The Australian Chamber Orchestra, under the stewardship of Richard Tognetti, presented a satisfying program of string music, performing exemplars of Polish 20th century music alongside the 21st century post-modern inventions of Bryce Dessner, Sufjan Stevens and Johnny Greenwood.
The concert began with the Poles and Lutoslawski’s Overture for Strings (1949). This post second world war artefact brings echoes of Bela Bartok with its sharp themes and cumulative power, particularly through its short recurring and overlapping patterns. With its carefully articulated astringency, this was a lovely aperitif.
This was followed by Dessner’s Réponse Lutoslawski (2014), a warm hearted work in homage/synthesis with the polish composer’s Musique Funebre (1958). This work is longer than its inspiration - in five parts, as opposed to Lutoslawski’s four sections - but did not drag.
The meditative nature of this piece, despite its percussive flashes, allows repetition to embrace the soft undulating ambience of both stillness and silence with piquant effect, via long bowed melodic arcs. We experience a variety of string interventions/interactions. Cello bows bounce off their strings, summoning a clattering undertow, while higher up violin glissandi morph into eerie portamento. This work requires further listening to comprehend all its skilful beauties.
The first half ended with a performance of Sufjan’s Stevens’ Run Rabbit Run, arranged by Michael Atkinson. This was witty music, deft – and strangely moving in the juxtaposition of the ‘Enjoy Your Rabbit’ and ‘Year of Our Lord’. Its playful intricacies seems to mirror its Chinese Zodiac inspiration, prompting a variety of responses from the composer. The 'Year of the Ox' was nicely menacing.
After interval Penderecki was represented in both poise and aggression. The ‘Aria’ from Three Pieces in Baroque Style (1964) channelled uber Bach for a wistful benediction, with only the slighted hint of parody
His String Quartet No. 1 (1960) was a spectacular example of his sonic palette - extraordinarily diverse invention that fully summoned our attention with injunctions of sound. It coruscated with both sharp static and hypnotic energy. In its brief one movement, the listener is hidden in multiple timbres and textures, both querulous and engaged.
The Johnny Greenwood Suite from There will be Blood (2007) inspired with its dark menace and scintillating string writing. Bernard Herman sometimes hovered in the background – pizzicatos covering long sinuous lines, then slashing bows of energy. The prayerful intent of aspects of this work were full of sharp solace – a melisma of duetting strings inspiring hope – the strumming guitar like effect beautiful modulated, reminding us of aspects of Britten and his ability to make rhythmic energy a visceral matter. ‘Future Markets’ was wonderfully fierce, tangily aggressive, while ‘Proven lands’ was playful and detached. Again, we experienced a wonderful variety of string techniques that energised our listening.
The Szymanowski – String Quartet No. 2, Opus 56 (1927) - that ended the concert was deeply moving. The arrangement ty Tognetti managed - like Barshai and Shostakovich - to keep much of the structural beauty of its quartet shape, while amplifying its scope, double bass in particular sharing in the rich writing for the cellos and droll and deft counter point with high violins. The luscious opening, suspended paradisium – tranquil and haunting – existed side by side with the ‘Vivace Scherzando’ that seems to layer its nagging doubts into starting jabs of disbelief as though upsetting any folkloric fairy-tale world. Here we encounter the rough and dissonant – the earth stomping of a peasant world.
The ‘Lento’ finale is initially unnerving, but within its neo classical fugue it struggles towards a heroic success in rebuilding folk like threads into a banner of wellbeing. This sound world is rich and astringent, both embracing and unnerving.
On display in this concert was a tremendous variety of string techniques – that seemed to unleash a well spring of inspiration in this set of diverse yet connected composer. Also in evidence was the extraordinary dynamic range that the ACO can summon, whether in lacerating energy or joyous romp, the gradation of sounds worlds is particularly bold and often generative of ecstatic music making.
Australian Chamber Orchestra – City Recital Hall,, Sydney – June 25, 2019
Gar Jones
The concert began with the Poles and Lutoslawski’s Overture for Strings (1949). This post second world war artefact brings echoes of Bela Bartok with its sharp themes and cumulative power, particularly through its short recurring and overlapping patterns. With its carefully articulated astringency, this was a lovely aperitif.
This was followed by Dessner’s Réponse Lutoslawski (2014), a warm hearted work in homage/synthesis with the polish composer’s Musique Funebre (1958). This work is longer than its inspiration - in five parts, as opposed to Lutoslawski’s four sections - but did not drag.
The meditative nature of this piece, despite its percussive flashes, allows repetition to embrace the soft undulating ambience of both stillness and silence with piquant effect, via long bowed melodic arcs. We experience a variety of string interventions/interactions. Cello bows bounce off their strings, summoning a clattering undertow, while higher up violin glissandi morph into eerie portamento. This work requires further listening to comprehend all its skilful beauties.
The first half ended with a performance of Sufjan’s Stevens’ Run Rabbit Run, arranged by Michael Atkinson. This was witty music, deft – and strangely moving in the juxtaposition of the ‘Enjoy Your Rabbit’ and ‘Year of Our Lord’. Its playful intricacies seems to mirror its Chinese Zodiac inspiration, prompting a variety of responses from the composer. The 'Year of the Ox' was nicely menacing.
After interval Penderecki was represented in both poise and aggression. The ‘Aria’ from Three Pieces in Baroque Style (1964) channelled uber Bach for a wistful benediction, with only the slighted hint of parody
His String Quartet No. 1 (1960) was a spectacular example of his sonic palette - extraordinarily diverse invention that fully summoned our attention with injunctions of sound. It coruscated with both sharp static and hypnotic energy. In its brief one movement, the listener is hidden in multiple timbres and textures, both querulous and engaged.
The Johnny Greenwood Suite from There will be Blood (2007) inspired with its dark menace and scintillating string writing. Bernard Herman sometimes hovered in the background – pizzicatos covering long sinuous lines, then slashing bows of energy. The prayerful intent of aspects of this work were full of sharp solace – a melisma of duetting strings inspiring hope – the strumming guitar like effect beautiful modulated, reminding us of aspects of Britten and his ability to make rhythmic energy a visceral matter. ‘Future Markets’ was wonderfully fierce, tangily aggressive, while ‘Proven lands’ was playful and detached. Again, we experienced a wonderful variety of string techniques that energised our listening.
The Szymanowski – String Quartet No. 2, Opus 56 (1927) - that ended the concert was deeply moving. The arrangement ty Tognetti managed - like Barshai and Shostakovich - to keep much of the structural beauty of its quartet shape, while amplifying its scope, double bass in particular sharing in the rich writing for the cellos and droll and deft counter point with high violins. The luscious opening, suspended paradisium – tranquil and haunting – existed side by side with the ‘Vivace Scherzando’ that seems to layer its nagging doubts into starting jabs of disbelief as though upsetting any folkloric fairy-tale world. Here we encounter the rough and dissonant – the earth stomping of a peasant world.
The ‘Lento’ finale is initially unnerving, but within its neo classical fugue it struggles towards a heroic success in rebuilding folk like threads into a banner of wellbeing. This sound world is rich and astringent, both embracing and unnerving.
On display in this concert was a tremendous variety of string techniques – that seemed to unleash a well spring of inspiration in this set of diverse yet connected composer. Also in evidence was the extraordinary dynamic range that the ACO can summon, whether in lacerating energy or joyous romp, the gradation of sounds worlds is particularly bold and often generative of ecstatic music making.
Australian Chamber Orchestra – City Recital Hall,, Sydney – June 25, 2019
Gar Jones
