Went to this concert with a friend last night:
AUSTRALIA ENSEMBLE @ University of New South Wales, Sydney
(Incorporating the Goldner String Quartet)
Dene Olding, first violin
Dimity Hall, second violin
Irina Morozova, viola
Julian Smiles, cello
Ian Munro, piano
Geoffrey Collins, flute
Catherine McCorkill, clarinet
Daryl Pratt, percussion; David Stanhope, conductor (both guests, in Incredible Floridas only)
(Prof. Roger Covell, director of programming)
Ferenc (Franz) LISZT (1811-1886)
- At Wagner's Grave (Am Grabe Richard Wagners) S202 for string quartet and piano (1883) - 200th anniversary of Liszt's birth
Richard MEALE (1932-2009)
- String Quartet No. 2 "Cantilena Pacifica" - 5th movement
- Incredible Floridas (Homage to Rimbaud) for flute/alto flute/piccolo, clarinet/bass clarinet, violin/viola, cello, piano and percussion (1971)
Ludwig van BEETHOVEN (1770-1827)
- String Quartet in A minor, Opus 132 (1825)
This was a great program which we both enjoyed. I knew the last two works from recordings, the first two were completely unknown to me.
The first two pieces were in memory of friends of the respective composers who had died. Liszt's piece was in memory of his friend and son in law Wagner. It was very brief and had a lightness which reminded both my friend and I of chamber music by Debussy and Ravel. I'm not sure who Australian composer Richard Meale dedicated Cantilena Pacifia to, but the violinist Dene Olding announced it from the stage and talked about it briefly (it wasn't in the program). Olding said that this group played this work at Meale's funeral service in 2009. It had a flowing and sinuous violin solo backed up by gentle repetitive waves from the other strings. It kind of reminded me of Philip Glass' Facades. These two works were poignant for my friend, as the day before was the anniversary of his brother's death in an accident 6 years ago. He said it bought back the memories.
Then a longer half hour piece by Meale, from his earlier avant-garde phase (like Penderecki, Meale went tonal after initially being more experimental). Incredible Floridas is a sextet that was written in 1971 to mark the 100th anniversary of French visionary poet Arthur Rimbaud's poem "The Drunken Boat." This was quite a complex work, requiring a conductor and everyone except the pianist to play multiple instruments. There's quite a bit of fragmentation in this work to begin with, the first movement dominated by a flute solo upon which much of the rest of the work is based. A lot of it was quite intense and percussive. The 4th movement is my favourite part, throughout it the piano plays this chord which kind of comes across to me something like Satie or Rachmaninov slowed down to the nth degree. Everything is suspended in time. In the 5th movement, the two string players each have a solo, the music moving towards their top registers, a bit like in Messiaen's Quartet for the End of Time. Funnily enough, these two solos kind of passed me by in the recording, which I'd listened to several times. The flute is always there, but it has a solo in the concluding 6th movement where the earlier fragmentary material is unified and more coherent. Like Rimbaud's poem, which is like both a physical and mental voyage (to where, who knows?), Meale's work has a dreamlike quality to it. It begins with the players quietly reciting sentences from the poem in French, and in the end it dissolves into nothingness. All of the players were soloists in their own right in this work. The music of Varese, Messiaen, Boulez and Takemitsu comes strongly to mind & as my friend pointed out, Balinese gamelan. Incredible Floridas is considered by many pundits to be Meale's masterwork, and I'd recommend it to anyone interested in c20th chamber music. Meale could very well be Australia's finest composer so far, not least because he had such a huge stylistic range. To see this work played live was a real treat. My friend has been familiar with Meale's opera Voss since he got it on disc in the 1980's & I made this composer's acquaintance more recently.
After a nice cuppa & a bit of chocolate during the interval, we headed back to the auditorium to hear Beethoven's String Quartet in A minor, Op. 132. This work is just sublime, from the solemn opening theme that opens it, right through to concluding dance like movement which brings back that theme, totally changing it's mood. This is music at it's very best, it's most sublime and passionate. Words are not really adequate to describe this sort of thing. I was interested to read in the program notes that the harmonies of the pivotal third slow movement, the famous "Hymn of Thanksgiving," may well have been inspired by the music of Renaissance composer Palestrina. I'm not surprised by this, it definitely has the radiance and purity of Palestrina's style. I thought that the Goldner String Quartet played this work slower than what I've heard on recordings, but this was just a hunch (I didn't check the time, listening to music for me isn't a matter of doing things like that). It was a very detailed performance, full of nuance. I loved watching how they played those complex cross rhythms, it looked very very difficult. An odd thing that I noticed was that from left to right, it was the two violins, cello then viola. Usually the viola is before the cello. I don't know why they played in this order?
After the concert, we both headed to the city for a nightcap before calling it a night. We both enjoyed the concert & felt we got a lot out of it, and one couldn't really ask for more...