiful which is produced by the inner vision, which springs from the soul.’ He went on to flatter the audience: ‘You complete this process of music-making. You are the interpreter of what you hear. We try to manifest the composers’ ideas, but you make it come alive.’

Onward to this evening’s concert. Music, Taddei helpfully explained, has two strands. One, which had its roots in the Enlightenment, saw music as Apollonian, idealized. But the other, since medieval times, gave rise to romanticism. And tonight’s concert was in the romantic tradition. ‘It consists of three unassailable masterpieces … with a work by our very own genius, John Psathas.’

The ‘overture’ consisted of the Prelude to Act 1 of Lohengrin, a most un-overture-like piece of music. When Wagner told his friends, including Schumann, that he planned to write an opera based on the Arthurian legend of one of the Grail knights, Schumann announced he had been thinking of writing an opera on the same theme. (For Arthurians, Lohengrin is the son of Parzifal in the medieval poem Parzifal by Wolfram von Eschenbach.) Naturally Wagner got there first. The introduction begins with the faintest shimmering of the high strings and gently builds, entry by entry, to a big portentous crescendo that culminates in an orgasmic crash on the clash cymbals, and a decrescendo back down to shimmering lyricism. The playing was beautiful, whether it was the strings’ endless delicacy or the tender solos from the winds (a gorgeous cor anglais solo, for instance, from Louise Cox). The work was written in 1848, but already it is possible to hear elements of Wagner’s mature leitmotif style.

John Psathas’s monumental percussion concerto was commissioned by the Tonhalle Dusseldorf and the soloist, a young German percussion virtuoso called Alexej Gerassimez. The artist’s appearance was supported by the German Embassy.  The work is in four movements, and requires two large batteries de percussion, one at the back of the orchestra and the other at the front of the stage, as well as 4 horns, 4 trumpets, 3 trombones, and a tuba.

Alexej Gerassimez is a tall, lithe young man, very light on his feet – because at times he was required to run from one side of the stage to the other – and at one point two extra percussionists came downstage to play instruments on the left while he dealt with several simultaneously on the right-hand side.

The writing is characterized by Psathas’s fast, exciting rhythms and his cumulative, layered climaxes. Sometimes the orchestral writing was rather static, with all the momentum provided by the percussion instruments. The second movement referred to Beethoven’s Pastoral Symphony, with Psathas bringing the ‘background melody’, played ‘with love and compassion and warmth’ by the cellos and basses, into the foreground.

The enormous third movement was titled ‘Soon We’ll All Walk on Water’ and featured an amplified plastic bottle, played by scratching, shaking, and beating. The movement culminates with Gerassimez playing a bowl of water with his hands, and finally using a colander to pour water back into the bowl. Then followed another bottle solo with the strings playing mournful grey chords in the manner of Goretsky’s Symphony of Sorrowful Songs against the quite jolly bottle rhythm.

Likewise a Wagnerian passage on wind and brass formed a wash of colour behind a solo on what sounded like small stones being struck. Another crescendo is followed by a quiet, thoughtful clarinet solo (Nick Walshe).

The last movement, ‘A Falcon, a Storm, or a Great Song?’ (quoting Rilke) contained some of the loveliest marimba playing I have ever heard, along with steel drums, what sounded like a slit drum, woodblocks, a whip, tubular bells, bass drum, and timpani, all building to a final crescendo complete with snarling trumpets and a final single triangle note.

Leviathan is a most interesting work. It must have been challenging to bring off. Leaving the soloist to one side, there was still a vast amount of percussion being played by Jeremy Fitzsimons, Brent Stewart, Naoto Segawa, and Yoshiko Tsuruta, with Sam Rich on timpani, and a gazillion notes for the big brass section. The tempo changes must have been challenging. And that’s before the soloist is added, bringing a world of complexity and fast changes.

The audience loved it. There was rapturous applause, with Gerassimez shaking the hand of Concertmaster Amalia Hall and conductor, the composer arriving on stage to hug everyone, and several curtain calls.

After the interval, the symphony. Marc Taddei embarked on an introduction to the work that lasted about 20 minutes. Schumann’s Second Symphony was in fact the third one he wrote. It is ‘personal and deeply felt,’ said Taddei: ‘It is the most personal symphony written in the nineteenth century or indeed in any century.’ I’m not quite sure what this means, or whether it is even true, though I became quite distracted trying to think of candidates for more personal works. (Shostakovich, certainly. Tchaikovsky, definitely. Mahler!!)

Taddei rehearsed the sad facts of Schumann’s mental ill health before telling us about Mendelssohn’s rediscovery of Bach and the great Bach revival that Schumann and Mendelssohn embarked upon around this time. The second symphony, it turned out, was flavoured with Bach whilst containing many references to Schumann’s friends and his beloved wife Clara.

And then the musical examples – every movement was analysed, with the key themes played and musical references unravelled and displayed. It was interesting, and I am certain the audience thought it marvellous, but most of it is so intrinsically part of Schumann’s musical language that in the event it is mostly subliminal.

Finally, the symphony itself. Taddei was right. This is a masterpiece and it deserves to be performed often. If you are thinking of programming a Schubert symphony over the next year, please programme this instead. It was mostly very well played, though without the meticulous attention to detail and clarity that Gemma New would have provided. Taddei conducted without a score, and at one point in the second movement he stopped conducting altogether and turned to grin at the audience. Another favourite trick; the audience grinned back.

Although the Scherzo is fun, and the Allegro vivace creates a big pile-up of overlapping themes with ‘B-A-C-H’ ringing out at the end, the Adagio espressivo that follows is a glorious thing. It takes its theme from Bach’s Musical Offering ‘and turns it into a romantic song without words’. There were beautiful solos by Merran Cook (oboe) and Jamie Dodd (bassoon) and a horn duet (Shadley van Wyk and David Codd). The fourth movement is a bouncing delight, fast end energetic.

It was notable that there was applause after every movement – a spontaneous response to beautiful music. I would love to hear the work again. Indeed, if the concert had started and ended with it, omitting the Wagner, I would have been happy. But Taddei’s point was about the invention of the musical language of romanticism. Schumann wrote the symphony only two years before Lohengrin. And Psathas quoted liberally from that language whilst putting it to wholly novel purposes.

All in all, a very satisfying and absorbing concert. I am intrigued to see what Inner Visions Orchestra Wellington may bring us in 2023.