Adelaide Symphony Orchestra. Adelaide Town Hall. 29 Jun 2024
In 2023 the Adelaide Symphony Orchestra presented Rachmaninov’s three piano concertos in a special series of concerts. They were outstanding. This year, the ASO has presented another special series, and this time Rachmaninov’s three symphonies have been featured. The third and final concert was tonight, and maestro Andrew Litton went out on a high note but perhaps a little bit wearied. He threw everything he had at the series, and tonight’s concert was especially challenging, in both a physical and a musical sense.
The program included Aaron Copland’s ballet suite Appalachian Spring, Samuel Barber’s Concerto for Violin, Op.14, and Sergei Rachmaninov’s Symphony No.3 in A minor, Op.44. Each of these compositions is plucky and insatiable in the demands it places on the musicians (as well as the conductor). Backs were arched and strained smiles appeared on faces as the ASO accounted for itself exceedingly well across the breadth and depth of the program, and, in the final exultant moments of the symphony, Litton was literally leaping into the air driving the orchestra relentlessly to the climax. It was exhilarating!
Litton must have felt at home with the program, for it had an all-American flavour to it, even Rachmaninov’s symphony, with the composer’s pathway to becoming an American citizen well on the way. There are even hints of Tennessee Ernie Ford’s song Shenandoah in the first movement (at least according to this reviewer!).
Copland wrote Appalachian Spring suite for the dancer/choreographer Martha Graham and her company. It is driven and cheerful and remains one of his most popular works. Litton carefully managed the phrasing and rhythms throughout and the woodwinds (particularly the clarinet) and brass were especially fine.
Emily Sun performed Barber’s violin concerto with great style, apparent ease, and great respect for its lyricism. In three movements, the real appeal lies in the andante second movement with its long orchestral introduction, early oboe solo performed beautifully by principal oboe Joshua Oates, followed by melodic surge after surge from Sun. On occasion the melodic material from the solo violin ends with dissonance, but Sun made it sound particularly sweet. The final movement is a musical roller coaster, with a plethora of technical difficulties for the violin to manage. Sun performed the requisite spiccato without fuss, and at great speed, and her thunderous applause at the conclusion of the concerto was well deserved.
Rachmaninov’s third symphony is scored for a large orchestra, including celesta and harp, and the Town Hall stage was brim full to almost overflowing. A truly impressive sight! Like the Barber violin concerto, the symphony is also compellingly energetic and borders on being relentless. It is also ripe with melody and evokes rural and diverse sweeping landscapes with its changing rhythms. Litton established bold tempo and dynamic schemas from the outset, which ensured that the melodic material sounded fresh and never over-emotional. Principal horn Adrian Uren was at the top of his game and essayed the opening phrases of the first and second movement with a beautiful tone.
At the conclusion of the concert, Litton allowed the entire orchestra to receive individual accolades section by section from the large audience. Perhaps the orchestra’s greatest accolade came from Litton himself, and it was well deserved.
Kym Clayton
When: 29 Jun
Where: Adelaide Town Hall
Bookings: Closed
Australian Chamber Orchestra. Adelaide Town Hall. 25 Jun 2024
As some foods prepare the palate for other foods, so too can carefully selected music prepare the aural senses for other music. Who would have thought that Aroura, by Greek-French avant-garde contemporary composer Iannis Xenakis, would be an ideal introduction to Joseph Haydn’s Cello Concerto in C major, Hob. VIIb/1? Well, Nicolas Altstaedt thought so, and it is a stroke of musical programming genius.
Nicolas Altstaedt is one of the world’s best cellists and he is performing with and directing the Australian Chamber Orchestra in its current Australian tour. The program he has curated is a mix of iconic and well-known works, such as the Haydn, contrasted with compositions that would likely only be familiar to aficionados, such as the Xenakis. The overall impact of the program was a sense of exhilaration and reawakening.
In addition to the Haydn concerto and Xenakis’ Aroura, the program also included the first and second movements from Haydn’s The Seven Last Words of Christ, three movements from contemporary Hungarian composer György Kurtág’s Officium breve, in memoriam Andræ Szervánszky, Tchaikovsky’s Variations on a Rococo Theme, Op. 33 (arranged by Bernard Rofe), and Four Transylvanian Dances by Swiss composer Sandor Veress.
The concert featured sixteen ACO musicians (mostly performing on highly regarded period instruments) ably led by principal violin Helena Rathbone, with Altstaedt directing the concert, performing as a member of the ensemble and also as soloist in the Concerto and the Rococo Variations.
