KEY POINTS:
Schumann's Manfred Overture was a brave opener for the Auckland Philharmonia Orchestra's Architecture of the Soul concert. Its three offbeat opening chords caught the orchestra offguard, lacing the third with what sounded like a blues note. Conductor Baldur Bronnimann stirred up all the soul torments of the composer's Byronic hero but the bristling sinew of the performance didn't atone for smudged violin lines and some jittery brass entries.
At the other end of the evening, Bronnimann infused Brahms' Third Symphony with a similar nervous energy. The storming exposition of its first movement, despite over-taxed violins, made one wish that the repeat had been observed.
Tempi were spruce, yet the Andante kept its poise and the Poco Allegretto swept past us, wave by wave, even if its launching cello melody was somewhat astringent. Yet, halfway through, when strings have the score to themselves, Bronnimann engineered a heady outburst worthy of Bayreuth.
The remainder of the programme consisted of contemporary fare from across the Tasman. Brett Dean, playing his own Viola Concerto, was outstanding, introducing himself through the sometimes ominous stillness of its opening Fragment. One effective moment had a soaring viola line, a little like Korngold with a dash of lemon, tracked by chattering piccolos.
Perhaps the second movement was a little too long in coming but it was worth the wait. The spirit of Mephisto was all over these pages, a series of breathtaking dances with Dean in the lead. Rumbling brass, flickering percussion and sprightly woodwind all took their turn as dance partners.
Veiled and Mysterious, its final movement, brought resolution and a moment of memorable dialogue with Madeline Sakofsky's cor anglais.
The second Australian offering, Colin Bright's Oceania was more of a rockpool. It hobbled along with incessant stops and starts; strings meandered and chromatic scales plodded up and down while double basses made seagull glissandi. This naive offering did not deserve its place on the programme and does not instil optimism about the Transtasman Composer Exchange that has brought Bright to this country.
Review
* What: Auckland Philharmonia Orchestra
* Where: Auckland Town Hall
* Reviewer: William Dart
