Kicking
off the evening was a newly commissioned piece by Carmel Smickersgill entitled
“Birthday Card To A Stranger”, an audio/visual piece written for the 50th anniversary of the RNCM. Conducted by Agata Zając, this highly atmospheric piece
of music employing the full talent of strings, with some voice too, aided by sentences
appearing on the screen above combines to create a deeper message about how we
may approach our own birthdays and those of others. The music was certainly fresh
and contemporary, a perfect start to the evening before our stepping back in
time. The use of a legato portamento drove the mood of the music and gave it an
almost film soundtrack-like feel, making it feel almost out-of-body, again
driving this existentialism which birthdays and anniversaries bring to some of
us. Smickersgill’s passion and talent for composing was fully evident in the roaring applause from the
audience at the end of the piece, being further heightened when they appeared
in front of the musicians for the bow.
A
change in conductors with additional musicians, and the appearance of the podium
followed as the Camerata’s Conductor, Gábor Takács-Nagy, took the helm for
Elgar’s Cello Concerto featuring the Camerata’s Principal Cellist, Hannah
Roberts. Roberts’ performance produced a wonderfully velvety rich sound which
filled the concert hall and set the bar for the rest of the orchestra to
compliment. Both soloist and conductor were equally animated in their positions,
with vigorous gestures and foot stomping as the music swelled and tempo
increased. Elgar’s Cello Concerto is an incredibly poignant piece of music,
originally written in the aftermath of the First World War, it has transcended
the last hundreds years to become a celebrated staple of British music, which
remains as poignant even today. Roberts’ command of the cello was first class,
being as delicate and forceful as the music, and conductor, required. It was
hard to not keep our eyes off the cello, and any glances away to the rest of
the camerata were short as attention would be brought back to the bow along the
strings and Roberts’ fingers traversing the neck of the instrument with an ease
that seemed almost hypnotic. The piece itself was beautifully simplistic, yet
multidimensional and evocative; with a dash of Mahler’s Fifth in there? The
acoustics of the hall carried the orchestra’s sound beautifully, and the Elgar
was the perfect piece for that.
Following
a brief interval, the audience settled down one last time as the camerata was
welcomed back on stage with Takącs-Nagy introducing Beethoven’s 6th Symphony “Pastorale” along with the conductor’s interpretations of the
movements. The composer’s love of the outdoors is perfectly captured in those
opening bars; we all picture a different variation of the same thing in our
mind, for myself, a wood with bluebells in early Spring. Beethoven’s Pastoral
Symphony really was the cherry on top of an already delicious and rich dessert.
Time ceased to exist during this part of the night, as the great composer’s
work carried the audience away, and most likely the musicians too. The trio of
woodwind performing the birdsong was delightful, and special mention must be
made to the woodwind section as they stole the show during this piece. The
thunder storm of the 4th movement was as dark and powerful as real
life and like a bolt of lightening, zapping the audience's attention who had
been enjoying such a comfortable and tranquil stroll through Beethoven’s countryside.
In his introduction, Takącs-Nagy expressed his thought that Symphony No.6 was
Beethoven’s declaration of love to nature, which was created to bring the
composer out of a long period of depression. He further elaborated that he
believed the final movement to be a vote of thanks not only by the shepherds
and villagers represented in the piece, but also from Beethoven himself for
life. Takącs-Nagy's introduction really elevated the enjoyment of the piece and
contrasted with the previous poignancy of Elgar’s Cello Concerto, lifted the
mood and brought a ray of sunshine and joy for the audience.
Manchester
Camerata have the presence and sound of a full scale orchestra. Correction, the
Camerata as well the students of the RNCM! Were it not for some grey hair and
the odd baby face, it would be impossible to distinguish between the masters
and the learners. The audience was incredibly receptive to the performance,
culminating in a standing ovation for many and repeated rapturous applause and
cheering as the orchestra bowed with gleeful smiles multiple times. The order
of the evening, juxtaposing the new composer with the old created the perfect
upward curve to the sensational climax and buzzing atmosphere which left the
audience with pep. Perfect for a bitter winter’s night!
Reviewer - Daryl Griffin
on - 9.12.22
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