Umberto & Natsuko

Resident Conductor Umberto Clerici and Concertmaster Natsuko Yoshimoto were in the spotlight for the last of the Maestro series for 2024 with a performance of Brahms' Double Concerto in A minor for Violin and Cello. It was quite a treat to see a conductor playing his own chosen instrument, a switch of roles, and in this instance, the transfer of emotion from baton to cello, perhaps the perfect instrument of choice for such a passionate personality as Maestro Clerici; and in true Italian style. And what better composer to choose than with Brahms' intricate use of harmony and counterpoint, also being a perfect vehicle for the performers' years of experience, intellect and fervency to explore.

After a warm introduction from Michael Sterzinger, the new CEO for the QSO, the concert began with Schubert's Overture to the play Rosamunde, an orchestral piece frequently performed for its lyrical and melodic properties. On first hearing I was enchanted by this piece and understand why it is so popular; certainly a cheerful appetizer for the contrasting works to follow.

The Brahms Concerto is an elaborate piece of writing, full of twists and turns and enigmatic passages, all an expression of Brahms' distinctive brooding passion and mood changes. Interestingly, he wrote the piece for his friend Joseph Joachim as an attempt to mend what was at the time an all-time low in their friendship. Apparently it worked as Brahms ended up conducting the first performance in 1887 along with friend and colleague of both, cellist Robert Hausmann. Even the flow of all three movements seems to be an extension of these complex relationships with a somewhat tense interplay in the first movement, followed by a gentle harmonious second movement then a high-spirited third and final movement. Both performers really captured the essence of the piece with some fine playing, complete with a fine expose of technique.

As a most relevant expression of the stormy weather on the day of the concert, including my trip to the concert hall, Richard Wagner's Overture to his opera 'The Flying Dutchman' was next. With additional players on stage, this was indeed a gargantuan thunderous sound, painting the picture of a phantom ship sailing the seas for eternity but with a captain trying to resolve a terrible spell he's under. With frenzied strings and frequent use of the timpani, this saw the orchestra in 'full-flood' poised to raise the roof and rattle the bones of Wagner. A most invigorating performance from all and sundry, mega brass section included!

One of my favourite vocal concert pieces, 'Four Last Songs' written by Richard Strauss, with guest Australian soprano Eleanor Lyons as soloist, was a choice ending to the concert. Strauss completed the work, mostly based on the poems of Hermann Hesse, a year before he died at the ripe old age of 85, perhaps an expression of peace after living through turbulent times in Europe throughout his life. This is a sublime work and understandably frequently performed and recorded. Having heard so many versions over the years, it was a shame that the true magic this piece didn't resonate with me on this occasion, though it was succinctly performed and worth a mention.

Undoubtedly a lot of thought, preparation and rehearsal went into this program, indeed the Maestro Series as a whole: a most choice and varied combination of works and a fitting finale for the 2024 season.

Brian Adamson