Uplifting music for troubled times
Music by Brahms, Schumann and Barber, New Zealand Symphony Orchestra, conducted by James Feddeck, with Daniel Muller-Schott (cello), Isaac Theatre Royal, June 21
It was a programme of music which seemed to be perfectly attuned with the contrasting moods of our times.
Intentionally – or unintentionally – Wednesday’s concert by the New Zealand Symphony Orchestra conducted by James Feddeck echoed the 21st century world’s apprehension, melancholy and, perhaps, even a dash of hope in works by three composers who spanned the 19th and 20th centuries but whose musical language remains timeless.
Brahms’ Tragic Overture set the mood. Exactly why ‘‘tragic’’ is unclear – Brahms didn’t attach any specific subject or narrative to a work which pits humanity against fickle fate. Feddeck wisely resisted the temptation to merely emote, opting instead for a tough, sinewy performance which highlighted the essential light and shadow underpinning the overture, especially in its brooding slow passages. The NZSO responded with a totally satisfying interpretation, especially from the string section.
The German cellist Daniel Muller-Schott joined the orchestra for a seductive performance of Robert Schumann’s Cello Concerto in A Minor. Within five years of writing this sunny, lyrical concerto in 1850, Schumann would die in a mental asylum following a failed suicide attempt. But for now his inner demons had vanished.
Muller-Schott injected humanity and warmth into a flowing, intimate dialogue with the orchestra, especially in the second movement with its intricate interplay between the soloist and the second cello. Soloist and orchestra possessed an empathy which ultimately made their playing truly memorable.
Two works by Samuel Barber featured in the second half – the very familiar Adagio for Strings and the lesser known Symphony No1 . There are pieces of music which teeter on the edge of becoming a cliche. The Adagio is one. But the NZSO’s beautifully balanced interpretation transported it into another dimension as it responded to its essential simplicity with an emotion which moved some of the audience to tears.
The First Symphony, composed when Barber was 25, is filled with a young man’s optimism and bustling energy. The orchestra matched this big-boned American spirit with an expansive, enthusiastic performance which sounded the perfect note on which to end an evening of fine music and outstanding musicianship.