Above: Augustin Hadelich joined SSO and Chief Conductor Simone Young in a breathtaking performance of the Mendelssohn Violin Concerto.
The chance to hear such a concerto favourite as the Mendelssohn Violin Concerto in E minor Op 64 live is one never to be missed. And SSO devotees turned out in droves for the return of Italo-German/US living Augustin Hadelich’s return to our shores. His seamless, almost effortless-looking presentation of this popular work laid it down before us in an electrifying mix of melodic and bravura-accompaniment playing. Hadelich redefined this concerto with faultless and forthright communicative plus technical skill.
This work, perfectly constructed by Mendelssohn, with sections that link movements, has a fine blend or sharing of roles and material betweeen violin solo and supporting orchestra. It was in capable hands here. Chief conductor Simone Young and Hadelich convinced us with their clarity and no-holds-barred musical skill that fast tempi for the outside movements were no obstacle to continued precision.
This concerto’s middle movement Andante stillness was a nice hiatus to the safe frenzy of the afore-mentioned fast movements. The first-movement cadenza, which Mendelssohn completely wrote out, was interpreted by this superstar violinist with perfect shaping and gestural build The overall-push-pull and dialogue between the violinist and full orchestra was guided by Simone Young with signature, detailed synergy.
The second half of this ‘Mendelssohn Violin Concerto ‘special live event, showcasing the powerhouse emotional and technical facility of the Italo-German string wunderkind Hadelich, was no less than the Bruckner 8- a sprawling symphonic statement and lengthy challenging listen for the audience.
It has been twenty three years since Sydney Symphony Orchestra last presented this mammoth work’s to Sydneysiders. Here, the ability and outlook of Simone Young curated an ambitious project to perform the symphony in its onger original version, which the ambitious, industrious composer presented to the world and conductor Herman Levi in 1890.
Above : Guest violinist and SSO perform the Mendelssohn Violin Concerto under the leadership of Chief Conductor Simone Young. Image courtesy of Sydney Symphony Orchestra. Photo by Ken Leanfore
There is a lot to be said for Young’s superb care shown to both us and her responsive modern SSO through this project. For all that the Arts and the world’s emotional hearts have endured since SSO’s last rendering of Bruckner 8, our attitude towards this creative’s original work with forced edits for commercial or popular acceptance is more kind, understanding and accepting.
Having said that, the original version of this symphony is a dynamic but very big sit for all assembled. In its original, lengthy guise the work illustrates the development of a composer keen to wow the musical world of his time, with extend undulating movements. It is also an evidence of the evolution in orchestral utterance and symphonic form as wrangled by the concert-rich universe that the late Romantic creatives found themselves in.
Simone Young succeeded in harnessing our interest during each lengthy section despite there being a lot to focus on across the work’s four immense iterations. Each movement was paced to please and contrast and was delivered with signature clarity and excellent layers of contrast from this inspiring leader and her expanded orchestra.
Given that a seventy-eight minute work not familiar to many appeared in the second half of a concert is a substantial undertaking, as well as listening expectation. There was much to admire from a performance practice perspective and live event delivery here.
We were able to witness in the recently vibrant Sydney Opera House Concert Hall acoustic a musicological restoration and historically informed performance that resonates so well with current vibes of correct cultural, chronological anf period preservation.
Above: Sydney Symphony Orchestra Chief Conductor Simone Young. Photo by Peter Brew-Bevan
We witnessed in this same space filled to capacity- with seating around and in front of the stage- a huge orchestra including three harps, huge timpani set, and a large brass choir including a back row of Wagner tubas.
Young and her loyal, respectful band members showed considerable stamina in tackling this immense outpouring by the ambitious and fame-chasing Bruckner. The intricacies of undulating energies in this score were responded to with fine fellowship across the orchestra. In particular the builds to tuttti climaxes were amazingly calibrated .
The virtuosity shown regarding manipulation of nuance required of this work in its longer, elaborate original form was to be admired. Young plus SSO maintained the small flourishes and mini climaxes, some only lasting for one to two phrases, with the consummate skill of pure artisans. They performed not only as exponbents of their orchestral instruments but as musicologists presenting the emotional or architectural status quo of the lare nineteenth century in this major-work portrait.
The triple harp arpegiations in the third movement Adagio were a breath of fresh air amongst the dener, surrounding movements. The power of the extended SSO brass choir, so neatly articulated, was a thrilling element in this re-education of huge orchestral voicing. Young’s unwavering intricate focus brought this leviathan to colourful and authentic life before the lucky us.
SSO in concert with this international guest and challenging, worthwhile programme choice doesn’t get more exciting or bold than this. In their 2024 season we are spoiled for choice, orchestral oration and guidance of the local band by Simone Young, a skilled expert in this country.Whether audience members liked all the movements or not, this concert’s inclusion of the Bruckner 8 was a significant musical milestone.
This programme with a huge favourite of a concerto added to a year 2024. This is a year in which the Chief Conductor has already exposed us to informed, brilliantly prepared and executed Sydney versions of Mahler 5 and Schoenberg’s Gurrelieder, which also demonstrated SSO’s sontinued unflagging energy and standards on an equally excellent global level.
