Master Series Two. Adelaide Symphony Orchestra. Adelaide Town Hall. 4 April 2014
During the interval I asked several acquaintances what they thought about Lutosławski’s Cello Concerto that had just been performed by American ‘cello legend’ Lynn Harrell who had been delighting audiences all week in the Adelaide International Cello Festival. “Interesting, but not entirely enjoyable” said one, and “Harrell was certainly entertaining, but I disliked the music” said another. For myself, I have owned a recording of the work for a number of years, and have not found it easy to come to grips with, and in truth I rarely listen to it. It is an unconventional concerto, and Lutosławski is an unconventional composer. However, it is another example of a musical composition that needs to be seen and heard, not just heard. Audio recordings alone cannot do this work justice.
I recall a recent experience during the Adelaide Festival when it was my very great privilege and joy to hear and see the Australian String Quartet perform George Crumb’s highly innovative ‘Black Angels’. Lutosławski’s cello concerto is the same deal but for a slightly different reason. Lynn Harrell’s performance demonstrated that some compositions demand the musician to be an actor as well, and to communicate to the audience through some of the non-musical ideas that are part of the work, such as inattentiveness, boredom, surprise, irritation, deep concentration, anger, and even bloody mindedness!
The concerto begins with the solo cello repeatedly playing Ds, for more than four minutes! The rhythm, dynamics and tempo are indistinct and variable. Some audience members took a little time to realise that the work had actually commenced – they thought Harrell was still tuning his instrument, and the look on his face was priceless. An actor would say that he had broken the ‘fourth wall’ as he paid direct attention to individual audience members, winked and wryly smiled at them, and gave a ‘thumbs up’! Eventually the trumpets abruptly interrupted the cello from its selfish monotony and demanded its attention. Harrell looked shocked, almost bemused, and his facial antics evoked even more giggles but gradually he/the cello was drawn into the world of the behemoth that was the orchestra, and the piece was by now well underway; you either resisted getting involved, or you let it sweep you away. Harrell was masterful in conveying the drama, humour and pure human emotion of the piece. If I listen to my recording again - if - then I’m certain my enjoyment will be greatly enhanced for having witnessed a cello great interpret a remarkable piece of music.
The evening began with an exciting reading of Rossini’s ever popular ‘William Tell Overture’ under the expert baton of Arvo Volmer. Noting that the piece features the cello prominently, it was in many ways a perfect curtain raiser on the Lutosławski and reminded us that the whole week has been about the cello. Volmer invited Ewan Bramble (acting principal cello) to take the first bow, and it was greatly deserved.
After interval Volmer led the orchestra in a luscious reading of Brahms ‘Symphony No. 2 in D’. It is full of beautiful themes and is a crowd favourite. Volmer is always keen to unleash the might of the orchestra but he properly observed the lighter sections and allowed various soloists to have the prominence the piece demands.
The audience was thunderous in its applause and left well satisfied – for some the Brahms restored their faith, but for others the unique experience of the Lutosławski was still at the front of their minds.
Kym Clayton
When: Closed
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Youth Orchestra. Elder Hall. 30 Mar 2014
In the space of a week Adelaide audiences have been treated to performances of two of Dvořák’s greatest symphonic works – Symphony in G (No. 8) last week by the Adelaide Symphony Orchestra and now the better known Symphony in E minor (No. 9) performed by the Adelaide Youth Orchestra (AdYO).
AdYO concerts are vital affairs. The venues are packed with devoted fans and supporters, and there is a palpable air of expectation and excitement. At the final beat of the conductor’s baton it is guaranteed that the audience will erupt into heartfelt and appreciative applause with whoops of ‘Bravo!’. This concert was no exception.
