This was the last performance of the year for this accomplished orchestra that always emit fun with musicality and xmas iconography festooning their instruments. Led by the ebullient conductor, Steven Hillinger and harnessing the stentorian talents of esteemed narrator, David May, the concert began.
Carl Maria Von Weber (1786-1826)
OVERTURE TO DER FREISCHUTZ (1821)
Weber composed his opera Der Freischutz (The Freeshooter) tells the story of Max, a hunter who makes a pact with a man in league with the devil to gain seven magical bullets with which he needs to win a shooting contest in order to marry his beloved, Agatha. His act normally leads to damnation, but he is eventually saved by the intercession of Agatha and a saintly hermit. The overture is significant because it broke from the eighteenth-century style by acting as a synthesis of the entire that follows. It encapsulates the main melodies and dramatic thrust, preparing us, the audience for the coming story
The work opens slowly with a sense of sylvan twilight, the French horn gently evokes the peaceful, romantic forest. The mood suddenly darkens with the presence of evil portrayed by an unsettling string tremolo and sift throbs from the Timpani. The full orchestra swells, seemingly asking the audience the central question, ‘good or evil’?
The temporary moves faster into an allegro section. A long clarinet solo follows with the music brightening with a soaring, graceful melody associated with the heroine, representing love, salvation and Max’s redemption. It comes to a happy conclusion with the violins proclaiming a happy ending.
Alexander Borodin (1833-1887)
IN THE STEPPES OF CENTRAL ASIA(1880)
The work was intended as a ‘soundtrack’ for one of a set of living pictures Borodin was in a group of five dedicated to creating a distinct national Russian music using folk idioms and lyrical beauty. Fellow composer and friend, Nikolai Rimsky-Korsakov, conducted the premiere in St Petersburg. This piece is evocative of the vast steppes of the Caucasian region, played by the harmonic note of the violins, depicting a caravan of Central Asians escorted by Russian soldiers. The Asian theme is played on the coranglais, symbolising the exotic East, accompanied by suspended strings, creating a feeling of weightlessness.
The musical builds as the two melodies begin to interwine. The orchestra switches to a new, march-like melody in a grandiose style, suggesting the approaching caravan. Finally they recede into the desert distance leaving only a handful of strings and a solo flute.
Joseph Haydn (1732-1809)
SYMPHONY NO.45 ‘FAREWELL’- FINALE (1772)
Often called the ‘Father of the Symphony’, he certainly was the core of important composers of the classical era. After making a second appeal to his patron, Nikolai I, Prince Esterhazy) to give his musicians a break from court duties snd return to their families. Instead of a direct appeal, he put the request into music. As the movement unfolds, one by one, the musicians stop playing their parts, snuff out the candle on their musical stands, and quietly exited the stage. Hence the title ‘Farewell’ Symphony.
The final movement begins as a fast-tempo finale. Its during this triple-meter Adagio that the musical unfolds , the almost entire orchestra leave the auditorium with only two muted violins remaining. There was exhilarating eruption of clapping as they returned to rapturous applause.
Edward Grieg(1843-1907)
FOUR NORWEGIAN DANCES(1883)
The most significant Scandinavian composer of the late nineteenth century with a deep affinity for Norwegian peasant culture and folk music. The dances are based on the four dances. The First (Allegro marcato), in D minor, starts viciously, evoking the Norwegian folk dance, the calling. Ot has quick outer sections characterised by strong dynamic contrasts.
The Second Dance (Allegretto tranquilly e grazioso) takes place of a slow movement in the overall structure. The memorable melody introduced by the oboe at the beginning contributed significantly to its popularity.
The Third Dance (Allegro moderato alla Marcia) is march-like, serving as a scherzo. The brass interruption is numerous as it rolls in frenzied triplets.
The Fourth Dance(Allegro molto) opens with a short, sinister introduction. The main theme is accompanied by sonorous open fifths in the basses, common in Norwegian traditional music. The four dances together form a delightful and spirited set.
The audience, especially the kids for whom this composition was aimed at, were primed by the orchestra brasses donning wolf masks….
Sergei Prokofiev(1891-1953)
PETER and the WOLF(1936)
Dissatisfied with the rhyming text provided by Nina Sakonskaya, a children’s author, as part of a commission by the Central Children’s Theatre in Moscow, he decided to write his own narration, composed the musical score and text and completed it in a number of days.
The brilliance of Peter snd the Wolf lies in its masterful use of instrumentation to depict the characters and drive the narrative.
Slowly into the auditorium, strode a troubadour, wearing a fur hat and Russian outfit. David May was our Narrator and with his beautiful clear annunciation began to explain the different characters and their musical interpretation, each protagonist having their own distinct sound and melody.
The resourceful Peter is represented by the warm, winsome sound of the string section.
The little bird is depicted by the high fluttering of the flute. The waddling Duck is characterised by the oboe.The sly Cat is heard in the low register of the clarinet.
Grandfather is portrayed by the law, gruff tones of the bassoon. The ominous and strong Wolf is depicted by the sinister, threatening sounds of three French horn.The Hunters are rhythmically represented by the Timpani and bass drum.
This is a masterpiece delighting all present with its imaginative touches, especially the duck’s pitiful quacking heard from inside the wolf’s tummy.
The orchestra serves up a brilliant performance while having fun creating verve and unblemished execution. They do this every performance earning their moniker as one of the best community orchestra’s in Sydney…. or anywhere.
