NZSO's rendition of Biber delights

The New Zealand Symphony Orchestra rehearsing for one final time before their grandiose performance in Gisborne on Tuesday evening. Picture by Phoebe Tuxford/NZSO

Emotional exuberance was at an all-time high at the War Memorial Theatre, as locals were treated to the sensuous richness, tension and drama of legendary Baroque violin virtuoso Heinrich Biber’s music on Tuesday night.

Led by New Zealand Symphony Orchestra concertmaster Vesa-Matti Leppänen and his highly skilled ensemble, they created a “sonic grandeur” that transported the audience back to the 17th century, the start of the Baroque era — a time known for its exceptionally ornate and dramatic style of art, architecture and design.

Except for a few musical pauses, the orchestra performed non-stop for 90 minutes, playing two-thirds of the Bohemian composer’s masterpiece Harmonia artificioso-ariosa, written in 1696.

Speaking to the Herald, Leppänen said although he had conducted several music series for quite a few years now, Biber’s composition was something that was “left untouched”.

“Biber didn’t really write a lot of orchestral music. He had written a number of scores for small chamber music for about six players or so.

“Our performance is based off an arrangement produced by an Italian composer who adjusted Bieber’s composition for a bigger group/orchestra.”

The concertmaster said it was his associate principal second violinist, Amy Brookman, who introduced him to the Bohemian composer’s piece. They have since worked together to create the “right movements and keep things interesting”.

“If you listen to Biber’s music, you’ll know that he was a great violin player and amazing composer who had an incredible grasp of how to play the harmony in music.

“In those days,  music in general used to have way more complicated harmonies, especially when it came to classical music. His ideas of music is now what forms the foundation of modern music such as pop and rock music.”

Leppänen’s use of modern instruments and personal touches, such as the change

in the pace of music and consonants to recreate Bieber’s magic, is adventurous and exciting.

His approach to the overall performance almost draws resemblance to Bieber’s need to redefine music, by not following the “stereotypical Baroque” music which was often considered “mathematical and standard” in the 17th century.

Instead his music was all about being ambitious and dynamic — something that was reflected in the NZSO performance.