Elgar and Mahler

Emotions were in full flood at QSO's latest concert program with a choice combination of two famous and well-regarded works, Elgar's Cello Concerto and Mahler's First Symphony, music creations inviting you to dig deep into the soul amidst contemplation and discovery. Both composers were at a point in their lives either historically or personally when music was the perfect avenue of expression, and what better vehicle at hand is the yearning passion of a solo cello or the infinite possibilites in composing for a large orchestra.

With renowned guest cellist Daniel Muller-Schott capturing the essence of Elgar's famous concert piece, written during the aftermath of the first world war, one couldn't help thinking what the composer, or indeed the performer, must have felt; certainly in comparison to the similar ravages of war and tensions currently flaring throughout Europe. Mr Shuller-Schott's tour de force of impressive credits throughout the world was more than apparent with this deep and meaningful performance, oozing with finesse and capability. It's very satisfying to see such superb European artists perform locally, particularly in these days of unhealthy crowded and expensive travel outside Australia.

But who was perhaps the star of this concert was Chief Conductor Designate Umberto Clerici, himself a cellist, making his mark conducting Mahler's intricate and complex work with a fiery passion somewhat reminiscent of his Italian roots. Umberto has performed all around the world as a soloist and as resident Principal Cellist at the Royal Opera House in Turin and the Sydney Symphony Orchestra and with his experience and infectious colourful personality, self evident too in his verbal introduction, it's not surprising the orchestra are delighted to have him on board as Chief Conductor next year.

Mahler's First is a true example of youthful exuberance, bursting with ideas and remnants of the past: strolls in the countryside, street music but then a foray into the psyche and philosophy of Austro-Germanic Expressionism. Such an eclectic combination and entertaining journey culminating in a very moving fourth movement, Mahler's landmark style, was truly represented by the QSO under a most capable and dedicated conductor.

In current times, too, I'm appreciating the addition of various orchestral members' introduction (both verbal and written: even Thomas Allely, Principal Tuba player, wrote a most endearing interpretation in the program). This loosening of the grip on traditional elitism, adding that personable touch, is certainly a crowd-pleaser and a satisfying addition to the magic of acoustic orchestral sound.

This was a very successful choice of program and performance with a spirit in the air full of enthusiasm and camaraderie. Reaching such a pinnacle perhaps, on this occasion, both composers were rising, not turning, in their graves .......

Brian Adamson

Photographer: Peter Wallis