The Australian Chamber Orchestra for this current program tackle the biggest symphonic configuration in their history and two ACO premieres in one concert, the heavyweight Sibelius 6 and Mahler 4. The concert could have another subtitle , ‘ Spring water and Blue sky’ to encapsulate the two different symphonies , Sibelius’‘ spring water ‘and Mahler’s ‘ blue sky’ .
First however we were treated to a delightful surprise prelude. To introduce the newest member of the ACO Instrument family – a rare Joseph Guarneri filius Andreæ violin dating from 1714 – violinist Rebecca Chan performed the exquisite Sibelius Serenade No 2, Op. 69, for violin and orchestra, with the orchestral parts adapted as a quartet from the ensemble.It was haunting ,shimmering , sometimes dance-like and at one point you could almost see the whirling snowflakes.
The complete ACO then assembled onstage for their version of Sibelius’ Symphony No 6 ,of which the composer said it evoked `spring water’’ and always reminded him of the smell of the first snow of the winter.
Strings are a central focus of the work which suits the ACO perfectly, with its extensive string section. Tognetti’s very energetic conducting from the rostrum, typically without the use of a baton,was definite,emphatic , and assured . Lyrical passages were superbly played , and there was a poignancy and charm to the tone appropriate for the Romantic elements and deep melancholy of Sibelius’ work. In the more tense sections, the ensemble worked together with gripping agitation and energy .At some points there were murmurings of fragile delicacy like elusive birdcalls, at other times the music shimmered and ‘sang’ like ice .
Sibelius rejects musical clichés and seems to retreat at times to an era more modal than tonal. As a chamber group playing a symphonic work the ACO were excellent in keeping a consistent balance between the strings and other parts of the orchestra Brass and woodwind were excellent in both works and the timpani and percussion department were very busy deftly juggling sleighbells, a xylophone, cymbals, gongs and bass drums.
The second half of the program consisted of Mahler’s Fourth ‘Heavenly’ Symphony: another grand choice of work and a great contrast in mood and ‘attack’.You can hear some similarities to the Adagietto from his later 5th symphony. At times fast ,quivering strings and lyrical birdlike sections are contrasted with the dynamic , ominous horns. The third movement was indeed ‘heavenly’ , with exquisitely angelic playing.
The strings shone from the outset, once again, taking up the lilting ‘Viennese’ melody in the first movement with grace.The woodwinds and brass were given more emphasis , with some wonderful clarinet work throughout. Usually, the concertmaster /soloist is required to have two violins available for Mahler’s Fourth, with one tuned a tone higher to create a strange and eerie violin sound in the scherzo. Tognetti took up the violin himself and alternately played and conducted with his bow.
In the final movement, Sehr behaglich (The Heavenly Life ), from Des Knaben Wunderhorn , American soprano Kiera Duffy, in her Australian debut, wore a sfogliatelle inspired beaded black gown that perfectly matched her soaring voice.She sang with clarity of tone and a light flexibility,grace and charm, showcasing her fine voice which was both joyful and heavenly as the work demands combined with a light grace and charm and impeccable diction. It was haunting and mesmerizing.
With excellent leadership from Tognetti and a brilliant quality of musicianship , the wonderful ACO gave a confident and bold performance of a very ambitious program that was incredibly successful.
Running time 2 hours 10 mins (approx) including an interval
The concert was performed on Wednesday, June 18, at 7pm; Friday, June 27, at 1.30pm, and Saturday, June 28, at 7pm at City Recital Hall Angel Place, and on Sunday, June 29, at 2pm at Sydney Opera House.
For more about ACO Mahler /Sibelius, visit http://www.aco.com.au/