A matter of interpretation
Garth Wilshere
New Zealand Symphony Orchestra, Michael Fowler Centre, reviewed by Garth Wilshere
There was a big turnout for this concert with younger people no doubt attracted by percussion soloist, Edinburgh-born Colin Currie.
He performed the Percussion Concerto, written for him by American composer Jennifer Higdon. Centred on his love for marimba, this piece had him front-of-stage. The piece required many techniques from lyrical marimba, bowed sounds, and full-tilt drum kit solos. The sounds were interesting and varied, with the often lush orchestral writing balancing out the sound palette. His cadenza was vibrant and there was particular interest in the interplay - often like echoes and “duels” between the soloist and the orchestral percussion players - which made for fun virtuosity.
The concert opened in gentle mood with Aaron Copland’s Appalachian Spring Suite. Under conductor Alexander Shelley this was beautifully done, although I would have liked a touch more exuberance in some passages. But the orchestral playing was impeccable.
The same attention to detail made a strong case for Beethoven’s Symphony No 6 Pastoral, with the storm section of special relevance after the violent electrical storm a couple of hours earlier.
With reduced orchestra, beautiful phrasing and orchestral balances, Shelley really caressed the music, from the serene first movement, through to the reflective nature, and then relief of the final allegretto. It was a lovely, delicate interpretation and only occasionally would I have liked more of the rumbustious quality.
Lyell Cresswell’s Landscapes of the Soul for string orchestra was written to explore links between music, painting and landscape but despite accomplished string writing it didn’t have much to say to me.
There was a big turnout for this concert with younger people no doubt attracted by percussion soloist, Edinburgh-born Colin Currie.
He performed the Percussion Concerto, written for him by American composer Jennifer Higdon. Centred on his love for marimba, this piece had him front-of-stage. The piece required many techniques from lyrical marimba, bowed sounds, and full-tilt drum kit solos. The sounds were interesting and varied, with the often lush orchestral writing balancing out the sound palette. His cadenza was vibrant and there was particular interest in the interplay - often like echoes and “duels” between the soloist and the orchestral percussion players - which made for fun virtuosity.
The concert opened in gentle mood with Aaron Copland’s Appalachian Spring Suite. Under conductor Alexander Shelley this was beautifully done, although I would have liked a touch more exuberance in some passages. But the orchestral playing was impeccable.
The same attention to detail made a strong case for Beethoven’s Symphony No 6 Pastoral, with the storm section of special relevance after the violent electrical storm a couple of hours earlier.
With reduced orchestra, beautiful phrasing and orchestral balances, Shelley really caressed the music, from the serene first movement, through to the reflective nature, and then relief of the final allegretto. It was a lovely, delicate interpretation and only occasionally would I have liked more of the rumbustious quality.
Lyell Cresswell’s Landscapes of the Soul for string orchestra was written to explore links between music, painting and landscape but despite accomplished string writing it didn’t have much to say to me.
Have Your Say
0 Comments
No comments.