I haven't been posting new music that I have discovered for a long long time. Partly because of my busy schedule, and partly because I don't feel the urge to write about them.
I joined a choir a while ago, and it changed my way of listening to choral music. After I learned to sing Mozart's requiem, now I can fully enjoy the part where I don't really like before, e.g. Domine Jesu and Hostias. Other movements became more attractive and interesting, e.g. Kyrie, Rex Tremendae, Confutatis and I found more pleasure listening to them compare to my previous experiences before joining the choir.
In the past few months or so, I've been listening to Faure's Requiem. What a great piece this is. Sure, it doesn't have the Dies Irae sequence, but the music simplicity (compare to say Verdi's or Brahms' Requiem) is simply heavenly. Most people would no doubt associate the Pie Jesu and In Paradisum when they heard about Faure's requiem. They're both fantastic movements, but the movement that I love the most is Sanctus. I can always imagine heavenly images when I heard harp arpeggios in the beginning of Sanctus. Also, being a tenor myself, I always enjoy the Tenor entry after the horn passages in the middle ('Hosanna in excelsis'). Other movements have their own charm, such as the baritone solo in Libera Me and the little 'Dies Irae' episode which sounded a bit underwhelming. As a whole, I still very much love this requiem.
The new choral music that I listened to recently is Haydn's Nelson Mass. Whoa, what a piece! I fell in love with the dramatic Kyrie the first time I listened to it. Gloria is an upbeat movement in the beginning, with memorable bass solo in the middle, and back to the same melody as the opening melody. I'm less keen on Credo, but still enjoy the 'descendit descaelis'. I guess I would be less keen on Credo in every mass if I always compare how composers set the 'Et vitam venturi' text with Beethoven's setting of the text as a massive fugue in his Missa Solemnis. Sanctus starts off solemnly before the 'Pleni Sunt Caeli' section changes the mood completely. The Benedictus is wonderful to sing at, especially during the most dramatic (IMO) in the whole piece where the trumpets and drums play fortissimo passages against the choir singing the word 'Benedictus qui venit in nomine domini' just before the 'Hosanna in excelsis' section in the end. Agnus Dei rounded up the whole work with upbeat 'dona nobis pacem'.
In piano concerto world, I'm still discovering Prokofiev's piano concertos. After the fantastic third piano concerto, I'm quite surprised with the different mood in his second piano concerto. The cadenza in the first movement is quite obvious fiendishly difficult to play, and of course the tricky running scales of the piano in the Scherzo. Heavy brass opens up the third movement and will catch a lot of people off guard. But what impressed me the most is the last movement. There's this passage around the 6 minutes mark in my recording where the piano enters after a fermata from the orchestra. The piano played a very eerie, satirical melody of the main theme. I always feel unsettled here. I don't know what to feel with the finale where it feels like the piano is arguing with the orchestra and finally had enough and ended it (and also the piece) with a big chord with the timpani in the end. A true masterpiece which made plenty of impacts to the listener!
I have also been exploring Chopin's Nocturnes - opp. 9 and 15 - . I very much prefer op. 9 nocturnes to op. 15 due to their more memorable melody and elegance. Op. 9 No. 2 and No. 3 are my favourites among these six nocturnes (3 each from both sets). For me, Ballade No. 3 is rediscovered when I listened to Cortot playing it in the EMI set. Whoa, what difference he brought to the piece! Just a couple of seconds in the beginning and I know that his playing is going to change how I think about this piece. His playing of other ballades is wonderful as well, do yourself a favour and get the recording of Cortot playing the ballades! They're so different (yet feel so right) than the other ballades that I've listened so far (Rubinstein, Zimmerman, and Richter).
Finally, I'll round up by just mentioning the 5th symphony of Dvorak. A very much underrated work with plenty of beautiful melodies. I loved it when Dvorak brought back the main theme of the first movement in the very end of the piece where it was played by one of the brass (trumpet?). That moment always made me very happy. The 2nd and 3rd movements are good fun as well. You might recall Tchaikovsky's first piano concerto in the opening 4 notes of the 2nd movement of this symphony (I noticed this courtesy of Wikipedia).
Until next time when I have listened to more interesting music and have the mood to write more about them.
