NZSM Cello Ensemble – a concert review by Maya Field
St Andrew’s on the Terrace
Wednesday 22nd May
Director: Inbal Megiddo
Performers: Portia Bell , Tomos Christie, Qian Feng , Sebastian Green , Esther Lee , Gemma Maurice , Nathan Parker , Emma Ravens, Olly Wilkinson
Programme:
W.A. Mozart. Symphony 40 in G minor, K. 550, Molto Allegro (arranged by S. Watkins)
Albeniz. Tango in D, Op. 165, No. 2 (arranged by D. Johnstone)
G. Gimenez. La Boda de Luis Alonso (arranged by B. Dejardin)
J.S. Bach. Sarabande from Suite 6 in D major (arranged by C. Hampton)
Charlie Chaplin. Smile (arranged by S. Walnier)
It’s a universal fact that the cello is a beautiful instrument. It has a deep, round sound with the ability to go into lower and higher pitches without losing its quality. There’s almost an inherent energy to the cello. Is it the nature of the cello, or the skill of the cellists, that brings such energy and liveliness to a performance? I like to think it’s a combination of both, as I’m yet to see a performance where the cellos disappoint. The skilled cellist brings out the beauty of the cello, and the beautiful cello brings out the skill of the cellist.
Apologies for the slightly flowery start, but I think I’m slightly justified in my enthusiasm after the brilliant performance on Wednesday. The NZSM Cello Ensemble hooked me into the music, and reminded me of why I adore the cello.
They opened with the Molto Allegro from Mozart’s Symphony No. 40, which is a great piece to open with. At midday on Wednesday, it’s always a good idea to start the programme with something to wake up your audience. The ensemble had beautiful phrasing, and had a great balance of all parts. From the jump, they had superb unison: even their breathing was together.
Onto Albeniz, with a Tango in D from the Espana suite. The director, Inbal, explained that this piece was originally written for the piano, so I was interested to see how it was arranged for a cello ensemble. After listening to a recording of the piano version, I can confirm it was a successful arrangement, with each part nicely balanced.
The Gimenez was lively and fun. As a wedding piece dedicated to the Spanish dancer Luis Alonso, there was a real sense of movement and dance, as well as general celebration. Again, they had fantastic unison and timing. There were moments where it felt like the pizzicato and melody were being passed from section to section, which had both a playful and lyrical nature to it.
After the Allegro and two intense dances, the change to the Sarabande from Bach was really lovely. This piece really drove home how well this ensemble does phrasing. Their handle on legato being elegant, but not blurred, was excellent, and everything just had the deep quality you expect from Bach.
The last piece of the programme was a slight break from tradition, but a welcome one. The ensemble performed ‘Smile,’ composed by Charlie Chaplin, the comic, filmmaker, actor, composer, and cellist. ‘Smile’ was composed for Chaplin’s film, ‘Modern Times,’ which was paid tribute to as clips from the film played on screens while the ensemble performed. I suppose the irony is expected from Chaplin, but the piece starts off quite somber, although beautifully somber. My one piece of criticism is that I wish the clips weren’t out of order, and instead were just in the order of the film. I suppose that would raise copyright issues, but I’m nitpicking. It was a great way to finish.
The ensemble did an amazing job, and made a wonderful break from assignments. I say this in every lunchtime review, but I truly mean it: I’m always happy to spend an hour at St Andrews, watching a performance of some great music. I get to take a break from my work, sit in the back of an old (earthquake-proofed) church, usually with a coffee from La Cloche next door, and listen to live music. I struggle to think of a better way to spend my midday on a Wednesday.