Above and featured image: TMO concertmaster Victoria Jacono-Gilmovich led the string orchestra during ‘String Serenade’.
This was a programme of very fine flavours indeed. There was a pleasing warm blend of sound heard right from the concert’s opening, which continued throughout the afternoon. TMO Strings supplied a solid string orchestra voice in this acoustic and charming retro setting of the Marrickvilke Town Hall.
Bartók’s Romanian Folk Dances was a vibrant way in which to start the event. The colours in this collection and Bartok’s advertisement for his homeland’s folk music traditions were captured vividly.
Especially well executed in this set was the fine balance between orchestral accompaniment and concertmaster Victoria Jacono-Gilmovich’s clear, suitably characterised violin solo line. The trajectory of this storytelling soared cleanly over the tutti articulations, drone-like backrgounds or fuller, varied movement in the accompaniment. The nationalistic flavour Bartók was aiming for was spot-on here.
From the joy of dance we were whisked away from Hungary back home for a celebration of the joy of wine in its many varieties.
This celebration came in the form of the world premiere of Mark Grandison’s Cellar Door for String Orchestra. This work was recently expanded from an original version for cello octet, written for the Cellists of TMO. This eight-movement programmatic work in hugely successful premiere conveyed the colours, weight and warmth of wine in sonorous, dense textures.
Above: Composer Mark Grandison, whose work ‘Cellar Door for String Orchestra’ was heard in world premiere performance at this event.
Conductor Sarah-Grace Williams led TMO Strings in broad strokes through the intricacies of Grandison’s score. A beautifully firm, warm tone prevailed as new flavours, motifs and innovative counterpoint smoothly swirled around our aural palates in description of each new wine variety.
This was acccessible and instantly rewarding modern music for audience members to process. Grandison’s fine understanding of string resources and his unique combination of fragments and effects in the tone poems were obvious in this work and tastefully devoured by TMO Strings in performance.
Programmatic reference to bubbles, shapes or opacity of red or white wine and flavour notes were heard in the commanding realisation of articulation and the frisson string lines in novel combination. Perhaps also, by extension the natural calm expanse of a vineyard as well as the contrasting hectic, busy process of winemaking were able to be imagined when listening . All gestures and moods were delivered in a precise, elegant blend by this ensemble.
Grandison’s orchestrations, with gorgeously close part writing created inviting, even and full-bodied sections of sound for this work. His craftmanship was heard complete with unque rhytmic devices, timbral effects and tonal qualities across the wide string instrumental range. These ingredients enhanced the flavour or colour of each movement on an equally excellent level.
Cellar Door ferments a fun concept into a compelling new work for strings. Names of a different wine variety are stuck as a label around each new movement. The work progressed with a beautiful swill and swoop. Its performance was a pleasure to taste in delicious premiere. I wanted another glass straight away, I mean to say a recording. Judging from the ecstatic audience reaction, I was not the only one at Marrickville that afternoon who felt that way.
Above : Chief conductor of The Metropolitan Orchestra, Sarah-Grace Williams, led TMO Strings in precise, flavourso,e readings of works by Bartok, Grandison and Dvořák.
Innovative energy, elegance and masterful musical design continued to please our swirling senses with Dvořák’s String Serenade in E major Op 22.
Dvořák’s music in capable interpretation always shows him as a talented, enterprising creative with an open mind. His skill for composing with clarity despite constantly shifting colours and shape in his vistas needs to be seamlessly matched in lithe performance, which was the case on this concert afternoon.
The movements of this serenade are streamlined gems of characterisation. The special feature of a waltz in movement two with an exquisitely wound line was securely and sensitively traced by this group. All movements were brought to bristling life with instant individuality and strength of commitment from Sarah Grace Williams and TMO string band. This was a high-grade, carefully woven string tapestry.
The acoustic bounce in the Marrickville Town Hall was also perfect for Dvořák’s transparent, earnest, energetic treatment of string counterpoint. The performance of his work had a solid, glossy sound throughout which accurately conveyed the musical innovator’s joyous attitude and unique, endearing style.
This covid-affected survivor of a programme, complete with a world premiere championed the inimitable, enduring string orchestra sound and genre. TMO Strings demonstrated disciplined flexibility and versatility, essential qualities needed to communicate such works with the challenge of instantly conveying super-strong character.
The reunion of TMO strings with fellow musicians in the next Met Concert at the same venue is set to once more raise the Marrickville Town Hall roof, especially following the success of this Sunday afternoon chamber concert and the huge heartfelt ovation at its conclusion.
Met Concert #4 – ‘Spotlight on TMO’ features music by Dvořák, Mendelssohn and Tchaikovsky. It takes place on Sat Sep 24 at 7pm.