TMO’s MET CONCERT # 3 continued the 2015 season by enjoying another capacity crowd at the ABC Centre’s Eugene Goossens Hall. Its cohesive programme celebrated an Australian work evoking the spirituality of an iconic local landscape, a popular Australian pianist performing one of the nineteenth century’s best known concertos, and a symphonic favourite influenced by indigenous American melodies and culture.
Peter Sculthorpe’s ‘From Uluru’ (1992) was an intense and atmospheric start to an expressive night. It is perhaps not heard as regularly as his landscape-specific works ‘Kakadu’ (1988), ‘Earth Cry’ (1986), or ‘Mangrove’ (1979), but this shorter work is no less a gem with sustained sections of shifting atmospheres. TMO presented the work with pleasing clarity and richness of colour. Many shapes, aspects of Dreaming and a sense of a landmark’s impact were communicated through this performance.
From a famous Australian landmark to a famous Australian pianist: this programme presented a fine collaboration between TMO and Simon Tedeschi as they performed together the Grieg Piano Concerto in A minor, Op 16. (1869).
Tedeschi’s interpretation was both exciting and exquisite. The melodic lines we know and love in this work were beautifully structured and played with virtuosic care. His bravura, whether chordal or otherwise was stunning without marring shifts to the concerto’s more intimate lyrical moments.
What was especially enjoyable about Tedeschi’s pianism and quite personal painting of the emotion was his incredibly soft playing. Even more pleasing was the successful balance in such moments between TMO and the soloist. Tedeschi became a quite sympathetic accompanist where needed underneath key orchestral motifs. This was a secure partnership and environment in which to safely deliver such a massive classic of the repertoire.
The first movement cadenza was brimming with energy, colours and thankfully also a deal of Tedeschi’s characteristic poise, restraint and calm. As in the remainder of the work, expertly graded single-note lines sang with real edge-of-the-seat cantabile phrasing. The venue’s acoustic responded well. The Allegro Vivace final movement was full of character from TMO and pianist, who went on to add two encores.
To conclude an already impressive concert, TMO gave an inspiring and disciplined performance of Dvořák’s Symphony No.9, ‘From the New World’ (1893). Conductor Sarah-Grace Williams succeeded in creating very pioneering and open soundscapes amidst the complex thematic reiterations, developments and juxtapositions. The symphony’s full textures and requisite unbridled boldness in delivery of the popular, energetic themes created an attractive new interpretative world on this occasion.
By contrast, the incredibly familiar theme to the Largo movement was played with well-paced gentleness on cor anglais by TMO principal Alex Fontaine. It was outlined as a measured celebration for those familiar with the theme, and surely won instant fans for first-time listeners in the crowd.
This consistently satisfying musical experience was a fitting midway point for TMO Met Series concerts in 2015. It was performed for one concert only at the ABC Centre. The enthusiastic fan base can look forward to Met Concert # 4 on September 5, with a programme of Elena Kats-Chernin’s ‘Re-inventions’ for flute and orchestra as well as Rachmaninoff’s Symphony No.2.
For more about TMO Met Concert 3, visit http://www.metorchestra.com.au