Monday 29 June 2009
Friday 26 June 2009
Melbourne Symphony Orchestra concert 26 June 2009 - The Dance of Life
Featuring:
- Mendelssohn Ruy Blas: Overture
- Mendelssohn Concerto for Two Pianos in E major
- Rachmaninov Symphonic Dances
Silver-Garburg - Piano Duo
Yan Pascal Tortelier - Conductor
Before attending this concert, I had a few drinks and let's just say that it is something to be avoided in future concerts. As a consequence of that, I couldn't concentrate properly on the first half of the concert. It's so unfortunate as Mendelssohn is one of my favourite composer. That being said, based on my half-concentration, I don't think Ruy Blas overture is as interesting as the other famous overtures by Mendelssohn. It has its moments, but not as memorable as the other overtures. I was looking forward to the performance of the concerto for two pianos, but it ended up being an okay performance with muddy sound from the orchestra. The third movement was the the movement that I enjoyed the most. Sivan Silver and Gil Garburg then gave a wonderful encore which snapped me out from doziness: a four-hand piano performance of Stravinksy's Russian Dance from Petrouchka. Click here if you feel like watching a performance of it. They took the piece faster, played better, and better in-sync to each other than the pair in the video.
Rachmaninov's Symphonic Dances is not one of my favourite works out of his symphonic outputs. I thought it was not too memorable, doesn't have the 'it' tune. But, I gladly changed my mind after today's performance. Tortelier's has wonderful insight to this piece and I noticed what's missing in the recording that I have. Those missing pieces made a big difference in enjoyment of listening to this piece. I was intrigued by Tortelier's treatment of the first theme of the funny marking 'Non-allegro' movement. Instead of driving the marching rhythm it fast, he took it quite slow, and therefore revealing something that has been missing in my recording of the piece: the Dies Irae motif. Wonderful attacks from MSO winds helped too! The brass that opens the second movement is quite unusual.I don't think I would ever associate a Waltz movement with brass instruments. But they too soon gave away to waltzing rhythm in string pizzicatos. Finally, Tortelier let loose and drive the orchestra to its capability, unleashing a rousing finale. Fine playing from the orchestra enhanced the excitement. But, what I commend the most from the performance is Tortelier's ability to make me appreciate every moment in the piece which I normally found boring.
Despite my concentration lapse in the first half, the concert made me leaving the concert hall in upbeat mood. Tortelier is a wonderful conductor, and I'm impressed with him conducting Symphonic Dances without both the score and the baton. I would love to see him back conducting MSO in the future.
Finally, MSO (or the Arts Centre) did something stupid with the program notes. Instead of leaving those program notes outside in the foyer area, they kept them on a special stand. This is all fine, but the moronic part is they kept the stand behind the hall's doors! Therefore, people can't get a copy of the programs to read before the doors are opened which usually happened 15 minutes before the performance.
Next concert: Stravinsky's Rite of Spring. Should be great.
- Mendelssohn Ruy Blas: Overture
- Mendelssohn Concerto for Two Pianos in E major
- Rachmaninov Symphonic Dances
Silver-Garburg - Piano Duo
Yan Pascal Tortelier - Conductor
Before attending this concert, I had a few drinks and let's just say that it is something to be avoided in future concerts. As a consequence of that, I couldn't concentrate properly on the first half of the concert. It's so unfortunate as Mendelssohn is one of my favourite composer. That being said, based on my half-concentration, I don't think Ruy Blas overture is as interesting as the other famous overtures by Mendelssohn. It has its moments, but not as memorable as the other overtures. I was looking forward to the performance of the concerto for two pianos, but it ended up being an okay performance with muddy sound from the orchestra. The third movement was the the movement that I enjoyed the most. Sivan Silver and Gil Garburg then gave a wonderful encore which snapped me out from doziness: a four-hand piano performance of Stravinksy's Russian Dance from Petrouchka. Click here if you feel like watching a performance of it. They took the piece faster, played better, and better in-sync to each other than the pair in the video.
