Monday, 17 March 2014

WASO and Jahja Ling review


It was disappointing to hear that principal conductor AsherFisch had returned to Berlin earlier in the week due to a personal emergency. But the WA Symphony Orchestra and its staff made an impressive recovery. Assistant conductor Christopher Dragon stepped into the breach until Jahja Ling – scheduled to conduct the orchestra at the end of the month – flew in from America early on Wednesday morning. The Chinese/Indonesian conductor (music director of the San Diego Symphony) had only one full day of rehearsal before performances began.

 

Fortunately sitting to Ling’s left was Paul Wright, on trial for the position of concertmaster and bringing an intense musicality that could potentially have as great an impact on the orchestra as the much-anticipated Fisch. On Friday night Wright gave fire to the violin section and stability to the orchestra.

 

The emancipated string playing was immediately obvious in Elgar’s Introduction and Allegro. The solo quartet (Wright, Zak Rowntree, Paul McMillan and Rod McGrath) played well but the real showcase was the radiant accompanying strings, particularly the resonant foundation of cello and bass sections.

 

Wind and brass claimed the attention in Strauss’ symphonic poem Till Eulenspiegel’s Merry Pranks. David Evans led the horns in a commanding delivery of Strauss’ iconic horn writing and the woodwind sounded sweetly pliant and shrilly belligerent in turn as they depicted Till Eulenspiegel’s pranks.

 

Ling conducted with composure, driving momentum forward and engaging playfully with Strauss’ humour. For Tchaikovsky’s Fourth Symphony he strode sternly into a darker soundworld, delineating layers and stirring up climaxes. Ling dissolved any lingering disappointment as (conducting without the score) he spanned the breadth and depth of what Tchaikovsky described as ‘the ceaseless alternation of bitter reality with evanescent visions and dreams of happiness’. The second movement mellowed to allow for Leanne Glover’s melancholic oboe solo and Ling’s rhythmic propulsion together with some steely brass playing resulted in a blazing finale. This concert shone the spotlight on an orchestra and conductor working under pressure and they came up trumps.

 

Monday, 10 March 2014

Gurrumul and WASO review




 
The best place to listen to Geoffrey Gurrumul Yunupingu is under the stars. The blind songwriter seemed to agree and sang with less reserve than usual as he and his band performed with the WA Symphony Orchestra at the King's Park Botanical Gardens.


The concert profiled Gurrumul’s life and music using multi-media narration from his clan members in Northeast Arnhem. On a large screen we watched dances depicting the snake, wildcat and crocodile and heard stories about Macassan traders and the mythical woman Bayini. An uncle recounted Gurrumul’s childhood hobby of collecting tins so he could play the drums. Another elder described how Gurrumul was born in a rainbow and went into the world as a bridge for Yolngu culture.

 

Most songs were in Yolngu language and came from Gurrumul’s 2013 album recorded with the Sydney Symphony Orchestra, plus a few arrangements by Erkki Veltheim of pieces from earlier albums. The orchestra (conducted by Iain Grandage) provided a haze of slowly moving chords around Gurrumul’s simple guitar-plucking. Vocal overdubbing for some songs gave an ethereal choral backing to his singing. The video footage made it possible to trace the origins of the sounds like the marimba echoing tapping sticks, or the low strings and brass setting a pulse like a didgeridoo.

 

Gurrumul was an unassuming, introverted presence, a quiet hub surrounded by the activity of the band, orchestra and film footage. His sweet gentle voice was magnetic; even the sea breeze faded to allow the dusky sheen and delicate vibrato of his voice to project into the natural amphitheatre.

 

Gurrumul was joined by Christine Anu (who had delivered a versatile and entertaining support act) for Bayini, a song that took iTunes by storm last year when Gurrumul performed it with Deltra Goodram on Channel 9’sThe Voice. Anu was introduced as an old friend who used to do Gurrumul’s nails, which he confirmed with an enthusiastic ‘yeah’, one of several interjections from the normally reserved singer which delighted the audience.

 

 It’s hard to describe what makes Gurrumul’s songs so heart wrenchingly beautiful. Perhaps it was the footage of toddlers with tapping sticks mimicking their elders, or an old man chanting ecstatically with eyes closed, or the simple melodies unfolding so slowly it made your breathing slow down. Something in this man’s spirit connected – as he has all over the world - to the people and the land in Perth. His dignity and innocence are best epitomised in lyrics from Gurrumul History:

“I was born blind, I don’t know why
 God knows why, He loves me so.”






This review copyright The West Australian newspaper March 2014