Adelaide Symphony Orchestra. The Adelaide Town Hall. 28 Nov 2025
This is the final concert in the Adelaide Symphony Orchestra’s flagship Symphony Series, and it was both a resounding crowd pleaser and a musical triumph. It has everything you could want for; uplifting and rousing melodies contrasted with elegiac and tender moments, stylish interpretations of old favourites by an extraordinary internationally famed soloist, thoughtful authority and readings from a world-class conductor who radiates charm and musicality, and of course outstanding performances from all sections of our very own well-regarded symphony orchestra, which is surely at the top of its game!
The program is entitled Seasons, which gives one pause to expect the program will include works such as Vivaldi’s The Four Seasons, but that isn’t the case. Dylan Henderson’s comprehensive notes in the printed program make some effort to elucidate the reason behind the naming of the concert, but ASO management might have named it in a way that acknowledges that all the music, uncommonly, is written by English composers: Summer by Frank Bridge (1879-1941), Cello Concerto in E Minor, Op.85, by Sir Edward Elgar (1857-1934) – both performed before the interval – and Symphony No.1 in B-flat Minor by Sir William Walton (1902-1983). All three compositions had their premières between 1914 and 1939.
By the interval, the audience is buzzing. The first half of the program starts with a lush reading of Bridge’s tone poem Summer. It deserves to be played in concert halls more often that it is, and it caresses the listener into a mood of relaxed concentration. Conductor Mark Wigglesworth carefully balances the musical forces of the orchestra to allow the woodwinds to be heard clearly above the strings, and the result evokes the feeling of lazing in the English countryside.
This peace and contemplation is shattered by what follows.
Renowned German cellist Daniel Müller-Schott gives a blistering performance of the Elgar cello concerto. An icon in the repertoire, this concerto can be played far too sweetly, but Müller-Schott channels Jacqueline du Pré and makes his 1727 “Ex Shapiro” Matteo Goffrioller cello almost growl at times, especially in the concerto’s dramatic grand opening. He is intriguing to watch. With his cello perched quite high, he can almost look across at his left hand as his fingers play out their intricate dance across the fingerboard. Indeed, his fingers almost tell the story of the music as they lay bare the piece’s emotions. His bow and finger work in the faster sections of the second movement are astonishing, and members of the orchestra’s cello section give him appreciative nods and knowing smiles. During the hauntingly beautiful third movement, Müller-Schott has his eyes closed for much of the time and one senses a strong rapport and deep trust between him and Wigglesworth (who watches Müller-Schott intently and instinctively responds to his tempo and passion with great empathy). In the finale, Müller-Schott’s pure enjoyment is on display as he exchanges glances and smiles with the orchestra’s Associate Principal Cello Sharon Grigoryan and Concertmaster Kate Suthers (violin). The concerto ends almost as it begins, with drama and strong growls evoked from the cello, and before the final note can fade away the audience erupts into feverish applause. Müller-Schott then proceeds to give a Bach encore and makes it sound as if it had only just been written! The audience response is again emphatic – they have just witnessed a dramatically classy interpretation of an old favourite, and they loved it.
After the interval, Symphony No.1 by Walton is played. Like the earlier piece by Bridge, it too is infrequently heard, which is a great shame. It has intensity, drama, poignancy, pathos, melodic lyricism, and majesty – everything the more often performed European composers have to offer. (It might be said that tonight’s entire program throws a very appealing, and revealing, spotlight onto English music, and it comes up trumps. At the interval, one audience member said to me that at the start they weren’t sure how they were going to feel once the concert was over, but it was proving to be a welcome and much appreciated revelation.) The symphony’s first movement is intense. It starts with an ominous timpani roll and the horns announce a motif that recurs throughout the work. Wigglesworth is at his most animated as the piece becomes more and more passionate before relaxing into a second subject to close. The second movement gives no pause for rest: like Müller-Schott in the opening bars of the Elgar concerto, the ASO’s cellos and double basses are animated and the picture of studied concentration as they grapple the almost stinging and scowling score. Wigglesworth watches intently and rides the waves of bristling excitement with them. The third movement gives us respite: it is elegiac and tender, and exquisitely lyrical. Joshua Oates’ work on oboe and Mark Gaydon on bassoon is beautiful and almost causes you to stop breathing for a while. The fourth and final movement has filmic qualities. Again, the horns and woodwinds capture our attention early and the movement builds to an almost orgiastic close. Wigglesworth clearly finds the rampant humanity in the piece and smiles at his troops throughout.
Strangely, but understandably, the audience’s applause at the end seemed initially a little reserved. Perhaps the Walton was not something they were familiar with, but the applause is sustained and generous, and elevates a substantial notch when Wigglesworth hands over the gorgeous bouquet of flowers (sponsored by Tynte Flowers) he had been presented with to the ASO’s principal trumpet David Khafagi who is genuinely shocked to receive them but holds them high (along with his trumpet and with a beaming smile) as he accepts the accolades and enthusiastic applause. It’s as if he has just been crowned the heavy weight champion of the world! Khafagi is jubilant, but his performance of the tender “last post” solo in the slow coda of the finale was indeed affecting. The flowers are well deserved!
The ASO is just brilliant under Mark Wigglesworth, and tonight’s program was an eye opener in many ways. We can all look forward to the 2026 program with great anticipation. Tickets are now selling!
Kym Clayton
When: 28 Nov
Where: Adelaide Town Hall
Bookings: Closed