Popularly known as “From the New World”, Dvořák’s ninth Symphony was composed while he resided and worked in the USA (‘the new world’) in the early 1890s. The work is often thought to be influenced by the musical traditions of native North Americans and traditional African-American spirituals, but any influence stops short of direct quotations. However, if the composition’s nickname had never been coined it is likely that no such connection would ever have been popularised. But, Dvořák is reported to have quipped that he would not have composed the way he did while in America, if he had not in fact seen America. He is also reported to have been inspired by the wide-open spaces, and the ninth symphony is indeed expansive, particularly the beautiful and languid melody (“Goin’ Home”) in the second movement. Conductor Keith Crellin coaxed a big sound from AdYO – it filled the Elder Hall – and the trombones, trumpets and wood-wind were particularly fine. The flutes introduced thematic material with clarity, and the cor anglais was almost sublime with “Goin’ Home”. Crellin exerted skilful control to ensure that abrupt changes in time signatures were mostly well handled and the piece didn’t run away with the youthful enthusiasm of the orchestra!
Saint-Saens wrote his third and last violin concerto for the Spanish composer and virtuoso Pablo de Sarasate. It is perhaps not as technically difficult as the first two (and neither is it easy by any stretch!) but its melodic inventiveness, pan-European diversity of musical influences, and occasional foray into what can almost be described as impressionism, place considerable interpretative demands on the soloist. If these demands are not successfully negotiated then the entire piece runs the risk of become overly emotional and melodramatic. But young violinist Tianyou Ma took it all in his stride and played with the skill and acuity of someone much older than his tender fourteen years. It is no wonder that the eminent Yehudi Menuhin School in the UK wants to take him on as a student later this year. Who knows where his talent will take him – the world of the professional soloist is a cut-throat one – but Tianyou Ma deserves to have a long, auspicious and conspicuous career. I would have liked him to have attacked the dramatic moments of the first and third movements more than he did in order to create expectant tension (just as the great Jacqueline du Pre did at the cello entry in the first movement of Dvořák’s great cello concerto). That aside, Tianyou Ma’s lyricism in the second movement andantino was simply beautiful.
The concert began with an emphatic and well-articulated performance of Aaron Copeland’s iconic “Fanfare for the Common Man” performed by an ensemble selected from AdYO’s brass and percussion. It was the perfect curtain raiser to a very satisfying concert!
Kym Clayton
When: Closed
Where: Elder Hall
Bookings: Closed
Master Series One. Adelaide Symphony Orchestra. Adelaide Town Hall. 21 March 2014
There were many standouts tonight, but guest conductor Jahjah Ling stood tallest. The work of the maestro begins long before the performance, and long before the first rehearsal, and Ling has clearly done his homework on Dvořák. Ling has an affinity for Dvořák’s uber melodic and lyrical Symphony in G (No. 8), which concluded the concert. He demanded the ASO play it at close to full bore, but he balanced this with a masterful control of dynamics: the ‘louds’ were imposing and they fell away exquisitely to the softest of ‘softs’, and the occasional silences demanded by the score were rendered ever so poignant. Not afraid to extract as much emotion as possible, Ling was precise, warm and in control, and the audience was instantly thunderous in its appreciation at the final note.
The concert began with a robust performance of Richard Strauss’ symphonic poem ‘Don Juan’. It is a gutsy composition and, if one cares, it is programmatic work that gives a musical account of the lusty exploits of the sexual adventurer by the same name. Knowing this however is irrelevant to the enjoyment of the music. As with the Dvořák, Ling played the Strauss with measured intensity, and the woodwinds and principal were allowed to elegantly feature with crystal clarity when needed without being overwhelmed by body of the orchestra.
A mark of a skilful conductor is how they work with soloists in concertos, and Ling demonstrated and empathetic and almost ‘knowing’ relationship with Russian-born German violinist Alina Pogostkina as they performed Mendelssohn’s ever-popular and very difficult Violin Concerto in E minor; at only thirty years of age, and she looks younger, Alina Pogostkina already has an exceptional talent and clearly merits being entrusted with a Stradivarius. Her demonstration of ‘ricochet’ bowing in the third movement was impressive, to say nothing of her pizzicato with the left hand whilst bowing with the right during her encore. From the almost immediate entry of the solo violin in the first movement with one of the most recognisable themes in the repertoire, Pogostkina and Ling worked with each other to demonstrate that the work is much more than a solo violin with orchestral accompaniment. Ling safeguarded its moments of intimacy and utter lucidity, and they regularly ‘checked in’ with each other with knowing looks and supportive smiles.
