Robertson Conducts Schumann 3 & 4

SYDNEY SYMPHONY | David Robertson
Lentz, Jerusalem (after Blake)
Schumann, Symphony No. 4 in D minor Op. 120
Schumann, Symphony No. 3 in E flat, Op. 97 "Rhenish"

Great Classics Series

20.02.14, Sydney Opera House

Opera House fortune cookie/ complementary interval snack

Quite stupidly, I had not researched which pieces would be in this concert, and was happily surprised to find out that I would be attending another performance of Lentz's Jerusalem. I was also happily surprised to receive a fortune cookie courtesy of the Opera House to celebrate Lunar New Year... but the happiest surprise of all was that I would not be sitting in the choir stalls, and instead in front of the orchestra. To be honest, I probably stood out as the only person with non-grey hair in that vicinity. (Who needs to watch 50 Shades of Grey when you could have a glance at the heads of Sydney classical-music-goers?).

"I have a feeling we're not in the choir stalls anymore, Toto"

It was interesting to witness the Lentz from both both sides of the orchestra. As an audience member, one of the clearest discrepancies between the two performances was the ease (or lack thereof) of identifying the sources of the sounds. For example, during the first performance where I was sitting in the choir stalls, I was able to easily identify the location of the musicians in the rear of the hall, however while I was sitting in front of the orchestra, I was unable to see them at all.
Another example of ambiguity was at the beginning of the piece when the offstage brass players are instructed to "play" their smartphone recordings. Due to the placement of the speakers, while sitting in the choir stalls, the recordings sounded like they were an off-stage brass group outside the hall. However, while sitting in front of the orchestra, it was apparent that a recording was being played over the speakers.
A (possibly logistical) shame that wasn't 100% clear during the first performance was the noise that could be heard from the bar outside the hall. During the first performance, I assumed the clinking and clanking was part of the percussion, however it became apparent that it was actually the sound of glasses being cleaned and stored away. During the softer sections, these extraneous noises seemed quite loud and unfortunate for the piece.

Schumann's 4th Symphony finished off the first half of the concert, and quite notable moments were the fugal section and Principal Cellist Umberto Clerici and Principal Oboe Diana Doherty's duos were unbelievably in sync with each other. The concert- and the Orchestra's Schumann cycle- was finished with Schumann's 3rd Symphony, which exuded various characters and was full of warmth and energy.

Happy Lunar New Year!

Before and After Boulez

SYDNEY SYMPHONY | David Robertson
Boulez, Rituel in memoriam Bruno Moderna for orchestra in eight groups
Lentz, Jerusalem (after Blake)
Debussy, La Mer

Meet the Music Series

18.02.15, Sydney Opera House

To give this concert some context, the Sydney Symphony's Meet the Music concert series is designed to be presented to highschoolers from all around Sydney. Instead of the usual 8pm start time, it starts at 6.30pm, the cloakroom is filled to the brim with schoolbags, and the local Maccas and Hungry Jacks joints probably earn quadruple their usual profits.
As an audience member who's watched the Meet the Music series as both a high  school student and a post-high-schooler, I really do believe it's really is a great way to be introduced to some amazing music. I still remember the great disdain the whole concert hall expressed when the orchestra performed The Miraculous Mandarin... but didn't present the whole piece because of "time restraints". High schoolers really do get into the music, and they will often give standing ovations and have competitions against other anonymous audience members to see who can clap the last clap before a piece begins. As a surprising side note,  no one clapped between movements this time. (I'm not a stickler for clapping between movements, but I thought it was interesting to note that the previous Schumann concert received applause for every movement).

The Boulez was presented for the first half of the concert, and it was accompanied by a brief introduction by Robertson about the work and the orchestra's staging. The musicians were scattered around the hall to create an effect that "would not be able to be recreated in a recording". I'm not sure if my position from the choir stalls added or took away from the effect- while I was able to see all eight groups performing at once without swinging my head around, I felt like the surround-sound quality of the piece was a bit lost (although dynamically the groups were extremely varied due to the distance).
The Boulez work was rhythmically intricate, and both Robertson and the orchestra displayed immense amounts of concentration. Personally, I found Robertson's explanation about the piece very helpful in understanding the composer's inspiration in Japanese funeral procession music.