Rachmaninov's Symphonic Dances is not one of my favourite works out of his symphonic outputs. I thought it was not too memorable, doesn't have the 'it' tune. But, I gladly changed my mind after today's performance. Tortelier's has wonderful insight to this piece and I noticed what's missing in the recording that I have. Those missing pieces made a big difference in enjoyment of listening to this piece. I was intrigued by Tortelier's treatment of the first theme of the funny marking 'Non-allegro' movement. Instead of driving the marching rhythm it fast, he took it quite slow, and therefore revealing something that has been missing in my recording of the piece: the Dies Irae motif. Wonderful attacks from MSO winds helped too! The brass that opens the second movement is quite unusual.I don't think I would ever associate a Waltz movement with brass instruments. But they too soon gave away to waltzing rhythm in string pizzicatos. Finally, Tortelier let loose and drive the orchestra to its capability, unleashing a rousing finale. Fine playing from the orchestra enhanced the excitement. But, what I commend the most from the performance is Tortelier's ability to make me appreciate every moment in the piece which I normally found boring.
Despite my concentration lapse in the first half, the concert made me leaving the concert hall in upbeat mood. Tortelier is a wonderful conductor, and I'm impressed with him conducting Symphonic Dances without both the score and the baton. I would love to see him back conducting MSO in the future.
Finally, MSO (or the Arts Centre) did something stupid with the program notes. Instead of leaving those program notes outside in the foyer area, they kept them on a special stand. This is all fine, but the moronic part is they kept the stand behind the hall's doors! Therefore, people can't get a copy of the programs to read before the doors are opened which usually happened 15 minutes before the performance.
Next concert: Stravinsky's Rite of Spring. Should be great.
Sunday 21 June 2009
Melbourne Symphony Orchestra concert 20 May 2009 - Victory!
Featuring:
- Debussy Printemps, orchestrated by Henri Busser
- Elgar Cello Concerto
- Prokofiev Symphony No. 5
Matthew Barley - Cello
Yan Pascal Tortelier - Conductor
Despite my rant against the change in programming, I really enjoyed this performance. Debussy's colourful Printemps with the beautiful main theme first played by the flute in the beginning and transformed throughout the 2 movements of this piece is a delight. Although it wasn't Debussy who orchestrated this piece, it nevertheless retained a charming trademark Debussy orchestral writing. I was less impressed with the theme of the second movement: it was too popular sounding, not unlike the main theme of the finale of Franck's symphony. Not of it matters so much as the music pleased me very much and MSO's playing was wonderful here, at least until the piece ended! There was a little accident in the end where after the piece reached its marvelous climax in the end, a percussionist accidentally dropped the cymbals, ruining the silence in the end. It was quite a hilarious moment, and some MSO musicians actually let out a big 'awwwwwwww' noise. The audience also laughed at it and gave a warm applause.
Matthew Barley gave a wonderful reading of the much beloved Elgar's cello concerto. His cello produced a very rich-sounding tone and his technique is impeccable. He displayed a very mature reading of the concerto and played wonderfully in the third movement.
The performance of Prokofiev's fifth symphony impressed me most. Here, Tortelier conducted without a score and produced wonderful interpretation of this symphony. After unsettling me successfully in the 'unstable' slow first movement, he danced through the relentless Scherzo rhythm in the second movement. The third movement grew from being somber to violent and eventually turned into a sort of funeral march with plenty of sarcastic trills in the winds and strings. The finale is a tour-de-force for the (large) symphony orchestra. The orchestra for this piece is very huge, requiring a large number of strings, woodwinds, massive percussion sections, and a piano (this also happened in Debussy's piece). It's a real treat to watch a large number of percussionists playing all sort of instruments, providing additional level of excitements into this relentless marching finale.
I'm very impressed with Tortelier's interpretations of all the pieces and looking forward to his next concert where he'll be conducting Rachmaninov' symphonic dances next week.
- Debussy Printemps, orchestrated by Henri Busser
- Elgar Cello Concerto
- Prokofiev Symphony No. 5
Matthew Barley - Cello
Yan Pascal Tortelier - Conductor
Despite my rant against the change in programming, I really enjoyed this performance. Debussy's colourful Printemps with the beautiful main theme first played by the flute in the beginning and transformed throughout the 2 movements of this piece is a delight. Although it wasn't Debussy who orchestrated this piece, it nevertheless retained a charming trademark Debussy orchestral writing. I was less impressed with the theme of the second movement: it was too popular sounding, not unlike the main theme of the finale of Franck's symphony. Not of it matters so much as the music pleased me very much and MSO's playing was wonderful here, at least until the piece ended! There was a little accident in the end where after the piece reached its marvelous climax in the end, a percussionist accidentally dropped the cymbals, ruining the silence in the end. It was quite a hilarious moment, and some MSO musicians actually let out a big 'awwwwwwww' noise. The audience also laughed at it and gave a warm applause.