At the final bow Pogostkina was presented with stunning red flowers from Tynte Flowers that contrasted beautifully with her stunning pale mauve gown. She looked triumphant and Ling and the Adelaide Symphony Orchestra were entirely deserving of the applause.
Kym Clayton
When: Closed
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Festival. Presented by Australian String Quartet. Adelaide Town Hall. 11 Mar 2014
On leaving the Adelaide Town Hall at the end of the Australian String Quartet’s (ASQ) concert, a matronly looking well-dressed lady remarked to her companion “And that is precisely why some music needs to be seen as well as heard”. She was spot on. I often find that live performance reveals much more than just listening to a recording. I think it is almost axiomatic that seeing a performance stimulates the brain to attune to some aspect of the sound that is otherwise missed. It is heard, but not listened to.
The second half of the program was a prime example of this. Swapping their priceless Guadagnini instruments for Yamaha electric violins/viola/cello, the ASQ played two contemporary compositions; ‘Windmill’ by local composer and music academic Stephen Whittington, and then George Crumb’s innovative and way-out ‘Black Angels’. ‘Windmill’ sounded like, well….a windmill, and it was hypnotic. The simple and sparse melody line went through subtle variations with occasional shifts in key, just as a windmill would respond to shifting wind patterns. A recording would trivialise the piece and not do it justice. In fact it would probably be incredibly unappealing, except to an academic wanting to analyse its form.
‘Black Angels’ was even more dramatic. Comprising thirteen miniatures arranged into three groups, it is almost a formal exercise in violating the ‘classical’ rules of counterpoint and using dissonance as much as possible. It is cacophonous at times and demands a physiological response as you clench your teeth and tense your muscles. The music is often uncomfortable but almost always resolves itself and gives you relief – both musical and physical. It is also visually fascinating to watch as the four musicians also bow wine glasses and gongs, and don metal thimbles and use them as a guitarist would a plectrum. They also shout words and phrases in foreign languages, and the whole thing is gimmicky, but it is quite compelling and strangely enjoyable. Again, a recording of it would be unintelligible and probably unbearable. But to see it is quite something else.
The first half of the program saw the ASQ play Boccherini’s String Quartet in G minor Op.32 No.5 and Brahms’ String Quartet No. 1 in C minor, Op. 51 No. 1. Interestingly their instruments were strung with ‘gut’ strings rather than the more usual metal or synthetic strings. This resulted in a less robust reading of the Brahms, which I quite enjoyed, and it allowed the delicateness of the Boccherini in particular to play out.
The ASQ’s line-up is a new one, and it is comparatively youthful. First violin Kristian Winther plays with overt emotion and joy, and is subtly balanced by the more restrained approach of Ioana Tache on second violin. They worked well together. Cellist Sharon Draper produced a clear and beautifully articulated cello line, and Stephen King provided authority and the ‘glue’ on viola, always casting an experienced and watchful eye over the violins.
A concert of contrasts. A continuum of musical ideas from the very ‘safe’ to the very avant garde.
A concert to be seen as well as heard.
Kym Clayton
When: Closed
Where: Adelaide Town Hall
Bookings: Closed
Sunday, 9th March
Red Baraat
Brooklyn's chilled version of Dhol Foundation made the most of the attendees braving the sun to gather front of stage. Despite the heat, Red Baraat had their audience jumping to smooth and funky beats.
Mixing Punjabi dhol drums and bhangra rythmns with American jazz, funk and even hiphop, Red Baraat have a truley unique style that is energetic yet mellow and cruisey. The meeting of India and New York is a successful one, and the audience loved their sound.
