Last Thursday, the Auckland Philharmonia Orchestra's The Glory of Strings concert benefited from the experienced direction of Kolja Blacher, one-time concertmaster of the Berlin Philharmonic.
The premiere of Christopher Blake's Christ at Whangape, the final of the composer's four Northland Panels, revealed a score of symphonic intimations, befitting
its 22 minutes running time (the programme estimated a mere eight).
Robin Morrison's iconic Whangape photograph has inspired a full, if austere, scenario from Blake, and the strings, although occasionally rough in tone, responded with some dedication to a score that leavened introspection with occasional exclamations of zeal.
At the other end of the concert, Shostakovich's Chamber Symphony brought the sort of rush expected from a full orchestral onslaught. The second movement, in particular, was exhilarating, with some instruments plucking alongside their bowing colleagues for extra punch.
The double-basses made their presence felt in the stirring slow movements, and Blacher himself added a special mystery with solos that were little more than eerie whispers.
Despite attractive and well-turned contributions from the woodwind, Mendelssohn's Violin Concerto did not erase fond memories of Ilya Gringolts in the same work a few years back. The central andante stood out with the warm emotionalism of Blacher's playing, although both outer movements did not quite have the sinuous affability that this score needs.
Vaughan Williams' The Lark Ascending was inspiring, as memorable to the eyes as the ears, with soloist Blacher at the apex of a diamond-shaped cluster of orchestral musicians.
Most effectively, in the closing minute, Blacher turned his back on the audience momentarily to play a phrase to his colleagues, before returning to face us for the final soaring to Eternity.
Orchestra and soloist were in rare unity, and the music billowed and flowed as this work requires, even if Blacher's early passing portamentos may have made some suspect we were in for a mannered interpretation.
But, there was no need for such fears; this performance will go down as one of the orchestra's finest for this or any year.
