What a treasury of string music the 20th century English composer has given us. The Sydney Symphony Orchestra strings delivered two such examples at their last Mozart in the City concert for 2015 at the Sydney Recital Hall. With clarity and energy they essayed all the brilliance, invention and mediative force that composers from ‘das land ohne musik’ have bequeathed music lovers.
The unfamiliar English work was the Malcolm Arnold Opus 77, Concerto for 2 Violins (1962), a deliciously astringent work lead by two young soloists from the SSO string section, Emily Long and Freya Franzen, guided by the strong leadership of concert master Andrew Haveron.
This three-movement work displayed some rapt conversation and echoing between soloists always on the basis of clear melodic and rhetorical intent. The slow movement was heartfelt and poised. The work inspired some memories of Gustav Holst and his Concerto for Two Violins (Opus 49), while overtones of Bernard Hermann (Psycho) were heard in some of the orchestral string configurations, but the Arnold melodic footprint found in the symphonies was clearly on show as was his consummate orchestration.
Before this work, the SSO strings played the Mozart Adagio and Fugue K 546, again deeply felt if slightly astringent music that showed the mature Mozart reaching far and wide beyond romance and joy to darkness and grief.
The highlight of the evening was Britten’a Variations on a theme of Frank Bridge, Opus 10 (1937) one of the glories of the string orchestra repertoire. Truly wonderful to see this work as well as hear it and watch a young person’s invention overflow, with imaginative pizzicatos, guitar like thrumming on the second Violins and deft writing for the double bass. Haveron led the band into stunning energy (Moto Perpetuo), glinting clarity and humour (Aria italiana), sly dark charm, (Wiener Walzer) and bucolic excess (Bourree classique), exploring this piece’s wide ranging moods. The profound sadness of the Funeral March was expertly paced (one understands how Britten and Shostakovich became friends through their shared musical language), as were the haunting wisps of the Chant and the prayerful understanding of the Fugue and Finale where benediction and energy go hand in hand.
All in all, this was a treasurable performance of this long love letter from pupil Britten to his teacher.
In honour of the teacher, the SSO strings played Haveron’s arrangements for string orchestra of Bridge’s Three Idylls for String Quartet H.67, catching the poignancy (Adagio molto espressivo) and rigour of Bridge’s idiomatic string writing, with the Viola, voice of the composer, playing a leading role in shaping the musical argument.
The concentration of all players delivered a very satisfying concert.
Mozart in the City Series – Sydney Symphony Orchestra - City Recital Hall Angel Place – November 5, 2015
What a treasury of string music the 20th century English composer has given us. The Sydney Symphony Orchestra strings delivered two such examples at their last Mozart in the City concert for 2015 at the Sydney Recital Hall. With clarity and energy they essayed all the brilliance, invention and mediative force that composers from ‘das land ohne musik’ have bequeathed music lovers.
The unfamiliar English work was the Malcolm Arnold Opus 77, Concerto for 2 Violins (1962), a deliciously astringent work lead by two young soloists from the SSO string section, Emily Long and Freya Franzen, guided by the strong leadership of concert master Andrew Haveron.
This three-movement work displayed some rapt conversation and echoing between soloists always on the basis of clear melodic and rhetorical intent. The slow movement was heartfelt and poised. The work inspired some memories of Gustav Holst and his Concerto for Two Violins (Opus 49), while overtones of Bernard Hermann (Psycho) were heard in some of the orchestral string configurations, but the Arnold melodic footprint found in the symphonies was clearly on show as was his consummate orchestration.
Before this work, the SSO strings played the Mozart Adagio and Fugue K 546, again deeply felt if slightly astringent music that showed the mature Mozart reaching far and wide beyond romance and joy to darkness and grief.
The highlight of the evening was Britten’a Variations on a theme of Frank Bridge, Opus 10 (1937) one of the glories of the string orchestra repertoire. Truly wonderful to see this work as well as hear it and watch a young person’s invention overflow, with imaginative pizzicatos, guitar like thrumming on the second Violins and deft writing for the double bass. Haveron led the band into stunning energy (Moto Perpetuo), glinting clarity and humour (Aria italiana), sly dark charm, (Wiener Walzer) and bucolic excess (Bourree classique), exploring this piece’s wide ranging moods. The profound sadness of the Funeral March was expertly paced (one understands how Britten and Shostakovich became friends through their shared musical language), as were the haunting wisps of the Chant and the prayerful understanding of the Fugue and Finale where benediction and energy go hand in hand.
All in all, this was a treasurable performance of this long love letter from pupil Britten to his teacher.
In honour of the teacher, the SSO strings played Haveron’s arrangements for string orchestra of Bridge’s Three Idylls for String Quartet H.67, catching the poignancy (Adagio molto espressivo) and rigour of Bridge’s idiomatic string writing, with the Viola, voice of the composer, playing a leading role in shaping the musical argument.
The concentration of all players delivered a very satisfying concert.
Mozart in the City Series – Sydney Symphony Orchestra - City Recital Hall Angel Place – November 5, 2015