Mozart, Symphony No.31 in D, K.297 Paris
Oscher, Double Bass Concerto, World Premiere
Beethoven, Symphony No.3 in E flat, Op.55 Eroica
Conductor, Alondra de la Parra
Double Bass, Edicson Ruiz
The last in the Maestro Series for 2018 promised to go out with a bang, with an evening showcasing the heroic symphonies of Mozart’s Paris Symphony (No.31 in D) and Beethoven’s dramatic Eroica Symphony (No.3), considered to be the greatest symphony of all time in survey of 151 conductors by the BBC Music magazine. Accompanying the two commanding symphonies was the world premiere of Efrain Oscher’s Concerto for Double Bass and Orchestra. Written as a celebration of a long-lasting friendship between the composer and the world renowned double bass player Edicson Ruiz, who was starring as the double bass soloist.
Before the performance, we were treated to a pre-concert talk with Dr Simon Perry, a lecturer in musicology in the School of Music at the University of Queensland with research interests in Russian, late nineteenth and early twentieth century music. He spoke about the three individual Concerto’s to help deepen the audience’s Maestro experience. He also introduced the audience to the young Venezuelan Edicson Ruiz, winner of the José Felix Ribas prize and the Swiss Golden Bow prize. Ruiz spoke about his friendship with the composer Efrain Oscher and elaborated on Viennese tuning, used predominantly in the Austro-German areas during the Classical Period (1760-1820). The strings of the double bass are tuned to F,A,D,F#,A rather than the modern E,A,D,G tuning, allowing much lower and resonant bass tones. The Viennese tuning was specifically used in the Double Bass concerto and also in this Mozart performance, as it was exclusively used by the bassists in Vienna and the surrounding areas, with Mozart and Haydn always using this mode. Interestingly, Beethoven was one of the composers who insisted the bass tuning return to the virtuoso format, causing the double basses to be re-tuned by the QSO before his Eroica Symphony.
Mozart’s Paris Symphony, was specifically written for the Parisian audience who appreciated ‘noisy’ music and so is much bolder and brasher than the usual Mozart symphonies. On its premiere, the Parisian’s could not contain their delight, notably clapping and cheering, not only between the movements, but even during the pieces! In celebration of the era, Alondra de la Parra was sporting a traditional 18th century cravat and tails for the piece, cutting a striking form as she commanded the QSO as conductor. The violins are the stars of the Paris Symphony, with an effervescent string accompaniment and sustained woodwind interludes. The striking inclusion of clarinets in the orchestra in the symphony was also a revolutionary first at the time. The third, and most lively Allegro movement, had the violins racing along, punctuated by a triumphant brass and rolling timpani. Zoe Black, the guest Concertmaster, was particularly energetic in her bowing, with a vigorous ebullient style similar to that of Nigel Kennedy.
The world premiere of Oscher’s innovative four movement Double Bass Concerto, had the audience out of their seats for three raucous encore applauses. Surprisingly, only three double basses plus Ruis’ were used in the concerto, when seven took centre stage for Beethoven’s Eroica. Edicson Ruiz was in pride of place, next to Alondra de la Parra, hugging his double bass, as he played intricate solos. He was almost doubled over the instrument, to reach the notes way down the fretless board; it is a double bass after all! Each solo part displayed his vim and vigour as he frenetically sawed with his bow, although some did not seem to fit with the orchestral music. The guaracha rhythm, a Caribbean version of the salsa, and the Venezuelan cumbia played by the harpsicord, orchestra, bass and clap sticks, gave an eclectic latinesque 17th century sound. There were also hints of the 50s big band musical style, reminiscent of the Bob Hope and Bing Crosby road movies, where they grab a local South American girl, a trumpet and salsa down the street.
The finale was the stormy and powerful Beethoven’s Eroica Symphony No.3, which he originally dedicated to Napoleon Bonaparte, although he hastily removed the dedication when Napoleon became a self-appointed Emperor. The orchestral style was revolutionary, with the focus on human spirit, triumph and heroism. The first movement, Allegro con brio, is the most famous and popular of the four, and a personal favourite. A simple chromatic major chord theme strides throughout the piece in numerous variations with pride and heroism. Edicson Ruiz joined the six QSO double basses, raised at the back and towering above the brass, giving a fascinating view of the variations in individual bowing and plucking techniques. A few, like Ruiz, had frenzied hyperactive styles whereas some were very laid back and much calmer.
The concerto ended with the Allegro molto finale, which teases you with an underlying tension until the QSO finally relinquished with a massive climax. The heroic QSO delivered another eclectic and titillating night, highlighting more of the amazing musical talent from Queensland and around the World!
Beethoven’s Heroic Symphony, Maestro Queensland Symphony Orchestra
Concert Hall, QPAC
25th Oct, 2018
Dr Gemma Regan