Matthew Barley gave a wonderful reading of the much beloved Elgar's cello concerto. His cello produced a very rich-sounding tone and his technique is impeccable. He displayed a very mature reading of the concerto and played wonderfully in the third movement.
The performance of Prokofiev's fifth symphony impressed me most. Here, Tortelier conducted without a score and produced wonderful interpretation of this symphony. After unsettling me successfully in the 'unstable' slow first movement, he danced through the relentless Scherzo rhythm in the second movement. The third movement grew from being somber to violent and eventually turned into a sort of funeral march with plenty of sarcastic trills in the winds and strings. The finale is a tour-de-force for the (large) symphony orchestra. The orchestra for this piece is very huge, requiring a large number of strings, woodwinds, massive percussion sections, and a piano (this also happened in Debussy's piece). It's a real treat to watch a large number of percussionists playing all sort of instruments, providing additional level of excitements into this relentless marching finale.
I'm very impressed with Tortelier's interpretations of all the pieces and looking forward to his next concert where he'll be conducting Rachmaninov' symphonic dances next week.
Tuesday 16 June 2009
Isabelle Faust - J.S. Bach Sonatas and Partitas for Solo Violin - Concert 1
Featuring:
- Bach Sonata No. 1 in G minor, BWV 1001
- Bach Partita No. 1 in B minor, BWV 1002
- Bach Sonata No. 2 in A minor, BWV 1003
Bach's Sonatas and Partitas for solo violin sit on top of the summit of violin playing, no question about that. They're a set of masterpieces that require violinists to play at their best and more to convey the meaningful musical messages behind those notes. Personally, after listening to a great performance of these pieces (e.g. Milstein's or Szeryng's recording), I always have an image in my mind where I face a black ocean of limitless possibilities and uttering 'Bach is like an ocean'. They're so great that every time I listen to them it's like a spiritual experience.
Those transcendental experiences unfortunately didn't come to me tonight. Isabelle Faust has a gorgeous technique producing wonderful trills and double stop with multiple voices easily, her tone is sweet, a little bit laid back, and every note is crystal clear. Her playing was very much relaxed with her eyes fixed to the score in front of her with feminine sound. Anyway, even with all of those good things, she missed out in engaging the audience to the music. The opening adagio of the sonata was dispatched easily, but I missed the emotional impact of it. It sounded too polished. The fugues (of both first and second sonata) were not engaging, Isabelle focused too much on the clarity of those double stops notes while sacrificing the flow of the music. Siciliano's tempo was dragging, but the fine performance of the exciting Presto renewed my hope in her playing.
Next was the first partita, the Allemande was well-played continuing the fine form of the previous Presto. I don't like the tempo of the Double following it. Next Courante and Double were okay, but the Sarabande dragged for too long. I had further problems with the Bourree: this dance movement didn't feel like a dance at all and it's all too obvious from how she played the opening of the bourree. Luckily the Double in the end was quite good.
In the interval, I reflected on the performance and noticed that I enjoyed Isabelle's playing the most in fast movements where she actually let herself go and actually attacked the music. And then I thought that maybe she was playing 'safe'. She shouldn't have and should have let herself be more adventurous. Also, in those slow movements, the phrases sounded a little bit disconnected with each other and probably the main reason why I wasn't connected with them.
After the interval, the Grave opening of the second sonata received a much better performance, but the fine performance did not follow after the chords in the end of Grave leading directly to the Fugue. As I described earlier, the Fugues were disappointing. The flow of the music is disrupted throughout due to her emphasis on playing the notes clearly and accurately, ruining the fugal runs. The Andante of Second Sonata is perhaps the favourite movement of mine apart from the Chaconne in this set of masterpieces. Here her playing was wonderful, and apart from various silence that lasted too long, I quite enjoyed it. The finely played last Allegro rounded up the night.
Some more notes on how Isabelle played: she was really gentle (I would say she 'caressed') on the violin, never fiercely attacking it even during fast passages. Her playing is very controlled, but her tempo tends to be on the slower side. These factors above probably made me felt that her playing is 'safe'. A much lamented attitude I think, especially in live performance.
Isabelle will perform the other partitas and sonata tomorrow night. I'm not sure if I would want to go again as her Bach playing doesn't suit my taste. That and the fact that I have my exam on Friday (freaking statistics!!). But, I want to listen to the Chaconne, the Sarabande, the Giga, the Preludio...ARGGHHHH frustrating... Sigh...