Red Baraat - by Aaron Vinall
Living Room
Living Room is comprised of two musicians from Austria, Christoph Pepe Auer on saxaphone & bass clarinet, and Manu Delago on the hang. If you aren't familar with the hang, you can be forgiven; it was only created in 2001. A Swiss invention, the drum looks like two dented woks stuck together into a UFO-style shape. Despite its deceptively simple appearance it can produce a full and diverse set of tones, sounding like a mix between a piano and a harp. Delago deftly caresses beautiful music from it.
Mid-set, Auer produces a very original creation of his own - a wind instrument that produces the 'the Pepephon', which provided much entertainment as well as it's musical contribution.
These two aren't in need of a vast array of instruments to create their sound though, as their dexterity and skill with the two they favour provides the full gammet. Delago provides the sound of keys and percussion via the hung - playing up to three at once - whilst Auer coaxes an awe-inspiring array from his bass clarinet, including grungy growls, hoots, pops and even a convincing didgeridoo. Their original work is mellow and soulful, but the highlight was a very cool cover of Nirvana's 'Smells like Teen Spirit', which impressed all in attendance.
Living Room - by Aaron Vinall
Pokey Lafarge
Taking his inspiration from the American Roots music of the 1930s, Pokey Lafarge swung into Womadelaides far-flung Speakers Corner stage to get the hoedown started.
Kicking off the set with a punchy rock and roll number, Lafarge immediately won over the seated crowd with his energy and his down-to-earth banter. By the third number, everyone were on their feet and swinging along.
Nostaglia for all things the WW2 is rife, and the impressively-sized crowd gathered to see Lafarge proved that there's an appetite for its musical reinvention. Though reminescent of another time, the songs are definitely brand new and very cool. Lafarge is no prentender; his love of southern folk is genuine and unapologetic, but he infuses his music with modern energy and life.
If there was a Womadelaide award for "Most Fun in the Sun", Pokey Lafarge would be odds-on favourite.
Pokey La Farge - by Aaron Vinall
The Brown Hornet
If you are scratching your head, thinking that The Brown Hornet sound familar, you'd be right. After going their separate ways in 2004, the original nand members have reunited on and off since 2011 to play special events. Luckily for us, Womadelaide 2014 fit this bill!
Slightly less angsty than one remembers, Brown Hornet still know how to bang out a phunky tune and draw a crowd. Ever the showman, Dylan Lewis still has his characteristic, crowd-pleasing charm in spades, and the gathered audience kept growing as they put on a banging set of their eclectic funk rock tunes.
La Chiva Gantiva
Colombian power-house La Chiva Gantiva hit the Internode Centre Stage as the last vestiges of sun sunk behind the vaulted backdrop.
Though the band was founded in Brussels, it's founding members are Colombian expats and its musical soul is deep-rooted in the sounds of Latin America and Africa. Blending Latin rythm, afrobeat and funk, they exploded on stage with masses of energy and sexy street salsa moves a-plenty.
Lead singer Rafael Espinel cut an commanding figure on stage and had everyone moving, shaking, throwing their hands in the air and shouting back on cue. Mixing up big numbers with slower, sultry jazz, the set included just enough breaks to ensure you were ready to go as the beat grew and the pace and volume increased again. La Chiva Gantiva's universally groovy music demanded you dance along and no one was arguing.
A fantastic sunday night set and my pick of the day.
You've got once more chance to catch a session at Womadelaide 2014 - Monday's got lots in store!
Tomorrow's Picks
2:00pm Sam Lee and Friends on Stage 2
3:00pm Emel Mathlouthi (workshop) on Zoo Stage
4:00pm Thelma Plum on Morton Bay Stage
5:00pm Asif Ali Khan on Internode Centre Stage (ICS)
6:00pm Makana on Morton Bay Stage
7:00pm Arrested Development (in conversation) on Speakers Corner 6
8:00pm Ngaiire on Speakers Corner 7
9:30pm Femi Kuti & The Positive Force on Internode Centre Stage (ICS)
Tin Pan Orange - by Aaron Vinall
Carminho - by Aaron Vinall
Lior - by Aaron Vinall
