Above: Clarinet soloist Francesco Celata. Featured image: Director of Music Gary Stavrou conducts another well-attended Balmain Sinfonia concert.
BALMAIN SINFONIA’S first concert for 2016 once again illustrated Musical Director Gary Stavrou’s ability to structure a satisfying afternoon concert for a loyal audience.
This concert was a delightful mix of orchestral favourites, a classic piece of virtuoso display in unique arrangement, and a dazzling piece of jazz fusion. The featured soloist was talented clarinettist Francesco Celata.
Celata’s display across contrasting genres was consistently thrilling in its control, clear eloquence and effortless journeys between the extremes of his instrument’s register.
The performance of Artie Shaw’s Clarinet Concerto (1940) successfully displayed the bandleader’s skill at crossover creativity with its blend of swing and classical effect as well as structure.
The orchestra supported the soloist effectively, seizing the opening attention-grabbing unison glissandi and other broad gestures throughout as opportunities to bring excitement and energy to the Macquarie Theatre stage.
Following this vibrant work we heard an arrangement of the violin piece Czardas by Vittorio Monti. This classic violin virtuoso piece worked well when translated to the clarinet.
A supportive orchestral accompaniment also ensured a full-bodied and flavoursome rendition. The clarinet solo was shaped beautifully and resonated with sweet lyricism in the introductory slow section. It next dazzled us with rapid fire passage work and strident syncopations full of character.
The programme’s clarinet performances were surrounded by two favourite orchestral concert gems, celebrating highpoints of the Czech orchestral repertoire.
This programme opened with Smetana’s Vltava, (The Moldau). Written in 1874, it is the second from his set of symphonic poems Ma Vlast (My Country).
The popular programmatic work with water imagery and suggestion of national pride was depicted clearly by the solo instruments and ensemble sonorities of the Balmain Sinfonia. Particularly well handled by the orchestra was the abrupt change from fluid motifs to the dance music which describes a rural wedding as the river passes by it.
The concert concluded with another Czech work, Dvorak’s Symphony No 9 in E minor Op 95. Written some nineteen years after The Moldau, it still celebrates the growth of an original Czech musical voice and skill in orchestration and imaginative composition.
Dvorak’s delicate blend of tone colours, dramatic elements and borrowings from American folk and popular tunes add to the sprawling structure of this symphony. These features were commendably delineated by the orchestra.
The temptation to overplay parts of this classic work was admirably resisted by the group. The delivery of the second movement’s cor anglais solo (based on Going Home) was clear and very nicely paced with subtle momentum by Lindi Todd.
This work was brought to a commanding close after a successful rendering of the expressive and complex fourth movement. The orchestra, conductor and soloist brought to us an interesting concert with a consistent standard of entertainment.
The next concert for Balmain Sinfonia is scheduled to take place in July. As Balmain Sinfonia has moved on from being the orchestra-in-residence at Macquarie University, the venue may still be at the Macquarie Theatre or at another venue to be advised. Details can be found on the website: http://balmainsinfonia.com, or on Facebook at: https://www.facebook.com/BalmainSinfonia