The Balmain Sinfonia

Guest artist Clemens Leske performs the Beethoven Piaono Concerto No. 4

The Balmain Sinfonia is always a capable collaborator with the instrumental soloist in each of their concerts. This latest partnership was no exception, as the orchestra sympathetically accompanied Sydney based pianist Clemens Leske in Beethoven’s fourth piano concerto. The dialogue created and textures resulting from interplay between the orchestra and soloist was always well balanced and entertaining.

Leske gave a controlled and inspiring performance of this concerto, allowing its beauty to be always clearly on display. Moments of dense bravura and more lyrical filigree alternated on a carefully poised knife-edge. Extended solo as well as cadenza work presented both elegance and drama. A great variety of effectively voiced keyboard gestures contributed to the solid contouring and steady development of thematic material and atmosphere in this concerto. For me this guest appearance and chance to hear a fine version of this Beethoven concerto was the highlight of the concert. However, having said that, there was substantial competition in that regard.

The concert opened with a celebration for the golden jubilee of the founding of Macquarie University. This was in the form of a pastiche of musical styles from late eighteenth century Europe and the new Australian colony. This was a treat of multilayered proportions.

In this segment, the orchestra played Haydn and Mendelssohn from Lachlan Macquarie’s lifetime. A wandering bagpiper suggested Macquarie’s native Scotland. Musical storytelling from guest folklorists Alex Hood and Bob Campbell brought aspects of colonial Australia in the time of Governor Macquarie to life in all their humour, glory, hardship and savagery.

This juxtaposition of contrasting orchestral classics, iconic Scottish instrumental performance and early Australian song tradition showed considerable musicological ingenuity. It was full of shifting flavours and the reference to the new colony on the world stage was emotional and relevant for any anniversary. The storytelling as only folklore specialists can was extremely thought provoking.

The remainder of the afternoon was filled with an admirable performance of no less than Saint-Saens’ Symphony No 3 in C minor (“with organ”). With considerable focus on drama in broad strokes versus intricacies of motivic development from all sections of the orchestra, this work was played with great forward momentum. The extensive challenges of this symphony’s mechanics were transformed into a cohesive success by good direction from conductor Gary Stavrou. Musicians from the wind and strings ranks provided the four hands piano part in the second movement. All sections with organ were satisfyingly played on amplified keyboard.

The orchestra’s continued rapport with the audience and guest artists will ensure decent patronage, education and entertainment in each concert’s instalment. Substantial classics from the orchestral and solo concerto oeuvres will be offered to the diverse audiences these concert events attract. The Balmain Sinfonia’s invitation for the public to choose and sponsor a work in each program, such as the Beethoven concerto on this occasion, is an inclusive and novel step in contemporary concert planning. This concept and the orchestra itself can only be popular through such an innovation’s continued use.

The Balmain Sinfonia performed at the Macquarie Theatre, Macquarie University on Sunday September 14th at 2.30pm. In December, its next concert, including Mendelssohn, Dvorak and the Brahms Violin Concerto in D major, will be performed in the same venue.

For more about The Balmain Sinfonia, visit http://www.balmainsinfonia.com