Conductor Peter Scholes navigated his musical crew through the many slippery rhythmic twists. Photo / APN
Conductor Peter Scholes navigated his musical crew through the many slippery rhythmic twists. Photo / APN
From the start, we were expecting an evening of contrasts on Sunday when the Jade String Quartet played Mozart against an impressive line-up of percussion instruments along the back of the stage.
Mozart's final string quartet was delivered with the group's customary gusto; cellist David Garner made the most ofhis showy part, written for the cello-playing monarch who had commissioned the work.
Later movements were tarnished with passing intonation problems, but the opening Allegro had an irresistible dash and verve. Shading was spot on, Mozart's playful dynamics were relished and, mid-movement, we had some classy musical sparring.
Janacek's Mladi is an appealing woodwind sextet, in which the 70-year-old composer evokes fond memories of younger days. It is a life-affirming work, and a circle of six expert players entranced us with the effervescent energy of its opening pages.
Andrew Uren introduced a more reflective mood in the Andante with his melancholy bass clarinet while the jovial third movement, somewhere between a polka and a march, combined high spirits and brisk ensemble.
After the interval, we were treated to the full band, percussion and all, for Son of Chamber Symphony by John Adams. The American composer has spun witty words about this 2007 work, talking of its "in-your-face kind of cheeky buoyancy".
This was ably caught, as conductor Peter Scholes navigated his musical crew through the many slippery rhythmic twists. Adams knew at the time of writing the piece that it was to be choreographed by Mark Morris; and the players showed the split-second agility of dancers in sound.
A less frenetic second movement, in which Luca Manghi and Donald Nicholls pursued a soulful duet against the chime of celesta and guitar-like plucked strings, had a transparency and clarity that hearkened back to the tradition of Copland.
At the end of the concert, Sensemaya, by the Mexican Silvestre Revueltas, came across as a bit of an encore. The ACO caught the writhing death of Revueltas' reptile with an effective blend of snake-charmer and snake-killer.
What: Auckland Chamber Orchestra Where: Raye Freedman Arts Centre