Altstaedt looked dramatic on the podium, with his shock of unruly hair, and his expansive relaxed-fit chemise and harem style pants. His first appearance spells anything but conventionality, and there was nothing predictable from then on. With little fuss, Altstaedt sat amongst the ensemble and led them immediately into the Introduzione from The Seven Last Words of Christ, which was followed with almost no break (and certainly no time for applause) by the Officium breve, and then the terremoto section from the from The Seven Last Words. With the completion of this ‘bracket’, the audience was finally able to show its appreciation, and it was deservedly generous. We heard hauntingly beautiful melodies contrasted with strong pulsing chords. The modern juxtaposed with the classical. Raw emotion set alongside mystical introspection. Fresh ways to listen to music that has endured the ages.
Altstaedt’s reading of the Rococo Variations put his full arsenal of technical excellence and musical mastery on display. Being a relatively small ensemble, comprising mainly period instruments with wonderfully warm tones, Altstaedt’s playing was foregrounded and was luminous in its clarity and and almost impetuous with its sustained momentum. It was like discovering the composition for the first time all over again.
The Four Transylvanian Dances exuded the influence of Bartók and were brim full of excitement and joie de vivre. Stefanie Farrands’ work as principal viola was a highlight as was the perfectly synchronised foot stamping in the final dance. Again, clarity from individual instruments was always evident.
After the interval the audience was at first confronted by the initial chaos and cacophony of the Aroura. Altstaedt conducted from the podium and did not play. There was no attempt to beat the timing. Rather, he communicated the ‘feel’ of the extraordinary piece with a darting glance here, a look there, an expressive and appreciative smile on occasion, and always with a clear connection between himself and Rathbone. When the Aroura was over, Altstaedt led the ensemble immediately into the Haydn concerto as he gently but assuredly took hold of his own cello and seated himself on the front podium. With perfect timing he readied himself and entered precisely on time. Novel, and extraordinary. The sense of melody throughout was strong, and there was a playfulness reminiscent of the great Jacqueline du Pre. Altstaedt’s attack and pace in the finale was refreshing, and the audience erupted into applause, sheering, and whistling as soon as the final note was played.
Altstaedt was called back four times by the audience. It would have been more if he hadn’t chosen to offer a Boccherini encore accompanied by two of the violins. A gentle conclusion to the evening.
It was a magical concert, and much of the joy was due to the skilful and inspired programming as much as it was to the masterful musicianship of seventeen musicians all at the top of their game.
Kym Clayton
When: 25 Jun
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Symphony Orchestra. Adelaide Town Hall. 26 Jun 2024
Maestro Andrew Litton conducted Rachmaninov’s mighty and much-loved Symphony No. 2 in C major, Op. 26 from memory. This is no mean feat. The symphony comprises four movements, is scored for a large orchestra, is richly detailed, and comes in around sixty minutes. But perhaps it is not too surprising, as Litton has recorded it twice: with the Royal Philharmonic Orchestra in 1990, and the Bergen Philharmonic Orchestra more recently in 2015.
So, Litton knows the work well, and it shows. The capacity audience loved his interpretation so much they erupted in spontaneous and joyous applause before the final chord even had a chance to fade away into the expanse of the Adelaide Town Hall. As he was taking his bows, he accepted the customary bouquet of gorgeous Tynte Flowers and carefully removed a rich red rose and presented it to Concertmaster Kate Suthers, who richly deserved it. Litton then acknowledged principal clarinet Dean Newcombe, who beautifully played a solo in the third movement, timpanist Andrew Penrose, whose timing and intonation was impeccable throughout, Sami Butler and the rest of the percussionists who never faulted in adding sparkle, the brass players and horns who were bold and imperious, almost choral-like, the woodwinds who almost broke our hearts as they played plangent melodies, and of course the passionate but superbly discipled strings who ultimately shoulder the load.
The Symphony is so rich with glorious melodies that some of them have been quoted in film such as Birdman, starring Michel Keaton, and in pop songs like Never Gonna Fall in Love Again by Eric Carman, and If I Should Love Again by Barry Manilow. The melodies are so tuneful they become earworms and members of the audience were humming them as they were leaving the Hall, undaunted by the cold Adelaide winter evening. They are so tuneful that they risk being played in an overemotional and syrupy way, especially the iconic Dies irae theme so loved by Rachmaninov, but Litton had none of that. He demanded, and received, discipline and control, and the ASO performed and sounded as good as it ever has.
