Westlake Cudmirrah Fanfare
Hamilton 482 Variations on a Very Short Theme
Twist Peace at the Last: World premiere
Sculthorpe Earth Cry
Vaughn Williams Five Mystical Songs
Hurst Swagman's Promenade, Four Traditional Australian Tunes
Talbot Hovercraft
Bernstein Three Dance Episodes from On the Town
Gershwin Rhapsody in Blue
Wood arr. Lawson Fantasy on British Sea Songs
Elgar Pomp and Circumstance: No.1, D major (Land of Hope and Glory)
Parry Jerusalem
Arne Rule Britannia
A juxtaposed tour of the world with a poignant finish, distinguishing it to be definitely Not the Last Night of the “Poms,” but instead of the Original people…
Hailing from the Motherland and having attended the real Last Night of the Proms at the Royal Albert Hall, I was unsure quite what to expect, but with the QSO involved I knew it would be innovative. The eclectic mix of pieces zoomed the audience on a trip around the world starting and finishing in Australia with a haunting Welcome to Country, from a female representative of the Turrbul people, clad in an ornate skin and aboriginal flag singing the Spirit of the Brisbane River Dancing Song. The Australian theme continued with Nigel Westlake’s Cudmirrah Fanfare featuring horns and trumpets with staccato rhythms interspersed with timpani and crotales (small tuned cymbals.)
The audience then started searching for the devil who had left their phone on, as the Beatles’ recording of the Yellow Submarine chimed out. It was however, part of the 482 Variations on a Very Short Theme by Gordon Hamilton. Repeating three notes of the phrase “in a yellow” from the song it was stretched, slowed, sped up and manipulated by a multitude of orchestral instruments in various combinations to create a truly unique jazz piece with parts of the instruments rarely used, such as using the wood of the bow to produce “snap” pizzicato with glissandi (sliding) harmonics. The unusual piece was well received by both the audience and the composer. Gordon Hamilton leapt up at the end from his seat amongst the stalls, applauding wildly in appreciation of the QSO’s execution of his 482 Variations.
The Aussie theme continued with the world premier of a choral plea for Peace at the Last from Queenslander Joseph Twist, who now lives in L.A,. who unfortunately couldn’t make it to the premiere. The title comes from the sermon Wisdom and Innocence by the 19th century John Henry Newman, written in the vain hope and plea for a moment of peace in a busy and fast-changing world. The words are more poignant now than ever they were in the 19th century, as we are bombarded by social media, marketing and messages all demanding attention. This was reflected well in the melody by conflicting rhythms and chants until “the busy world is hushed” with a choral calm.
The soft rhythm of the didjeridu wafted across the audience from the back of the Concert Hall, as the ARIA award-winning William Barton strode down past the audience without a pause in the circular breathing, and onto the stage, playing Earth Cry by the fabulous Peter Sculthorpe. The kookaburra called out as the Earth cried for balance as the brass and strings emulated the Aussie outback in a beautiful plea for us all to re-attune to the land.
The Antiphon by Ralph Vaughan Williams rang out with the 67 strong Brisbane Chorale and rounded off a packed first half with Michael Hurst’s Swagman’s Parade highlighting Waltzing Matilda as a finale, as the audience jovially sang along.
The second half embarked in France with Hovercraft from Joby Talbot, tackling the surging waves whilst crossing the British Channel. The wave motion was emulated through the surging strings and repeating marimba and a strong trumpet accelerating to an ebullient end.
Gershwin’s Rhapsody in Blue, one of my favourite pieces was re-interpreted by the Mexican pianist Jorge Viladoms, in his Australian debut. Lulling us into the American charm of the early 20s, but only briefly, as we were then swung by Alondra de la Parra into the adventures of three sailors on 24-hours of shore leave in New York, with Bernstein’s On the Town. The audience were treated to QSO’s conductor letting it fly as she jived and jiggled with the jazz, a stark contrast to her normal sedate conducting style.
Composer Henry Wood embraced the inner British stiff upper lip with his Fantasy of Sea Songs, making the poms in the audience yearn for “old blighty” with the tune of Home, Sweet Home. Twenty talented Brisbane Girls Grammar school students then joined the orchestra to play the exalted three pieces venerated in the real Last Night of the Proms. The Union Jacks were waving as fellow poms exuberantly sang Elgar’s rousing Land of Hope and Glory (Pomp and Circumstance March No.1), Parry’s Jerusalem, finishing pompously with Arne’s defiant Rule Britannia.
There was much clapping and stomping with streamers flying as the incredible night came to a close. But just as the jubilant poms and Aussies were gathering coats ready to depart for a nice cuppa at home, William Barton, celebrating his 20th anniversary of playing with the QSO, re-appeared on stage with two didjeridu’s in hand to change the tone entirely. He brought on his proud Mum who sang a haunting and moving Spirit of the Earth accompanied by William on the didjeridu whilst also chanting and crooning. The song became more full and slightly less sorrowful when joined by the full QSO, but it immediately transformed the flavour of the evening’s performance from jubilation to a more plaintive feel. With the poms in the audience leaving with their tails tucked and heads bowed in contemplation.
The eclectic extravaganza gave us a juxtaposed tour of the world with a poignant finish distinguishing it to be definitely Not the last Night of the “Poms,” but instead of the Original people!
Conductor Alondra de la Parra
Piano Jorge Viladoms
Choir Brisbane Chorale
Didjeridu William Barton
Prossima Program students from Brisbane Girls Grammar School
Concert Hall, QPAC 9th August, 2018,
Dr Gemma Regan