Reviewed by Barry Lenny, Sunday 3rd September 2017.
The Adelaide Concert Collective, who formed in early 2016, presented a wonderful concert, with
Ein Deutsches Requiem (A German Requiem), by Johannes Brahms, as the main work of the afternoon. This formed the second half of the concert, following works by
Felix Mendelssohn and Antonin Dvo?ák.
Mendelssohn's
Organ Sonata in C minor Op. 65 No. 2 MWV W57, a short work in four movements, arranged by Simon Cox for brass septet, opened the concert. Cox is a trumpeter with the relatively
New Group, Septura, and has arranged quite a body of work for the group. The work is scored for three trumpets, one of them in Ef, two trombones, a bass trombone, and a tuba. The four movements: I. Grave, II. Adagio, III. Allegro maestoso e vivace, and IV. Fuga: Allegro moderato, take only around ten minutes to perform, but contain a wealth of variety and inventiveness.
The septet provided a clear and informed performance of this work, serving as a very fine introduction to the concert. Every part was superbly played to build an exquisite rendition of the work.
Dvo?ák's
Romance in F minor for violin and orchestra, based on the slow movement, Andante con moto quasi allegretto, of his
String Quartet No. 5 in F minor, was performed by Natsuko Yoshimoto, the concertmaster of the Adelaide Symphony Orchestra. Yoshimoto is a wonderfully expressive violinist and she captures the lyrical beauty of the Romance superbly. She plays a 1650 Nicolo Amati violin and it is in the best of hands as she explores the range of timbres possible with such a fine instrument. The orchestra provided a wonderfully sympathetic interpretation of the score, superbly matching the beauty of Yoshimoto's playing.
Ein Deutsches Requiem featured two prestigious soloists, soprano, Desiree Frahn, and bass, Pelham Andrews, as well as the orchestra and large chorus. Frahn and Andrews are favourites with State Opera audiences, and other State Opera performers can be found in the chorus.
To give the work its full title, it is
Ein Deutsches Requiem (A German Requiem) to words of holy scripture, for two soloists, chorus, and orchestra, Op. 45, which hints at the fact that it is not a traditional Latin Requiem Mass, with its familiar sections including Dies Irae, Credo, Agnus Dei, and Gloria. The seven movements in this Requiem draw on a range of texts from the Lutheran Bible, particularly the Psalms, while the final movement is a setting of Revelation 14:13, "Blessed are the dead...". The movements are as follows.
1. Blessed are they that mourn
2. Behold, all flesh is as the grass
3. Lord, let me know mine end
4. How lovely are thy dwellings
5. Ye now have sorrow
6. For we have here no abiding city
7. Blessed are the dead which die in the Lord
Brahms makes some bold decisions in the orchestration of this work, such as not using the violins at all in the first movement. A full analysis of the work is, of course, beyond the scope of this review. What is important to understand that this is not a mass for the dead, but guidance for the living who remain. This is reflected in the music, as well as the text.
The conductor,
Dr. John Rego, brings vast experience to his role and it shows in his understanding of this major work, bringing out the subtleties and carefully balancing all of the parts to achieve a highly satisfying performance. The orchestra responded with a passionate performance and the chorus was simply superb.
Frahn's crystal clear soprano soared magnificently above the ensemble in the fifth movement, the final section added by Brahms and the only one featuring the soprano, and Pelham, in his baritone range, brought great power to his appearances in the third and sixth movements.
This major part of the concert was all that was expected, both musicians and singers performing magnificently. Be sure to keep an eye out for future concerts by the Adelaide Concert Collective.
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