I guess for now, I probably should be happy with Milstein and Szeryng.
Oh lastly, if anyone reading this should worry if there are seats available tomorrow: Don't be. Tonight's performance wasn't that well-attended (250 or 300 people at max?). I'm pretty sure it'll be the same tomorrow (well, unless the 'Chaconne' works its magic and attracts a full house).
Next concert: Elgar's Cello Concerto and Prokofiev 5th symphony with MSO this Saturday. Rant: (how dare them! I want to listen to Haydn's Cello concerto which they substituted. No disrespect for the cellist or the piece itself, but I'm pretty sure Jacqueline du Pre's recording can't be topped. I rather listen to Haydn's CC live to celebrate his 200th passing. And the fact that I've listened to Elgar's CC live last year in MSO's free Sidney Myer concert).
- Bach Sonata No. 1 in G minor, BWV 1001
- Bach Partita No. 1 in B minor, BWV 1002
- Bach Sonata No. 2 in A minor, BWV 1003
Bach's Sonatas and Partitas for solo violin sit on top of the summit of violin playing, no question about that. They're a set of masterpieces that require violinists to play at their best and more to convey the meaningful musical messages behind those notes. Personally, after listening to a great performance of these pieces (e.g. Milstein's or Szeryng's recording), I always have an image in my mind where I face a black ocean of limitless possibilities and uttering 'Bach is like an ocean'. They're so great that every time I listen to them it's like a spiritual experience.
Those transcendental experiences unfortunately didn't come to me tonight. Isabelle Faust has a gorgeous technique producing wonderful trills and double stop with multiple voices easily, her tone is sweet, a little bit laid back, and every note is crystal clear. Her playing was very much relaxed with her eyes fixed to the score in front of her with feminine sound. Anyway, even with all of those good things, she missed out in engaging the audience to the music. The opening adagio of the sonata was dispatched easily, but I missed the emotional impact of it. It sounded too polished. The fugues (of both first and second sonata) were not engaging, Isabelle focused too much on the clarity of those double stops notes while sacrificing the flow of the music. Siciliano's tempo was dragging, but the fine performance of the exciting Presto renewed my hope in her playing.
Next was the first partita, the Allemande was well-played continuing the fine form of the previous Presto. I don't like the tempo of the Double following it. Next Courante and Double were okay, but the Sarabande dragged for too long. I had further problems with the Bourree: this dance movement didn't feel like a dance at all and it's all too obvious from how she played the opening of the bourree. Luckily the Double in the end was quite good.
In the interval, I reflected on the performance and noticed that I enjoyed Isabelle's playing the most in fast movements where she actually let herself go and actually attacked the music. And then I thought that maybe she was playing 'safe'. She shouldn't have and should have let herself be more adventurous. Also, in those slow movements, the phrases sounded a little bit disconnected with each other and probably the main reason why I wasn't connected with them.
After the interval, the Grave opening of the second sonata received a much better performance, but the fine performance did not follow after the chords in the end of Grave leading directly to the Fugue. As I described earlier, the Fugues were disappointing. The flow of the music is disrupted throughout due to her emphasis on playing the notes clearly and accurately, ruining the fugal runs. The Andante of Second Sonata is perhaps the favourite movement of mine apart from the Chaconne in this set of masterpieces. Here her playing was wonderful, and apart from various silence that lasted too long, I quite enjoyed it. The finely played last Allegro rounded up the night.
Some more notes on how Isabelle played: she was really gentle (I would say she 'caressed') on the violin, never fiercely attacking it even during fast passages. Her playing is very controlled, but her tempo tends to be on the slower side. These factors above probably made me felt that her playing is 'safe'. A much lamented attitude I think, especially in live performance.
Isabelle will perform the other partitas and sonata tomorrow night. I'm not sure if I would want to go again as her Bach playing doesn't suit my taste. That and the fact that I have my exam on Friday (freaking statistics!!). But, I want to listen to the Chaconne, the Sarabande, the Giga, the Preludio...ARGGHHHH frustrating... Sigh...
I guess for now, I probably should be happy with Milstein and Szeryng.
