A Moment in Time

Southern Cross Soloists (SXS) is an Australian chamber group ensemble, established in 1995, whose concerts include an eclectic program often re-arranged to highlight solo playing while simultaneously providing suitable minimal accompaniment. This opens up more possibilities for choice, so, as in this performance, we have here opera arias, a duo, two contrasting concertos and even an arranged version of a large orchestral work. Some purists may be skeptical about these reductions, but with so many different arrangements and versions around, even of famous works (look at, for example, the terrific two piano reductions of the Beethoven symphonies or works by Ravel, amongst many others), there is no reason why they also shouldn't be on show.

What intrigued me about this concert was the impact a small group can have in such a large venue, acoustics aside. Once you get lost in the music, size doesn't matter. It's rather like watching a movie in 3D: after a while you don't notice the difference. This was particularly apparent in the presentation of Chopin's 2nd piano concerto, with a superb and effortless performance by SXS Artist in Residence Konstantin Shamray as soloist. Though Chopin's orchestration has been criticized in the past, the concerto was, after all, written when he was only nineteen and more of a showcase for the piano so, in effect, this was a perfect choice for a reduced 'orchestra’ as such.

Marking the launch of the 2022 SXS Didgeridoo Commissioning Project, the program also included the world premiere of 'The Ground', especially composed by Australian composer Leah Curtis and performed by SXS member Chris Williams. A descendant of the Wakka Wakka people in Queensland, it was most fitting for Chris to perform this earthy and sonorous work, as the title suggests.

Additionally there were renditions of two vivacious and technically demanding Vivaldi arias with Tania Frazer, Artistic Director and Presenter, playing the vocal line on oboe, a remarkably acrobatic and somewhat eccentric arrangement of a movement from a Handel Harpsichord Suite for violin and viola by Norwegian composer Halvorsen, beautifully executed by James Wannan and Amalia Hall; and to round off the concert, an excellent arrangement by Composer in Residence John Rotar of Richard Strauss's popular tone poem 'Til Eulenspiegel', which, itself, was originally scored for a large orchestra.

Though some of the presentation of the concert was somewhat marred by the 'choreography' and timing between items along with the unfortunate absence and hasty replacement of players due to illness (though you wouldn't have known), this was generally outweighed by the high standard of musicianship.

With a touch of something a little different for chamber music fans, and even for those who are not, Southern Cross Soloists concerts are well worth a visit.

Brian Adamson