The concert began with virtuoso Konstantin Shamray giving a breath-taking performance of Prokofiev’s Concerto for Piano No. 3 in C major, Op.26. Shamray is well known to Adelaide audiences – he lived and worked amongst us for several years – and his virtuosic skills are almost the stuff of legend. His technique is phenomenal, and the clarity and depth of sound he produces stands in contrast to the efficiency and modest grandiosity he demonstrates at the keyboard. Litton frequently had his eyes on Shamray and between them they negotiated a cracking pace from the outset. At times I thought it was too pacy, but the aforementioned discipline of the orchestra and Shamray’s astounding ability to articulate regardless of how punishing the tempo and dynamics might be ensured success. It was so successful the audience spontaneously applauded at the end of the first movement. The flute and clarinet at the beginning of the second movement were quite blissful, and Shamray rode the wave and negotiated the difficult cross hand work with apparent ease. The turbulent third movement saw Shamray execute pianistic gymnastics with blistering arpeggios, with, I am told, an instance of playing two notes simultaneously with the one finger (not a thumb, which is much easier)! All in an evening’s work, and the audience lapped it up and showed their appreciation with thunderous applause.
There is one more concert in this Rachmaninov series, and it will feature Rachmaninov’s Symphony No. 3. It plays Saturday 29 June 2024 at 7.30pm in the Adelaide Town Hall, and tickets will be scarce. Don’t delay.
Kym Clayton
When: 26 Jun
Where: Adelaide Town Hall
Bookings: Closed
The Gov. 23 Jun 2024
It is inconceivable that tonight was the end of time for Radio Birdman. What I have seen and heard was little short of extraordinary; a band who came to make a statement and from the very first searing chords of Smith & Wesson Blues did precisely that.
The support band, Cull The Band, featured the twin guitar attack of Pete The Stud and Jeff Stephens. Pretty loud, pretty murderous, Stephens playing a backseat to the Studs histrionics. It was the first time I’ve seen Exploding White Mice guitarist Jeff not playing a Rickenbacker, though that is many years ago. Anyway, Cull The Band feature a drummer who likes to beat seven shades out of his kit and make the rest of the band fight to catch up, and I’m okay with that. The singer is the real surprise - she is just good. Charlie Bruiser has a great rock n roll voice, and she takes control of the situation. A little research suggests she’s only been with the band a few months, but this is a lineup to watch.
I might have missed the first song or two, coming in at Three Time Loser but it grabbed the attention from the outset. To follow that up with Tell That Girl To Shut Up (1980s Holly & The Italians cover, if you’re interested) was just odd and also amazing. Later on, after all the band had had a turn at singing, we got the forthcoming single Tearin’ Me Apart in all its glory.
So, back to Radio Birdman. An early gig for the old folk – and it’s fair to suppose few in the crowd would see 50 again, but that rather bore out the reason for the event in the first place, I suppose. But supercharged rock ‘n’ roll played well ought to be timeless, and the energy is the thing. Right from the start they made it clear they were in no mood for taking prisoners, and the setlist reflected a determination to give the best. Second song: Alone In The Endzone. Third song: Do The Pop. Fourth: Crying Sun… a personal favourite for its underplayed guitar rondo.
Descent Into The Maelstrom - guitarists Dave Kettley and Deniz Tek are stalking each other across the stage, eyes locked as they synchronise the attack, and as the band takes the briefest of pauses it appears they’ve changed gear. Man With Golden Helmet provides the spark, and it’s a surprise since the song is reliant upon the way Pip Hoyle’s keyboard works across the top of the song structure, providing a melodic glissando to the controlled chaos which underlies it. The surprise is that drummer Nik Rieth appears to go all in, losing himself in the bowels of the song, driving it relentlessly forward.
They are off, this is Radio Birdman as good as it gets. Anglo Girl Desire gets the full treatment, bassist Jim Dickson’s head is twitching like he’s having a bad dream. I’ve seen Dickson in the New Christs so many times I can almost gauge his mood; he and Tek barely look at each other but hold their side of the stage solid. It is singer Rob Younger who looks as though he might falter, steps back, then snaps his feet and renews the assault. A reprieve for the crowd is provided by 2006’s You Just Make It Worse, a song known to many but not all.
