His “old” piece was the Vivaldi Concerto, RV 93; it was “new” in the sense that it was written for Lute, originally. This is a favourite (can one imagine the “Red” Priest (yes, he was a redhead), writing dark music? so to speak). Between two Allegros came the Largo, where, to use Director Sophie Rowell’s words, “time stands still”.  Grigoryan’s guitar work was impeccable; the sound amplified, so he wasn’t too overwhelmed, sound-wise, as the strength of the String sound was as robust as we always find with this superb ensemble.

Grigoryan re-appeared in the second half as soloist in the 20-minute “Flexible Sky Redux” of the Austrian-born Wolfgang Muthspiel, a colleague & friend of the guitarist. There was almost a separation of soloist & orchestral tutti (all in), with the guitarist coming in solo, frequently. Muthspiel explains that the “hierarchy of solo and accompaniment dissolves – and roles are exchanged, blurred, and at times suspended.” After a while I adjusted my mind to this and, indeed, it became hypnotic. Grigoryan covered all the virtuosity of the score – slides, blue-notes and all – as if he and the guitar were one, which I believe is the case.

The “Rumanian Folk Dances” of Bartok started the second half, and how different they are to Liszt’s Hungarian Rhapsodies. Though Liszt used SOME Hungarian and Rumanian folksong in his pieces, it was left to Bartok & Kodaly to roam the countryside of Hungary and it’s neighbour, recording folksongs on an early portable phonograph (similar to the recent film starring Paul Mescal called “The History of Sound”, where he and his lover roam the American countryside recording folksongs in the early 1900’s.) And Fliszt, (as Victor Borge nicknamed him) who left Hungary very early for France got into trouble for writing “Gypsy Rhapsodies” thinking they were authentic Hungarian folksong pieces.

The MCO poured energy and soul into these little charmers and in the last one, Fast Dance, I could almost hear the boots stamping as the dancing became frenetic.

Another “new oldie” was Beethoven’s Moonlight Sonata (nicknamed by a critic, not our hero, volatile L. van B.)  I wondered how this would be arranged by Jakub Kowalewski, for Strings, and soon found out! The violas, those charming mezzos of the Strings, led by Merewyn Bramble, started with the opening triplets and the violins took up the famous melody, Sophie Rowell leading.

The Allegretto, a “flower between two Abyss'” (according to Liszt, who often played the work) was an amiable Intermezzo, before the  violent finale.

The rushing upward figures pushed the players to the max, because it IS written for piano, originally, though Liszt once stopped playing this movement, telling his masterclass students it was “too difficult”. Unheard of for Liszt who could play anything at sight; maybe he had one glass too many of Tokay, for lunch?  However, no problems for Sophie Rowell and her colleagues who took the tricky string writing in their musical stride, including the cadenza-like passages for Director Rowell.

Local hero Joe Chindamo’s Machiavelli’s Mirror: A  Renaissance Suite began the show, with “I Medici”, first (all the Medici clan it seems) and ending with “Leonardo da Vinci “, subtitled The Art of Wonder. As Maestro Chindamo said on stage, he wanted to combine the “old and new”, and it was as if “the Renaissance style never went out of fashion and continued in secret.”

Fascinating pieces, with high energy alternating with quieter, reflective movements, the Cellos, led by Blair Harris, attacked their pizzicatos as if their lives depended on it and I almost feared for their instruments; they also provided some wonderful off the beat commentary, as well.

Australian Matthew Hindson’s Song and Dance ended the programme: how lucky we are to have so many brilliant talents in our country. These agreeable pieces by a very thoughtful composer rounded off the Cornucopia of delights in a very varied programme. The audience were invited to enjoy a glass of wine, afterwards, and the ensemble, who joined us, deserved every sip they took after such a varied and energetic performance, requiring high technique, superb organisation and total involvement. If they have a Fan Club, I am rushing to the head of the line.

Photo credit – Catherine Turner