BY STEPHANIE ESLAKE
The Tasmanian Symphony Orchestra
‘Symphonic Dances’
Works by Ravel, Tchaikovsky, Kay, and Grieg
Federation Concert Hall, 28 February 2015
In a refreshing start to the season, the Tasmanian Symphony Orchestra performed a charming collection of works by composers from the 19th Century to today.
The concert commenced with Ravel’s Le tombeau de Couperin, an other-worldly tribute to his friends who died in World War 1. With an enchanting oboe tune and strings like honey, it was a truly magical beginning to the matinee event.
Sue-Ellen Paulsen made her way on stage in a striking multi-coloured dress for Tchaikovsky’s Variations on a Rococo Theme. It was a challenge to hear her at times, but when she performed concerto-like virtuosic passages without the boldly supportive orchestra her sound was a delight to the ear. The work was different to the Ravel, but being similar in mood it was well placed on the program and perhaps best described as a pleasant listening experience with an abruptly energetic finish.
After the interval, the TSO performed for the first time Moonlight Ridge by Tasmanian composer Don Kay (who was in the audience to hear his work played). From the state’s rural North West, Kay has written about his home island through many of his works. This one depicts, he writes, “the moonlit image of the snow-covered ridge gleaming in the distance across the dark, still waters of Hastings Bay”. There’s something very fitting about a Tasmanian orchestra playing a piece written to portray their own land. Whether it was Kay’s composition or the local musicians’ connection with their state, the performance accurately captured the eerie nature of the physical landscape. Sustained tones were edgy and, at times, soft as a breath. Broken by leaping intervals, the structure appeared a collection of little impressions – the way one might witness the environment when exploring it.
The following Symphonic Dances by Grieg brought back the brass – a wakeup call from a section overflowing with presence. The first movement was so large it already sounded like a conclusion, but the second was a delightfully romantic little dance followed by the brightly waltzing Allegro giocoso. Andante – Allegro risoluto had an appropriately sleazy beginning and occasionally alarming entries. A gentle dance, sneaky pizzicato from the double bass, and a folky violin tune each contribute to this magnificent movement. The orchestra emitted a powerful rhythmic unison before an immensely satisfying major finish. Conductor Marko Letonja looked like he should have broken a sweat, but appeared cool and collected as he received the deserved applauds from the audience.
Image supplied.
