As mentioned in percussionist TImothy Constable’s introductory words, this Sydney Festival gave SSO musicians a chance for public performance following being muted  for the past seven months.

Constable gave us an excited, fun and informed introduction to the two works for percussion in this event. The first, Last Waltz  (initially written for percussion ensemble Synergy in2009) was written by him and stretched the concept and gesturing of the triple time dance every which way.

In this focussed composition, the trio of drummers manipulated their combos of floor drums, snares and bongos via driving unisons. These were developed organically to reveal hectic rhythmic textures. We also were shown some  charming palletes possible from  shifting percussion combinations. The extremely tight playing mastered the complexity and subtlety of overlapping motifs as the riveting work progressed.

Next the percussion trio became quartet as the exquisite tapestry of Steve Reich’s minimalist work with more, Mallet Quartet (for two vibraphones and two marmimbas) penetrated the fine Speakers Corner venue and equally as fine Sydney January sky with its reiterations.

Above: A close-up of vibraphone action from Steve Reich’s ‘Mallet Quartet’. Photo credit: Jacquie Manning.

The moments in which Reich’s  relentless energy  eases into calmer, sparser soundscape were a thing of knife-edge beauty from the group. More melody line like utterance in vibraphone over motoric accompaniment was a nice departure from the relentless minimalism.  This ensemble relished the chance to emphasize the new atmospheric hues. Denser periods of busier counterpoint between the pair of vibraphones closest to us were a joy to watch as well as hear.

Throughout this percussion section of the evening and the string quartet or septet to come, the sound production from the Speakers Corner tech team was exemplary. We enjoyed the SSO through unobtrusive but solid amplification into the open air space with undistorted musical ingredients intact.

Also, as in all Speakers Corner concerts, the stage backdrop with a dozen squares containing 16 light globes provided effective patterns , motion and colours at the rear of the stage. This design and lighting activity enhanced the feel of the music in intricate Connect-4 style extrapolations. Such a light show included cheeky circle images in the square frames during the mallet percussion piece, perhaps as a tribute to the hardware  being so well used before us.

Above : SSO strings led by Associate Concertmaster Harry Bennetts in quartet mode for ‘Swoop’  by Sydney composer Holly Harrison. Photo credit Jacquie Manning.

As with other Syd Fest Speakers Corner events in 2022, the signature excellent camera work beamed musicians to us in interesting close ups. The constant  footage on the high resolution side-of-stage monitors brought us even closer to the  on-stage virtuosity.

The SSO string players in string quartet line-up gave a convincing premiere of Holly Harrison’s work Swoop. Actually intended for first performance by the new music champions, Australian String Quartet, this Covid-cancelled concert premiere found a voice for us finally at the Sydney Festival.

Players relished the chance to dive like powerful birds into the modern score, nestling amongst fragmentary effects includng glissandi, harmonics, intense ostinati and motifs of harsh brevity.

The melting pot of effect was quite a meditiative, mesmerising dance and the bluegrass tint in the inflection throughout helped add to the momentum and quirky groove. This premiere and the marketing of new Australian chamber music expression was in solid hands with these SSO players. Vivid colours and swift movements flew out at us in many directions rom the stage.

Above: SSO string players performed John Adams’ ‘Shaker Loops’ for string septet.

To end the clear communication of atmospheres for this night, the  dance theme continuesd with John Adams’ Shaker Loops in its original orchestraton for string septet (1982)

This work’s four-movement, 25-minute-plus length,  was hardly the brief final item to close a concert programme. Its characteristic energies, circlular reiterations and switch to static hymn-like reverence was nicely handled. Adams’ salute to the deep ecstacy and worship  with constant movement from New Hampshire restorationist Christians, the ‘Shakers’ is not easy to depict as seamlessly as it was here, especially in septet rather than full orchestra guise.

Sydney Festival survived Covid outbreaks from the behaviour of current religious sects, as it did boycott threats, weather and threat of cancellations. Likewise now have the SSO through this recent Sydney Festival gig and return of some members to their livelihood, performing.

It was a special night full of new and classic modern music moments from the past four decades. At this still night and open air event we also  a gorgeous assist from kookaburras, cathedral bells and flying foxes in the surrounding night sky. The crisp quality of SSO musicians remided us of the excellence we have been missing, and the healthy Australian arts industry heavyweight which is set to rise again in 2022.