The second half began with the Australian premiere of Sydney Symphony violinist and composer Georg Lentz's piece Jerusalem (after Blake). The last time I had heard one of Lentz's compositions was back nearly a decade ago when Tabea Zimmermann had played his viola concerto Monh, so naturally I was curious to hear Lentz's Jerusalem after such a long period of time.
Admittedly, although I was looking forward to La Mer the most in the program, I have to say I enjoyed Lentz's work just as much, or even more than La Mer. Lentz created extraordinary effects with the orchestra,and I enjoyed every single moment of it. The one moment which personally stood out for me the most was when the strings were crescendoing into a climax by pushing into their strings with their bows, while being layered with electronic white-noise-esque sounds.

The evening was finished off with La Mer which I had been looking forward to all evening. Concertmaster Andrew Haveron's solos were particularly exquisite and flawless, while the rich Cor Anglais solos by Alexandre Oguey certainly reflected the nature of the piece and was definitely a highlight. The infamous cello soli moment in the first movement felt spontaneous and fresh while maintaining tightness within the section.
Robertson and the orchestra presented the piece without a hitch despite the numerous rubatos and tempo changes. However, my impression by the end of the piece was that while the orchestra had performed the piece at a high standard, they certainly could have taken more risks with the piece. 

Overall, although I was enticed into attending this program for the Debussy, I was blown away by Lentz's work, and I am excited to hear more of his compositions in the near future. Unfortunately, although I do see the educational merits of adding Boulez's work to the program, I was unsure if it deserved half of the program.Although the title of the program revolves around Boulez, I personally enjoyed the Lentz and Debussy the most.

Yes! I am available for art commissions! ...SorryHokusai

Marshall McGuire & Friends

Marshall McGuire (Harp) | Frank Celata (Clarinet), Riley Lee (Shakuhachi), Christina Leonard (Saxophone), Emma Sholl (Flute), Flinders Quartet (Strings), Teddy Tahu Rhodes (Baritone)
Bach- Goldberg Variations BWV 988: Aria
Brophy- Constantinopolis for saxophone and harp (world premiere)
Schubert- Heidenroeslein D 857; Im Fruehling D 882; Der Leiermann (from Die Winterreise D 911); Fruhlingstraum (from Die Winterreise D 911)
Miyagi- Haru No Umi
Greenbaum- Life in a Day
Sculthorpe- Into the Dreaming
Edwards- Arafura Dances
Ravel- Introduction and Allegro

Utzon Music Series

17.02.15, Utzon Room/ Sydney Opera House

For my second concert of the year, I attended the opening concert for the Utzon Music Series for 2015- a harp recital by Marhsall McGuire (and apparently on his birthday too, which was celebrated with tiny, tasty cupcakes!). Although I had previously attended harp recitals presented by my friends, this was my first "real" harp recital that I attended, and I have to say I enjoyed it immensely. Although it was named "Marshall McGuire and Friends", the concert may as well been named "Harp Music Through the Ages and Around the World", "The Harp is Quite a Versatile Instrument", or "HARP MARATHON".

The opening Bach was the first solo harp item for the evening and the polyphonic work clearly demonstrated the virtuosity of the harp. Although the harp is a notoriously difficult instrument to project ("it's a naked piano!", as stated by a close harp-friend of mine), McGuire's sound carried through the intimate setting of the Utzon Room.

The world premiere of Brophy's Constantinopolis was highly rhythmic and had an almost tribal, Stravinsky-esque feel to it. Despite the difficulty of the piece, it was clear that McGuire and Leonard had superb ensemble together.

The next item on the list was McGuire performing selections of Schubert's song cycles withTeddy Tahu Rhodes. Although the original accompaniment part was for piano, McGuire had transcribed them for harp, and it was quite fitting for the songs. Rhodes' baritone voice soared through the room while maintaining a dramatic presence.

The first half ended with two shakuhachi pieces. McGuire explained the pieces and the meaning of the word "shakuhachi". Lee created many differing timbres with the shakuhachi and both performers evoked a strong image of the fishing village and the surrounding seascape within the Miyagi.

The second half kicked off with Australian composers Sculthorpe and Edwards. McGuire was joined by members of the Flinders Quartet (interestingly never mentioned as individual members during the concert or the program). The balance was a bit harsher on the quartet, however the members of the quartet and McGuire successfully presented the rhythmically intricate Edwards. (Edwards was also in the audience).

