Live Review: Tan Dun’s Wolf Totem

BY STEPHANIE ESLAKE

Tasmanian Symphony Orchestra
‘Tan Dun’s Wolf Totem’
Federation Concert Hall, 21 March 2015

The Tasmanian Symphony Orchestra performed a series of works showcasing the beauties of Eastern (and Eastern European) cultures in this high octane gig – and I’m blaming it all on conductor Johannes Fritzsch. Kicking off with Stravinsky’s ‘The Song of the Nightingale’, the orchestra sustained an intense presence throughout the evening and filled the hall with a higher level of dynamics than usual. Of course, energy was certainly a dominating factor of these compositions, but it was undoubtedly one of the best performances in this year’s season so far.

The Stravinsky was bursting with colour, elements of orientalism hinting at happenings within a Chinese court. But I simply cannot wait to share with you the highlight of the concert – Tan Dun’s contrabass concerto ‘The Wolf’. The work was performed as part of the world premiere season, having been co-commissioned by the TSO and a number of other orchestras from around the world.

The contemporary Chinese composer is perhaps best known for his film scoring of cinematic masterpieces such as ‘Crouching Tiger Hidden Dragon’ and ‘Hero’, and this work continues his well-established talent of identifying and combining the best aspects of Eastern and Western music to craft an awe-inspiring work. Dun was inspired to write ‘The Wolf’ when he read Jiang Rong’s period novel ‘Wolf Totem’, which explored the extinction of both the Mongol’s culture and their sacred wolf. The wolf can almost be heard galloping throughout the concerto via short, repeated rhythmic patterns. But first, the work opened with the harmonic screeches of the stringed bass section, with soloist Stuart Thomson (casually dressed in a lavender shirt) interacting tightly with the instruments surrounding him. It certainly wasn’t a concerto that gave priority to its solo instrument, and the orchestra had an equally strong role to play. Though, when Thomson was given his chance to shine, he did so – masterfully.

There is something about the Chinese style of composition which brings out the rich potential of Western stringed instruments. Large intervals are connected by sliding smoothly between notes, resulting in enchanting melodies that emphasise not only each note but the spaces between them (and consequently the anticipation of reaching them). The only disappointment I found in this work was the big major ending – comparable to the abrupt (and dreaded) Picardy third conclusions that poison even the best works from the baroque period.

Toru Takemitsu’s ‘Tree Line’ came next after interval, and through only a few instruments from each section the composer depicts, as he explains, “a stroll under the long line of acacia trees” near his workshop. Though, it was certainly more edgy than one might expect of a simple stroll. The concert concluded with Stravinsky’s ‘Firebird’. Rough and sensitive all at once, it was a climactic ending to the evening – and an outstanding evening it was, at that.

Image supplied.