Oh lastly, if anyone reading this should worry if there are seats available tomorrow: Don't be. Tonight's performance wasn't that well-attended (250 or 300 people at max?). I'm pretty sure it'll be the same tomorrow (well, unless the 'Chaconne' works its magic and attracts a full house).
Next concert: Elgar's Cello Concerto and Prokofiev 5th symphony with MSO this Saturday. Rant: (how dare them! I want to listen to Haydn's Cello concerto which they substituted. No disrespect for the cellist or the piece itself, but I'm pretty sure Jacqueline du Pre's recording can't be topped. I rather listen to Haydn's CC live to celebrate his 200th passing. And the fact that I've listened to Elgar's CC live last year in MSO's free Sidney Myer concert).
Sunday 14 June 2009
Australian Chamber Orchestra concert 14 June 2009 - Great Romantics Tour
Featuring:
- Ian Munro Black is the Night World Premiere
- Brahms String Sextet No. 2 in G major, Op. 36
- Schoenberg Transfigured Night
Richard Tognetti - Artistic Director & Lead Violin.
A 'dark' concert. That's what I would like to call this concert. Brilliant programming with unifying themes of dark night and love. Oh, and ACO is not really an orchestra for this concert: all programs are string sextets requiring only 2 violins, 2 violas, and 2 cellos for the whole program.
Ian Munro's Black is the Night is a piece based on the poem of the same name by Judith Wright. I have no idea who Judith Wright is, but based on the chattering of people around me, I gather that she's quite a well-known Australian poet. The composition and the poem are highly interesting. The poem described the grimness of the night, rising out from the bottom of the sea where it can't be reached by light. The bottom of the sea is so dark that the no-eye deep-sea fish stay still while bones of the departed humans will never reach there (my description of the poem might seem silly, but that's my best attempt to describe the poem without having to publish the poem itself here, of which I'm pretty sure have no permission to do so). The composition reflects on this poem: starting from the dark, work itself through the series of pizzicato (perhaps representing the sea which text is present in the poem?) before the main opening return backs in the end. IIRC, there are plenty of silence in the music, dramatising the absence of movement. I couldn't describe it more in detail due to memory lapse, but my initial impression of the piece was certainly a good one.
Also, I should probably note that I haven't listened to any of the pieces programmed today, and I am in no position to comment much on the style of string chamber music playing which to my regret is something that I am not familiar with yet. Someday, after discovering all of major symphonies by Bruckner and Shostakovich, I promise I'll pick myself up and explore the intimacy of chamber music.
Brahms' only chamber music that I know is his Clarinet Trio of which the second movement brought me down to tears during the live performance by Ensemble Liaison last year. His second string sextet, written in attempt to forget his ex-fiancee, impressed me in the beautiful opening movement with its lyrical melody. The next movement is a slow dance, but with a contrasting fast tempo in the trio section and ended with a brilliant coda. Brahms' adagios which usually delight me, somehow eluded me in this piece. It does not have the poignancy found in his clarinet trio, or his other orchestral works. The finale was spiced with plenty of uplifting tempo and ACO's characteristic sprightful attack combined with the energy created by the standing-up performance generated much pleasure. The visual effect of string players playing the fugal finale enhanced this fine performance.
As much as I love Brahms' music, I think the performance of Schoenberg's Verlkarte Nacht 'Transfigured Night' is the crown of the concert. While already hinting towards atonality, this piece is written in late-romantic style (not that different than Mahler's symphonies really). I even think the opening is very similar to the opening of Mahler 9 (which is written later). The mood of this piece varies from the frightful attacks into the tenderness of solo violin or cello in the space of just a couple of bars. It's a musical journey from despair (characterised with plenty of unresolved dissonances) to salvation (or forgiveness) which is the essence of the poem it based on. ACO's string sextet playing provides plenty of drama where it is necessary, but it's beautifully restraint on moments of tenderness, for example in the duet between first violin and first cello while the other strings provided subdued background support. In the end, the despairs present throughout the music seem to be transfigured away into hope (with those finally resolved dissonances) just as the cool eerie night has been transfigured into a finally unmistakable warm bright night of hope.
On a personal note, I sat next to two people who applauded enthusiastically after the performance of Verklarte Nacht. They are possibly the only people in the circle who shouted bravo in the circle seats. Anyway, when the applause finally died down, one of them commented something like (I didn't hear his comment properly) 'Melbourne's audience is not very enthusiastic in their applause' or something. I agree that the performance deserved a longer applause (and probably more 'Bravo'), but it's hard to give uplifting enthusiastic applause after such intense performance. Personally, I don't even want to listen to any music for one hour after the performance and prefer to be silent for a period of time after the performance.
