SLAVA, RODRIGO
& BEETHOVEN VII
Arts Centre Melbourne, Hamer Hall, October 31 2016
 |
| Timo-Veikko Valve with the Guarneri cello. Photo: Mick Bruzzese |
I had the privilege to enjoy the ACO
concert last night a Hamer Hall. How spectacular. Always a rejuvenating treat,
the ensemble was in full form. One of our party said the previous subscription
concert had been terribly disappointing with the musicians seeming quite out of
kilter. She sent them a note, and although she didn’t receive a response I
suggested that perhaps it had been read out in rehearsal, for tonight was quite
the opposite and she agreed. (I can’t imagine the ACO delivering a disappointing performance,
but we do all indeed have our off days).
The Gordon Kerry premier work ‘So Dream Thy
Sails’ was played superbly and interwove thin tones on the strings with
virtuosic playing and full ensemble sections, reflecting the moods and movement
of the ocean. A particular highlight was the prominence of the harp, which
brought colour, tremendous tonal chiaroscuro and such a beautiful contrast of texture to the work. The concentration was
sharp and the performance excellent.
Slava Grigoryan of course played
magnificently with his long spider like hands dancing effortlessly over the fret
board. I had to laugh at myself, for as a lute player my ear is tuned to the light
strings and delicate lace tapestry sound of a lute. To my odd ear, the guitar sounded like a very
heavy electric bass. Slava was having trouble at times with tuning, particularly of the bass strings,
which looked rather loose, and I (like to) think were of nylgut (could be
wrong). As he re-tuned I envied him the modern hinged tuning pegs and such a
quick re-tune. The Rodrigo
concerto was beautiful and complex, evoking the loss and gaiety of life. As always, my favourite passages are the
simple intertwining melodic counterpoint, delivered with light expression and
crisp clarity.
The highlight of the night however, was Beethoven’s
7th Symphony, delivered by the orchestra, absolutely in their
element. If everyone played with their best manners and most thoughtful when
accompanying, they were like children left to their own devices at the end of a
family gathering for the Beethoven. They were sugared up and they let
loose. Many of the orchestra stands
throughout, giving the players freedom of movement, which assists in lifting,
expressing and furthering their energy. Richard Tognetti interspersed playing
with conducting which at times became springing on his toes, almost jumping to
emphasise the beat or punching his bowed fist in the air. Slight tuning issues between the second
violins and the woodwind didn’t detract. All the players kept one eye on the
score, one on Tognetti, one on their playing partner and another on everyone
else, making eye contact, cuing, supporting, and encouraging each other. For this orchestra concentration means communication
and laughter and the result is an energised, emotion filled, sensitive and
simply superb rendition of the work.
Special mention must go to the viola boys who were beaming, giggling and
seemed to be having a ball. Another mention goes to Timo-Veikko Valve. What a delight and privilege to hear the beautiful Guarneri cello and all the cello section in particular throughout the night. During interval I wondered if they’d do a
Danse Macabre encore, given it was All Hallows Eve, but really, who needed it?
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