Celebrate!

To celebrate their 30th anniversary, and with an informative and ingratiating verbal introduction from Co-Artistic Director and clarinetist Ashley Smith, SXS chamber group decided to present this concert primarily with a Viennese flavour, except for an opening item entitled 'Wayfinding', dedicated to the recent catastrophic LA fires. Composed by Australian Leah Curtis in collaboration with popular didgeridoo exponent, composer and performer, and as part of the SXS Didgeridoo Commissioning Project, Chris Williams, this is a beautiful and captivating work full of colour and originality in particular highlighted by Chris' remarkable use of overtones and various original resonances, some even capturing orchestral sounds we are more familiar with. Including a little tasteful minimalist choreography from Chris, all the instruments blended well in what was a most satisfying performance and experience on first hearing and a choice opening for the concert.

Following two additional items, including an arrangement by Schoenberg of J. Strauss II's famous Emperor Waltz, the accent of the program focused more on Beethoven's well-recognized work, his Septet Op. 20, chosen for this celebratory concert as it was one of the exponents of chamber music's popularity in 19th century Europe, paving the way for less aristocratic audiences and publishers seeking to find a wider market. This is a long work, incorporating six movements, inherently Viennese in style and includes prolific interplay amongst all seven players. Though this particular performance lacked some dynamism and rhythmic collaboration in certain aspects, it still captured the essence of the work and its marathon requirements.

Included in the program and indeed a highlight of the afternoon concert was the inclusion of operatic works by Mozart and J. Strauss II performed by Australian lyric coloratura soprano Alexandra Flood. Though currently an ensemble member of Vienna Volksoper, she divides her time performing internationally, in particular prioritizing engagements in her home country. With her remarkable range and vocal talents, she glided effortlessly through some technically demanding works, including excerpts from Mozart operas and, in particular, showy arias from the operettas of J. Strauss II, the famous 'Die Fledermaus' included.

SXS is striving to promote chamber music as a more popular form of live performance and what intrigues me is the entertainment value such a small ensemble can create in comparison to the elaborate size of a full orchestra. Thanks to clever arrangers, not always in the spotlight (in particular the work of Rose Russell with four items in this concert as an example) and some very fine playing with a variety of different instrumentalists, namely additional strings, flute, bassoon, horn, piano and of course the didgeridoo, one can appreciate the beauty of each individual instrument as well as its ability to merge and create tonal colour with such complexity and yet with such subtle simplicity.

Live music will always be with us: it is after all an inherent human instinct being organic, acoustic sound playing an integral part in being one with Mother Nature. More importantly we should never forget the masters who created these 'sounds' whether from yesteryear or the present. SXS have presented some wonderful and diverse concerts over the years with a long list of talent, even behind the scenes, some of whom have gone on to greater heights, and this 30th anniversary concert certainly pauses one to reflect on past achievements and the importance of those to come.

Brian Adamson

Photographer: Stephen Henry