In conclusion, another good concert from the ACO. I would probably commend them for avoiding over-the-top romantic playing of these intensely romantic pieces. Looking forward to their next performance in August.
- Ian Munro Black is the Night World Premiere
- Brahms String Sextet No. 2 in G major, Op. 36
- Schoenberg Transfigured Night
Richard Tognetti - Artistic Director & Lead Violin.
A 'dark' concert. That's what I would like to call this concert. Brilliant programming with unifying themes of dark night and love. Oh, and ACO is not really an orchestra for this concert: all programs are string sextets requiring only 2 violins, 2 violas, and 2 cellos for the whole program.
Ian Munro's Black is the Night is a piece based on the poem of the same name by Judith Wright. I have no idea who Judith Wright is, but based on the chattering of people around me, I gather that she's quite a well-known Australian poet. The composition and the poem are highly interesting. The poem described the grimness of the night, rising out from the bottom of the sea where it can't be reached by light. The bottom of the sea is so dark that the no-eye deep-sea fish stay still while bones of the departed humans will never reach there (my description of the poem might seem silly, but that's my best attempt to describe the poem without having to publish the poem itself here, of which I'm pretty sure have no permission to do so). The composition reflects on this poem: starting from the dark, work itself through the series of pizzicato (perhaps representing the sea which text is present in the poem?) before the main opening return backs in the end. IIRC, there are plenty of silence in the music, dramatising the absence of movement. I couldn't describe it more in detail due to memory lapse, but my initial impression of the piece was certainly a good one.
Also, I should probably note that I haven't listened to any of the pieces programmed today, and I am in no position to comment much on the style of string chamber music playing which to my regret is something that I am not familiar with yet. Someday, after discovering all of major symphonies by Bruckner and Shostakovich, I promise I'll pick myself up and explore the intimacy of chamber music.
Brahms' only chamber music that I know is his Clarinet Trio of which the second movement brought me down to tears during the live performance by Ensemble Liaison last year. His second string sextet, written in attempt to forget his ex-fiancee, impressed me in the beautiful opening movement with its lyrical melody. The next movement is a slow dance, but with a contrasting fast tempo in the trio section and ended with a brilliant coda. Brahms' adagios which usually delight me, somehow eluded me in this piece. It does not have the poignancy found in his clarinet trio, or his other orchestral works. The finale was spiced with plenty of uplifting tempo and ACO's characteristic sprightful attack combined with the energy created by the standing-up performance generated much pleasure. The visual effect of string players playing the fugal finale enhanced this fine performance.
As much as I love Brahms' music, I think the performance of Schoenberg's Verlkarte Nacht 'Transfigured Night' is the crown of the concert. While already hinting towards atonality, this piece is written in late-romantic style (not that different than Mahler's symphonies really). I even think the opening is very similar to the opening of Mahler 9 (which is written later). The mood of this piece varies from the frightful attacks into the tenderness of solo violin or cello in the space of just a couple of bars. It's a musical journey from despair (characterised with plenty of unresolved dissonances) to salvation (or forgiveness) which is the essence of the poem it based on. ACO's string sextet playing provides plenty of drama where it is necessary, but it's beautifully restraint on moments of tenderness, for example in the duet between first violin and first cello while the other strings provided subdued background support. In the end, the despairs present throughout the music seem to be transfigured away into hope (with those finally resolved dissonances) just as the cool eerie night has been transfigured into a finally unmistakable warm bright night of hope.
On a personal note, I sat next to two people who applauded enthusiastically after the performance of Verklarte Nacht. They are possibly the only people in the circle who shouted bravo in the circle seats. Anyway, when the applause finally died down, one of them commented something like (I didn't hear his comment properly) 'Melbourne's audience is not very enthusiastic in their applause' or something. I agree that the performance deserved a longer applause (and probably more 'Bravo'), but it's hard to give uplifting enthusiastic applause after such intense performance. Personally, I don't even want to listen to any music for one hour after the performance and prefer to be silent for a period of time after the performance.
In conclusion, another good concert from the ACO. I would probably commend them for avoiding over-the-top romantic playing of these intensely romantic pieces. Looking forward to their next performance in August.
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