A buzzing audience completely filled out the stalls and circle of Sydney’s City Recital Hall on Monday 10th May. The gathering was for a night of music by the Australia National Academy of Music as part of the Musica Viva 2021 Concert Season. As the audience settled down, little details began to catch attention. Final adjustments were made to a squeaky chair of a cellist which caused a giggle. An usher seating three latecomers, each at the far end of 3 consecutive rows, demonstrated his frustration. The audience were keen as mustard to support this live performance and gave a generous applause as the musicians of the Academy, along with solo pianist Konstantin Shamray, solo violinist Harry Ward and the orchestra leader Sophie Rowell, made their way on stage.
A welcome and introduction was offered from Musica Viva CEO Hywel Sims and Artistic Director Paul Kildea. The program opened with Mahler’s Piano Quartet arranged for the larger group by ANAM graduate Ward. More recently he was mentored by Helena Rathbone as part of the ACO’s Emerging Artist Program. Ward joined the ensemble leading the 2nd violins working closely with Rowell. The opening phrases from the ensemble were a little tentative but soon they burst into the soaring passionate themes of this unfinished, one movement work. There appear to be no other surviving chamber works by Mahler so this is an unusual work written by the teenage Mahler when he was a student attending the Vienna Conservatory. Small but perfectly formed is the best way to describe it and certainly showed much early promise from one who is known worldwide 160 years later for his larger orchestral works.
The sudden exit of one violinist early in the first half left her partner looking concerned but the ensemble continued on full of well placed confidence. The playing was superb, particularly from leader Rowell who was much appreciated by the audience. Ward also received his own recognition for the arrangement very gracefully.
Next was a longer work by modern composer Alfred Schnittke. Highly influenced by Shostakovich and perhaps other Soviet composers, the work opened with clashing dissonance. The piano took a much more prominent role here compared to the earlier work, at one point offering a rather depressing chord as violins dragged their feet in joining one at a time. Soon the rhythm was marching along like an infantry that was steady for a while then fell off the path they were treading. Droning double bass and violins were a reminder of the ‘Psycho’ movie which continued to develop into a more classic horror movie soundtrack.
The themes shifted to layers of sound sneaking up on one another which was interesting, then like a jazz tune with no set timing, then like an argument between parents with children cringing in the room, violins attempting a happy tune and the piano stamping them out, berating them. The work was said to be designed to touch “raw emotions”. Expressing fear, anxiety and oppression seemed like the last thing this audience wanted to hear considering the state of the world. It was an odd choice of programming which dampened down the high vibe of the auditorium. At the close, the audience made an effort to deliberately lift their spirits, almost despite the music, with a generous applause for this very talented group of musicians and their outstanding performance.
Pianist Shamray seemed almost apologetic as he bowed and literally admitted he felt he needed to do something more “light” for the encore. Perfectly chosen, he offered ‘Snowdrop’, the April movement from Tchaikovsky’s ‘The Seasons op 37a’. It did the trick and the audience sighed in collective relief, giving him a warm hand in gratitude before the lights came up for interval. Shamray was born in Novosibirsk, trained in Moscow and Freiburg and the winner of the Sydney International Piano Competition in 2008. Now a seasoned, international concert soloist he provided a solid foundation for the young players to depend upon. It’s definitely worth keeping an eye out for his name next time he is performing in Sydney.
The break allowed the audience to share some curt remarks, quaff a drink, stretch their legs and were back for the second half. The front row of each string section had swapped to become the back row. This gave all performers a chance to experience the front row which was a great idea.
Soloist Ward took the centre stage for ‘Lamento’ by Estonian composer Mihkel Kerem. A solo violinist himself, Kerem composed a simple melody like a child crying out in hopelessness, lost and alone. Such fragility can be deceptive in what is required to keep the piece moving whilst lingering over the present moment. Ward provided an exceptional interpretation, enough to draw a tear or two. The audience loved his performance and reciprocated with cheers and loud applause.
Leader Rowell took to the microphone summing up the moods of the program works thus far. “Although we live in uncertain times I know the future of music in Australia with these talented young musicians looks very bright. They are some of the greatest musicians I’ve ever met.” The audience agreed wholeheartedly with her and offered their appreciation once again.
She invited all to give a smile under their masks as the orchestra closed the evening with the most well known piece, Tchaikovsky’s’ Serenade for Strings’. Devoid of ego, Ward stepped back, joining the ensemble as part of the line up without fuss. This was the work the musicians were waiting for and smiles were shared throughout the piece.
Cellists were outstanding in their confidence from the get go. Violas really shine in the Elegie. Rowell led them through this very famous third movement expertly weaving one phrase with the next like an impressionist painting with no hard edges. Absolutely superb. No break was left as they threw themselves into the final movement picking up the pace with every musician taking delight in galloping along with the tempo.
The whole group was swaying in unison at times. This grand finale allowed them to really stretch themselves and fully express their love of classical music. They truly looked like they were in seventh heaven, each ready to hug each other. Such a delight to see.
Rowell is right. This group of individual artists each demonstrate such great promise. The future of classical music in Australia is indeed safe in their hands and we can be very grateful to their tutors and mentors in selecting them and preparing them so well.
Excellent concert!
Program
Piano Quartet in A minor (1876) by Gustav MAHLER arr. Harry Ward
Concerto for Piano and Strings (1979) by Alfred SCHNITTKE
Lamento for Solo Violin and String Orchestra (2008/20) by Mihkel KEREM
Serenade for Strings in C major op 48 (1880) by Pyotr TCHAIKOVSKY
The tour continues on to Brisbane, Adelaide and Melbourne. More information about future performances and tours here:
https://musicaviva.com.au/concerts/2021-season/