War poems moulded into new symphony

Feng Ning plays Bruch's Scottish fantasy. Picture / Brett Phibbs

There are many reasons to catch the Auckland Philharmonia Orchestra tomorrow night, but who could resist a programme that features not only the premiere of a local symphony but also the young Chinese virtuoso who swept off first prize in last year's Michael Hill International Violin Competition.

The Second Symphony of Ross Harris - who is in the last year of his APO residency - is a symphony with a difference. It incorporates Vincent O'Sullivan poems that tell of a New Zealand soldier executed for desertion during World War I.

The young man was discovered living with a French woman, and his story allowed O'Sullivan to "go against the conventions of warfare" and present "heroism of its own in the story, a stand for emotional certainty and freedom when everything else worked against it".

Harris says that from the beginning he realised the poems could be moulded into "a symphonic thing" and that, for all his literary credentials, O'Sullivan "can be a bit of a bloke".

"There's a vernacular aspect to his work that really interests me," Harris says, "images of rugby and playing fields which I like. That does ground it a little in Kiwiland. Not that I'm trying to be nationalistic - like we all did once upon a time."

Another justification for being at the Town Hall tomorrow night is mezzo-soprano Madeleine Pierard. She is Harris' singer of choice, and her winning the 2005 Lexus Song Quest secured the orchestra's interest.

With Pierard's innate musicianship, any misgivings about details in the vocal writing have been soundly worked through. Harris had worried that the opening phrase "might have sounded unnatural" but, with Pierard, there was no need for concern.

And he is thrilled about the ending of the work, when Pierard walks off stage in wordless song. Harris says that was a requirement of O'Sullivan's words: "My child, my love, my hero/Fill the earth and sky."

Harris says: "After that line, I felt that it had to take off, but not too much, being careful not to become sentimental. I did finally allow the harmony to settle but I do try to pull the plug on it before it becomes too comfy."

Harris points out the thematic connections throughout the symphony, including a launch theme from a "ripsnorting scherzo" that is first heard in a march from the first few pages.

He can't hold back from singing it himself.

"How the young men of Empire are crazy for war," he sings, eventually breaking into a jaunty whistle.

While Harris' Symphony takes us to the France of the Great War and beyond, Feng Ning visits the Scottish highlands for Bruch's Scottish Fantasy.

With 11 concerts in 18 days, Ning has a busy schedule. Two are concerto performances in Christchurch and Dunedin, the rest are recitals with Michael Houstoun.

Winning the Michael Hill International Violin Competition was "an unbelievable thrill" and despite many honourable mentions and places in other competitions, Ning says there is always something special about a first prize.

At 25, the young man already has precious memories. One was being a private student of Yehudi Menuhin.

"He invited me to play in Germany for the opening concert of his foundation. I asked him to write me a reference and, just a few days later, he passed away."

When it comes to influences, he is quick to cite two masters - Jascha Heifetz and David Oistrakh.

While Heifetz's brilliance is such that "the more you hear him, you almost can't believe he's human", when Oistrakh plays, "you feel one of the greatest of personalities telling you a story. He always seems to be right beside you."

Both violinists have left behind classic recordings of Bruch's Scottish Fantasy. "It's a magnificent piece, mainly based on Scottish folk songs, which are just beautiful," Ning says.

I try to draw him out on the Chinese fondness for concert music derived from folk songs. In response, he poses a riddle with a Confucian twist to it: "If it's national, it is always international."

He laughs and adds, "I love folk songs. They are the real thing, they come from the people. And that is where the art of music started."

* Feng Ning with the Auckland Philharmonia at the Auckland Town Hall, tomorrow, 8pm

* Feng Ning and Michael Houstoun at the Town Hall Concert Chamber, Monday, 8pm