It is always enjoyable hearing the Queensland Symphony Orchestra in the Concert Hall at the QPAC, either in an event of their own, or accompanying Ballet or Theatre. However, the best way to get the true QSO experience is at one of their more personal concerts in the QSO Studio. Rather than the musicians being hidden in a pit, or perching behind the conductor, at the QSO Studio you are introduced to the musicians and hear the low-down on which pieces they enjoy playing or find incredibly difficult to master.
Sunday’s Chamber Players concert, Meditation, Lullaby and Waltz presented nine different pieces and showcased the cello with a total of 17 Cellists from the QSO, with visiting guests from the University of Queensland, the Queensland Conservatorium and two extremely talented local year nine high school students. Accompanying the cello were two violas (Charlotte Burbrook de Vere and Nicole Greentree), the double bass (Justin Bullock) and the harp (Jill Atkinson). The musicians were interchanged throughout the afternoon after each musician was introduced, giving a lovely personal touch to the day.
Prokofiev’s 1944 Waltz from Cinderella was a gentle start to the concert with the cellos, harp and double bass recreating the true flavour of Russian Ballet music. Méditation from the 1894 Opera Thaïs by Massenet followed showcasing Hyung Suk Bae from Sydney, who is new to the QSO, playing a pensive solo on the cello. The solo was originally written for the violin and has been adapted for the cello. The piece was accompanied by other cellists, with fluttering arpeggios on the harp, ending with a sustained and beautiful high A harmonic.
A soulful arrangement of Danny Boy, suggested by cellist David Lyle, created a change of pace and brought a tear to many a Paddy’s eye, being the unofficial anthem of the Emerald Isle. Eight cello’s and the double bass created a mournful interpretation of the 1855 Londonderry Air classic. Starting with a cello solo, each cello joined the next Stanza swelling to a full and rich rendition of the folk tune. Then the subsequent cellos became silent leaving the final cello to weave it’s own way to the end.
Popper’s Suite for two Cello’s, Op. 16 , was published in 1876 with the name Popper bringing fear to many a budding cellist. He famously composed technically difficult and challenging musical pieces, himself being a supreme cello player with faultless execution. Hyung Suk Bae and Andre Duthoit rose to the challenge with two fabulous movements highlighting dance patterns with a Baroque flair which appeared strenuous, yet expressive.
The following three movements from Bach’s Brandenburg Concerto No.6 in B flat were bright and cheerful and utilised the two violas accompanied by 4 cello’s and the double bass.
Five Cellists, (one only in year nine) showcased the ‘G-string’ in Mose Paganini’s Moses Variations. Fortunately, they weren’t all wearing one, although a few might have been… but instead were playing much of the piece on the G string varying between tippy-top highs and way down low with their fingers prancing up and down the G string, as commanded by Paganini. There is a perpetuated myth to the origin of the use of the G string in the piece, that the other E, A and D strings broke during a performance by Paganini, forcing him to continue with only the G string. “Mini Matt” (Joshua Jones) who is only in Year nine at school, performed with his father, the cellist Matthew Jones and three other cellos and proved that age is no barrier to talent, as his fingers flew up and down the G string with sublime skill, which may be useful in the dating arena in the future!
The subsequent Lullaby by Gershwin was performed on six cello’s and although technically correct, it didn’t seem to have that syncopated swing to be ‘good enough for Jazz.’ Fortunately a fun and lively Boccherini followed with the two year nine students at the forefront of the ensemble, ‘Mini Matt’ (Joshua Jones) and (Yena Gook.) The youngsters were both outstanding playing Rondo from String Quintet No.4 in C major G.310 and are hopefully budding QSO musicians.
The final programmed piece was an excerpt from Humperdinck’s Hansel and Gretel Fantasy which embodies the style of Wagner with a childish fantastical twist. The finale used all 17 cellos with the double bass to create a deep and rich resonant sound, seldom heard from a full orchestra, as the whine of the violins often dissipate the mellowness of the cello.
A fabulous encore ensued beginning with the traditional Dying Swan from Tchaikovsky’s Swan Lake until a mischievous ‘Sideshow Bob’ on the double bass (Justin Bullock) intervened with his cheeky solo rendition of The Elephant from Saint Saens’ Carnival of the Animals. This was received with raucous laughter and applause. But, the cello’s weren’t to be outdone and retaliated with Mahler’s Second Symphony which became ‘Smooth Mahler’ as it was gradually contorted into Smooth Criminal by Michael Jackson. Bemusing some of the older audience members and titillating the younger ones!
The Chamber Players presenting a Meditation, Lullaby and Waltz with a ‘Fabulosity’ of cellos was a brilliant way to spend Sunday and the QSO Sunday Studio concerts are a great way to have fun getting up close and personal with the usually anonymous musicians, you may even discover that they prefer a G-string!
By Dr Gemma Regan
Chamber Players - Meditation, Lullaby and Waltz
Queensland Symphony Orchestra (QSO)
Sunday 29th April, 2018
Queensland Symphony Orchestra Studio, South Bank, Brisbane