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
