Blackheath Chamber Music Festival | Day Three
Sunday April 21, 2024, Phillip’s Hall, Blackheath, NSW
What a glorious time to visit the autumnal town of Blackheath in the Blue Mountains, there was a brisk chill in the air and a gorgeously red and yellow tone bursting from the street trees. Day three of the festival featured the final of 21 works across 9 concerts presented over 3 days, in a program that spanned literally thousands of years right up to a world premiere written specially for the festival. Festival Director Catherine Harkner has built a program with great texture and diversity, she believes the festival should be both musically and visually appealing and day three certainly fulfilled this vision. It consisted of three short concerts, all of outstanding world-class performances beginning with a quirky combination of viola and readings, moving onto septets, and finally octets.
John Bel and Tobias Breider | Some of our Favourite Things.
This wonderful concept, put together especially for the festival, included favourite readings from esteemed actor John Bell AO OBE including pieces by Les Murray, Coleridge, Keats, and more, and solo viola pieces chosen by Tobias Breider, principal viola with the Sydney Symphony. We were treated to a delightful banter between the two, from Breider’s stories of practicing as a child in his bathroom with his pet budgie attempting to land on his bow to humorous musical anecdotes and serious, reflective readings such as Beethoven’s letter to his brothers, to be opened upon on his death. It was a wide ranging and warm program to start the day. It’s not often you get to sit and listen to poetry recited by a true legend of the Australian stage, or for that matter listen to a solo viola in such expert hands. Brieder’s performance of movements 3 and 4 from Hindemith’s Sonata for Solo Viola Op.25 No.1 left the audience (and Brieder himself) quite literally gasping! A real treat.
Symphony Septet | Beethoven and Berwald
Lerida Delbridge | violin, Justin Williams | viola, Catherine Hewgill | cello, Kees Boersma | bass, Francesco Celata | clarinet, Matthew Wilkie | bassoon, Euan Harvey | horn
After a leisurely lunch in one of the town’s many delicious food outlets, the afternoon unfolded with two iconic septets from the 19th century, each scored for clarinet, horn, bassoon, violin, viola, cello and double bass. The festival gathered seven principal players from the esteemed Sydney Symphony Orchestra, all virtuosos in their own right, transforming the modest stage into a grand symphonic realm.
Berwald’s Septet in B-flat major begins with a short exclamatory adagio and moves forward with rich harmonic progressions. Louise Johnson’s insightful program notes hinted at a whimsical odyssey, a sentiment beautifully echoed by the musicians’ spirited performance. Led by Lerida Delbridge’s dynamic guidance, the ensemble navigated through the second movement’s ebb and flow, her energetic direction accentuated by audible sniffs and animated exchanges among the players, lending an air of theatrical flair. The finale, Allegro con spirito, saw Frank Celata’s clarinet and Delbridge’s violin intertwining in a lively dance, buoyed by the unwavering support of the ensemble’s lower strings and winds.
Beethoven’s Septet in E-flat major Op. 20 followed, offering a refreshing divertimento, akin to the pop music of its era. It’s said that Beethoven himself felt its popularity eclipsed some of his greater works, and experiencing its buoyant melodies firsthand, one could understand why. The violin and clarinet engaged in a delightful exchange, passing the melody with finesse, while each instrument, including the overlooked double bass, enjoyed moments in the spotlight. The intimacy of Phillip’s Hall provided the perfect setting to appreciate the ensemble’s musical prowess, reminding us of the invaluable platform festivals offer for showcasing diverse instrument combinations and nurturing classical musical talent. Truly, it was another stellar performance, reaffirming the ensemble’s world-class calibre.
Goldner String Quartet & Orava Quartet | Festival finale
Dene Olding | violin , Dimity Hall | violin, Daniel Kowalik | violin, David Dalseno | violin, Irina Morozova | viola, Thomas Chawner | viola, Julian Smiles | cello, Karol Kowalik | cello
As we reached the grand culmination of this year’s Blackheath Chamber Music Festival, anticipation soared for the riveting final concert as the two festival quartets joined forces to perform a contemporary masterpiece by Australian composer Harry Sdraulig alongside Mendelssohn’s timeless Octet in A-flat major.
One of the hallmarks of such festivals is the unique opportunity for audiences to engage directly with composers and performers, and as Sdraulig himself was at this event he offered insights into his vision for the Octet – a singular, expanded movement characterised by dynamic shifts, from brisk tempos to gentle melodic passages, and culminating in a virtuosic finale. The performance unfolded with gripping intensity, as a haunting viola solo, evoking echoes of distant birdcalls, soared above a backdrop of suspenseful, almost ominous, pizzicato. The precision and timing of the ensemble were impeccable, captivating the audience in a spellbinding display of musical mastery. Transitioning into the contemplative middle section, a sense of serenity enveloped the hall, perhaps serving as a prelude to the impending storm? As tensions mounted, the music surged into a frenzy, with each instrument contributing to a crescendo of exhilaration the final bars akin to a musical Mexican wave, as solos were passed seamlessly between players.
Observing the silent communication among the eight virtuosic musicians – shared smirks, subtle leans, nods, and winks – added an extra layer of intimacy to the performance, drawing the audience even closer. In Mendelssohn’s octet, intricate duets and cascading tremolos showed off the ensemble’s technical prowess, with Olding delivering a magnificent violin solo that resonated throughout the hall, after which we all needed a short breath! The third movement surged forward with unstoppable momentum, featuring a galloping melody that raced fervently among the players, each clearly revelling in their musical camaraderie. Witnessing the fusion of these two quartets was a testament to the festival’s spirit of musical collaboration, leaving the audience eagerly anticipating future celebrations, perhaps with a new quartet gracing the stage alongside the Oravas in years to come? Who knows. A standing ovation served as a fitting conclusion to a wonderful weekend of music.
Photo Credit: Keith Saunders
