The changing of the season brings brittle times, and this Djilba in particular is causing a fair amount of trouble to myself and others around me. It is in these moments where comfort should be sought, and, for me, nothing pairs with a rainy Djilba day like some light classical music.
Enter Rapture: the latest entry into WASO’s chamber series, which took place right as the cold rain and wind brushed the city streets. It’s an interesting series by WASO: all the pieces performed are curated by the musicians themselves based on what they like to perform and what they want to see more of. I’m a big fan of this direction – I’ve criticised WASO’s insincere profit-forward programming in the past, and having the curation done by the performers at least adds a nice personal touch.
This was a show of chamber music; instead of the full orchestra at its full might, it’s small groups, often no more than ten playing. Each part is thus more clear to follow, moving from the intense sonic hegemony of the orchestra to something more akin to a choreography of sound, each player winding past another in considered and beautiful sonic movement.
WASO’s Rapture concert. Photography Simin Soyer.
The first performance – Brahms’ String Sextet No.2 – is a perfect demonstration of how chamber music works. The string sextet is a strange ensemble: with two violins, two violas, and two cellos, it can be hard to have a part that is both unique and clear to the audience, yet this performance was. Of course this is somewhat on how Brahms wrote the work, but this performance in particular worked because each instrument was (to be blunt) expensive enough to have its own character baked into the fundamentals and natural harmonics. It was hard to tell in the violas, but the most prominent example was in the cello preoccupied with the lowest notes. This cello, played by Andrew Leask, had a darker warmth that leant to the bassy sound over than the other one, that sounded more viola-y. I don’t particularly condone the idea that an instrument is better because it is more expensive, but this is a rare time where I might agree.
The principal musicians – Alexandra Isted on 1st violin and Alex Brogan on viola – were the particular standouts of the ensemble. The other players were good – this is the WASO, after all – but there were points, specifically within the quicker rhythms, where the sextet’s sense of togetherness faltered. Isted throughout felt like the anchor of the group, more than a 1st violin usually does, and at points I was reminded of the TV show New Girl – with Isted Zooey Deschanel-ing a group of men in varying states of dishevelment through the performance. All in all, it was an enjoyable time, but the weakest of the performances across the afternoon.
WASO’s Rapture concert. Photography Simin Soyer.
After a 30 minute intermission where audience members could indulge in the overly-masculine British history of the Government House Ballroom, a string quartet was brought upon to play some small pieces by Australian composer Elena Kats-Chernin. It’s always good to see some Australian representation in the composer lineup, and Kats-Chernin was an amazing pick for the night, providing efficiently simple and effective miniatures. The compositions were kind of trope-y at times, with 1st violin playing the melody, the cello playing the bass line, and the 2nd violin and viola supporting with chords and the occasional counter melody.
This doesn’t mean they were bad, just generic – I do highly recommend these miniatures to fans of early video game music, which had similar instrumental restrictions, and influences from both classical, folk, and contemporary music alike – a comparison so evident that my mind went to the Megaman 2 soundtrack more than once. The two pieces mentioned in the preamble before the performance – Russian Rag and Eliza Aria – were the definite standouts, I think because they broke down the assumed hierarchy of the string quartet into something more interesting to listen to. And to the performers, I don’t have much to say beyond “it was good” – I’m not too familiar with Kats-Chernin despite her Order of Australia membership, but nothing poked out, as it were.
WASO’s Rapture concert. Photography Simin Soyer.
The final performance was of Schoenberg’s Chamber Symphony No.1. Schoenberg is a big name as one of the early proponents of experimental, “non-tonal” classical music in the early 20th century, and the myth goes that he was so good and knew everything about tonal music (he didn’t) that there wasn’t anywhere to go except beyond tonalism. Most people focus on his freaky work in the post-tonal world, but his work beforehand is really interesting and quite beautiful to listen to – again, he didn’t know everything about tonalism, but he knew a good thing or two.
This ensemble is large by chamber music standards: 14 people, plus a conductor. It held this weird space between the abstractness of an orchestra and the personhood of a chamber ensemble, and it held this space well. It shoots around, almost distracted both by itself and new ideas that pop up, and each part intermingles with others in such a satisfying way. I could gush about Schoenberg all day, but you can find any ol’ recording of this piece on YouTube – though seeing it in person is definitely the way to go if you specifically want to see the interactions between performers through this piece. All the performers were great (again, WASO), but the standouts were definitely Liz Chee blowing her heart out on the oboe, and Jeremy Garside digging at his cello. I’m really buzzed that John Keene brought this piece out, because Schoenberg is often played for the freaks, and though I am one of said freaks, I appreciate his more beautiful side.
The WASO chamber series is an amazing initiative, and I hope more comes from it. This show was essentially sold out, and the portability of chamber music specifically makes me wonder why they don’t do more of this sorta stuff. There’s not many things I would say is worth walking through the city in the wet weather, but to see talented musicians play what they are passionate about is definitely worth it.