Iskender Time morphs into Dark Surprise, then Hand Of Law provides the next spark. Tek is increasingly hunched over his guitar, pulling the squawking string-torturing chords out of it, Dickson alongside him is lost in holding the rhythm down, mouth open and neck bobbing, and on the other side of the stage Pip Hoyle is moving and bouncing on his feet, a country doctor dressed implausibly as a member of Huey Lewis & The News for a fancy dress party. All too soon we are at the end of the set – New Race – and the folks shout “Yeah Hup!!!” in celebration.
They were never going to be allowed to leave without an encore: Roky Erikson’s You’re Gonna Miss Me, MC5’s Kick Out The Jams, then the glorious melody of More Fun, i-94 and finally Aloha Steve & Danno. The band is locked in, sweating, ripping into the song’s structure as though there would be no tomorrow. Against the odds then, and the surprise which allows me to hope this is not the end, they did not play TV Eye, almost a signature for the end of the set. It did not matter. This truly was one for the ages.
It is tempting to become sentimental in the extreme and write ‘Age shall not weary them, nor the years condemn’ but that would be sacrilege.
Alex Wheaton
When: 23 Jun
Where: The Gov
Bookings: Closed
Musica Viva. Adelaide Town Hall. 20 Jun 2024
Kirill Gerstein’s performance was underscored by patience and deep respect borne out of profound understanding of the music he played. From the opening phrases of Chopin’s Polonaise-Fantaisie in A-flat major, Op. 61, with its heaven-seeking ascending arpeggio over five octaves, we know that Gerstein is in full control and empathetic with the composer’s intent. He is at one with the music behind the notes. The complexity of the Chopin is tamed with a stillness in his approach – it’s as if the caged complexity that is impatient to be freed is somehow calmed before release. Gerstein allows the inventiveness of the piece to unfold and unencumbered by strict metronomic timing his interpretation hints at the piece’s intrinsic jazz inflections.
Every live performance of any piece of music is always a unique experience – never to be heard that way again – but Gerstein takes it to another level as he gives us brief moments of stillness to pause and prepare for a different listening experience. With the final cadence of the Polonaise-Fantaisie completed, Gerstein promptly but gently rises and steps away from the piano: his work is done, and the music speaks for itself. From the perspective of the audience, it is altogether a different experience.
With little fuss, Gerstein sits again at the piano and resumes his carefully designed program. A contemporary work by American jazz pianist, composer and arranger Brad Mehldau follows – Après Fauré No. 3: Nocturne – and it is selected to lead into Nocturne No. 13 in B minor, Op. 119 by Gabriel Fauré. The jazz influences of the Mehldau prepare us for the complexities of the Fauré but not entirely for its vehemence and tortured sadness. Gerstein respects the intensified emotion and checks any longing to play with overly demonstrative exuberance.
Francis Poulenc’s delightful Three Intermezzi follow, and Gerstein’s fingers caress the piano’s keys throughout with a lightness and tenderness that is the perfect salve for any angst caused by the Fauré. This is followed by a spirited reading of Liszt’s Polonaise in E major, S. 223 No. 2, and Gerstein’s beguiling lightness of touch in the right hand makes us more acutely aware of the nationalistic feelings the Polonaise form can stir in us.
The second half of the program began with more Chopin. Again, Gerstein demonstrated his deep understanding of form, and his reading of the Fantaisie in F minor, Op. 49, was a delight: lightness of touch, moments of stillness and introspection, and a lush and fulsome approach to the piece’s glorious melodies.
The penultimate work on the program is a new work by highly regarded Australian composer Liza Lim AM. It was commissioned by Musica Viva through the Hildegard Project. Entitled Transcendental Étude, it might be assumed that the piece is taking a nod at Liszt, but Lim suggests in her program notes that the work is trying to get at something more tangible – striving for freedom. The work is at times dense and has an air of urgency, but Gerstein imbues its insistence with a measured patience. The composition keeps itself in check but none of its emotion is lost. If anything, it is amplified, and we are left in a state of contemplation at its almost abrupt ending.
The program is rounded out with a lively reading of Robert Schumann’s Carnival of Vienna, Op. 26, which is redolent in dance rhythms and light-hearted hummable tunes. Gerstein plays the multi movement piece with contained élan and ensures coherence and balance. Above all, he is patient and allows the composition’s highlights to emerge as intended by the composer without being rushed or being blurred by unnecessarily emphasising music that plays more of a supporting than a leading role.
It has been said that Kirill Gerstein is a poet of the piano. This concert is indeed a demonstration of that.
Kym Clayton
When: 20 Jun
Where: Adelaide Town Hall
Bookings: Closed