The night ended with a culmination of McGuire, the Flinders Quartet and clarinettist Frank Celata and flautist Emma Sholl in an electrifying Ravel. Although I was disappointed at the lack of any Debussy music for the evening, the Ravel went above and beyond to dispel any hint of disappointment that might have been remaining.

Overall, apart from the stellar programming with a wide variety of instruments, timeframes, nations (including Australian composers), I was amazed at the sheer virtuosity of McGuire, his stamina to present the concert (twice in one day!), and his sheer concentration at not getting distracted by the incredible view outside. I hope his fingers had a well-deserved rest afterwards!

look at that view!

Tetzlaff & Mendelssohn

SYDNEY SYMPHONY | Christian Tetzlaff, David Robertson
Schumann 1 & 2, Mendelssohn Violin Concerto
13.02.15, Sydney Opera House


In my first concert of the year I told myself I'll try and write short reviews of all the concerts I attend in 2015. So here goes, my first foray into reviewing concerts. I'll only comment on my observations of the Mendelssohn because I'm not familiar with the Schumann works, and the balance was a bit skewed for the first-half since I was sitting in the choir stalls.

Tetzlaff's Mendelssohn was original and energetic, immediately commanding control and attention within the first opening notes of his solo. His first movement was noticeably faster than the orchestra's anticipated tempo, however Robertson and the Orchestra quickly adapted to his tempo without a fuss. The faster, virtuosic passages seemed quite faster than the more "traditional" tempos, but both Tetzlaff and the orchestra were able to fit together.

The first and second movements were beautifully linked together by the bassoon solo, and Tetzlaff easiliy held the audience's attention with his soaring long phrases. The last movement was especially riveting to listen and watch, and it was clear that there was a strong connection between Tetzlaff, Robertson, and the orchestra.

The balance between the orchestra and soloist was just right (surprising considering the Concert Hall's infamous balance issues), and the orchestra's sound never felt restrained. At times, Tetzlaff sounded as though he was edging on roughness of tone to project, however none of the roughness was apparent in the boxes.

This shit is bananas

"Grab the lowest banana on the tree"

I am wearing black because they are my concert blacks.

 

At a recent violin summer school that I attended, I met a lady who I hadn't seen in more than a decade. Back around a decade ago, she was the organizer of these summer schools, while I was a little hyped-up 7 year old violin kid. Back then I thought she was the bee's knees, and I still think the same way about her too.

Incredibly, after more then a decade she still remembered who I was. 

Funnily enough, the conversation quickly turned into "what are you doing with your life?", which lead to me answering "I don't know" (the easiest answer). 

After slowly opening up, I hinted that perhaps I wanted to study overseas, in Europe perhaps, which lead to the advice "grab the lowest banana on the tree". 

I'm not sure if I personally agree with this message, so here I am writing about it. 

According to the Banana Analogy Advice, people have gone on to do great things... but if you're living life, why not live life to the fullest? Personally I think my life is so full of doubts anyway (regardless of acquiring a high or low residing banana), and to pick the lowest banana on the tree wouldn't be challenging myself. Sure, if I fall and break a leg while picking a banana on a higher branch, that would hurt, and it would hurt even more if I fell without acquiring any bananas... but at least now I know how to get up that high, personally see the condition of the bananas up close, the reason why I fell, and knowing that I tried. 

Bottom line- life is an adventure, and I think if you're picking bananas which are easiest to pick, then you're limiting yourself to not knowing what the other bananas are like. 

Just remember to dispose of your banana peel responsibly, unless you want to be slipping on banana peels everywhere like a game of Mario Kart. 

What is the use of all of this?

Keeping this short and sweet.

I decided to create this blog to record my topsy-turvy journey after completing my Bachelors of Music degree. 

Unlike (or perhaps like) other degrees, a BMus has no set pathway to a stable job, so at the conclusion of the four year music degree, the institution spits out 100-plus dazed and confused graduates like yours truly. We end up running around like headless chickens, looking for wisdom and advice, and I decided to record the collective knowledge that I have amassed into this blog. 

I hope I can look back and read my previous posts, and laugh at myself for worrying too much.