This was the inaugural concert by The Orchestra Project at the Verbrugghen Hall, Sydney Conservatorium of Music . Two works were played – Mendelssohn’s Violin Concerto in D Minor and Mahler’s 4th Symphony in the Orchestra’s Sydney debut.
The Orchestra Project was established by conductor Fabian Russell in 2002 as a training ensemble for the development for the development of Australia’s best young orchestral musicians. This critically acclaimed ensemble provides opportunities for gifted young musicians to play alongside the very best musicians from Australia’s professional orchestras. Russell enthusiastically yet precisely conducted the rich , multi layered performance.
Harry Bennetts, Associate Concertmaster of the Sydney Symphony Orchestra, was the soloist in the Mendelssohn and gave a bravura , dazzling performance full of finely nuanced phrasing , clarity and control yet with volcanic layers underneath .From its rich , sumptuous opening the Orchestra was in fine form. Throughout, Bennett’s solos were fast fiery and furious , full of explosive passion , or delicately yearning with the violin ‘singing ‘. In the first movement sometimes he darts glides and skitters, the Orchestra murmuring accompaniment.
The second movement was mostly a flowing ,circular ,pulsating melody , Bennetts stating and repeating the main melody, horns, woodwind then the rest of the Orchestra agreeing. Underneath
The third movement opened dramatically with Bennetts on the violin and horns blaring. The Orchestra bustled , set a brisk pace by Bennetts , and if you listen closely you can pick possible hints of references to Mendelssohn’s overture to ‘A Midsummer Night’s Dream’ . The sweeping melody was repeated and embroidered , Bennetts dazzling and leaping with great athletic dexterity.
There were cheers and screams at the end and prolonged applause before interval.
After interval came a rich, thoughtful at times almost overwhelming performance of Mahler’s Symphony No 4 . The phrasing and timing were eloquent. The highly detailed and structured work takes us from the opening rather naïve ,somewhat child like simplicity to the finale. The Heavenly Life from Mahler’s song cycle The Youth’s Magic Horn.
The symphony opened with spiky yet resonant strings and an insistent , pulsating rhythm. There was a change to a fast whirling tempo then back to flowing circular and repeated strings ,the melody taken embroidered and developed and repeated.
A birdlike flute then slinky Orchestra shimmered and fluttered , but eventually the Orchestra became a crashing wall of sound.
Insistent circling woodwind stir, the melody is then taken developed and repeated with lyrical strings contrasted with the horns and use of pizzicato on the strings.
An animated discussion arises between the various Orchestral sections with darting flute and dramatic swirls and ripples of sound.
Yearning strings ache, bright lustrous horns and flute join – then the Orchestra begins scurrying and tempestuous, ebbing back to seeping violins.
Soprano Lorena Gore was tremendous in the final movement , in engaging , radiant voice .The songs were passionate , proud and defiant with the Orchestra sharp and spiky .
A very thrilling performance .
Running time 2 hours including interval
The Orchestra Project performed for one performance only at Verbruggen Hall 10 December 2019