Much like the composer featured in the first half of the program (though under more favourable circumstances), the 7th of June saw the West Australian Symphony Orchestra fleeing to new ground when their program ‘Resonance’ was moved to Perth Town Hall within days of the event. Despite these challenges, WASO’s production staff did a fine job creating a seamless transition, which, besides the flood of emails and announcements could only really be discerned by the free-for-all seating where an early arrival was crucial if you wanted a prime spot in the audience.
WASO’s Chamber Series concert, Resonance (7 June). Credit Daniel James Grant.
The program opened with a Rudolf Barshai Arrangement of Dmitri Shostakovich’s Chamber Symphony (after his String Quartet No.8) led by associate concertmaster Riley Skevington. This rendition of a work heavily derived from the recollections of the Second World War was sombre and distant with the orchestra capturing the sense of despair and destruction that followed. A standout amidst this performance was the attention to dynamic layers across the ensemble of string players; moments of soft, singing lyricism by Skevington and a weeping cello solo by cellist Jeremy Garside were punctuated by heavy, emotional intensity conveyed intimately to the audience. There was, in the room, a missing layer of grit and roughness which I attribute primarily to the stage of the Town Hall swallowing much of the performance’s higher frequencies (another victim to the late move) but will be interested to hear recorded on the 28th of June (ABC Classic). Nevertheless, this performance carried an emotional weight that stirred emotion within the audience and was my highlight of the program.
WASO’s Chamber Series concert, Resonance (7 June). Credit Daniel James Grant.
After the intermission, it was the winds turn to blow the audience away with Mozart’s Serenade No.10 Gran Partita. Contrary to the first half, this piece brings joviality and a different kind of virtuosity to the stage in rapid flourishes and cross-pollinating lines. Led by John Keene at the podium, normally the Associate Principal Double Bass of the orchestra, WASO’s take was particularly playful. Keene took the piece at a blistering pace finishing the work in just under 40 minutes (often closer to 50) giving a challenging task to Principal Oboe Liz Chee and Principal Clarinet Alan Meyer who rose to the occasion with not only athleticism on their instruments but silky timbral and dynamic adjustments as they passed the music between them. Keene is an especially attentive conductor, no doubt due to his primary experience as a performer himself; he gave close attention to individual performers, exerting close control and guidance over the sound of individual passages. Likely well-liked among the musicians for this attention, there were times the ensemble lost some cohesion in its dynamic layers and that attention to detail, and closely shaped phrases were obscured by those supporting it.
Above all else it was refreshing to see WASO having fun, not just in their particularly playful performance but in the absence of the traditional sea of black dresses and coattails. The colour and sense of individuality among the performers created a sense of comfort and interest in the Perth Town Hall. I was just in a room listening to music—not having to perform myself in the audience.