Willoughby Symphony Orchestra | Rhapsody
July 27, 2024, The Concourse, Chatswood, NSW
The Willoughby Symphony Orchestra under its now famous conductor Dr Nicholas Milton goes from strength to strength. I say ‘famous’ because Nicholas also leads prominent orchestras in Germany and Austria, and during 23 years with the WSO is familiar not only for the way he galvanises his charges but also for his mellifluous introductions and explanations of the niceties of the works presented.
An all-Russian programme began with the Polovtsian dances from Prince Igor by the chemist/doctor and part time, but gifted, composer Alexander Borodin. The music was the basis of a successful fifties musical, Kismet and is consequently very familiar – especially the Stranger in Paradise theme. Louder dramatic episodes follow and the percussionists have a field day while the two harps are also prominent.
Sergei Rachmaninov was an enigmatic character- despite early successes, his First Symphony badly directed by a tipsy Glazunov was a flop and caused a depression and composer’s block that lasted for four years, nor did either the death of his good friend Tchaikovsky or his constant impunity help. Mirroring the fate of his departed friend, it was a rich benefactor Savva Mamantov who jolted him back to composition. After several ups and downs including sacking of his country estate by revolutionaries, he used a tour of Scandinavia as a stepping stone for emigration with his family to the USA in 1917 whence his career as a composer and solo pianist took off.
Paganini’s Caprices for violin had attracted the attention of several composers and it was the last section which Rachmaminov chose for his 24 variations which he composed in 1933. It is a large scale work with variable moods, tempi and rhythms with virtuosic passages which would challenge most soloists. The best known is probably the heavenly 18th variation whose tune is the main subject upside down. It didn’t appear to challenge Konstantin Shamray who handled the extremely rapid passages with ease. I recently sang Konstantin’s praises when he played with the Southern Cross Soloists – it is no surprise to learn that in 2008 he won both first prize and the people’s prize in the Sydney International Piano Competition, the only contestant so far to do so. This work is one of my favourites and what a privilege to hear it played by such a proficient soloist not to mention an accurate and enthusiastic orchestra.
It seems a pity that Dimitri Shostakovich didn’t follow Sergei’s example by emigrating, as he was put under intense political pressure during the first half of his career. Not only was he told what, and what not, to compose but friends disappeared on a regular basis. It is nothing short of a miracle that he was able to write such a brilliantly powerful fifth symphony. Nor did he lose his customary sense of humour as the first movement includes a parody of a Gilbert and Sullivan theme! As a whole, the work is far from humorous with boldly stated themes taking on an ominous character – one theme in the first movement is played by changing duos of wind and strings while the harpists are surprisingly prominent and pizzicato abounds. An attractive Scherzo is followed by a Mahlerian Largo. The loud and emphatic finale ends triumphantly but is he cocking a snook at authorities.
This concert would not have been out of place in the St Petersburg “White Nights” Festival – superb programme, excellent orchestra and soloist -but would Putin appreciate the Shostakovich? I wonder!
