By WILLIAM DART
Last year, Werner Andreas Albert was at the centre of some controversy when he conducted the Auckland Philharmonia and soloist Justine Cormack in a riveting performance of Lutoslawski's Chain 2. A provocative review in this paper brought forth numerous letters in support of more adventurous repertoire.
The
German conductor returned on Thursday with less contentious offerings, leading the orchestra in a sprightly romp through Reznicek's Donna Diana Overture, the sheer sparkle of which was irresistible.
Brinton Averil Smith was soloist in the Dvorak Cello Concerto. A rather nervy stage manner didn't detract from a gripping, full-blooded interpretation and the young American made the most of the work's many dramatic shifts of mood, especially in the central Adagio.
At the end of the programme Albert brought the same attention to detail to Cesar Franck's Symphony, with shapely wind playing and resonant brass, although the violins sounded a little weary at times. How splendid, though, to revisit Franck's unique blend of the serene and ecstatic.
The work forges new, contemporary connections for me. The composer's fondness for building his themes around one central, obsessive note makes it sound a little like an 1880s version of trance music.
Martin Lodge's Aer, based on an ancient Maori legend about the fairy folk around Mt Pirongia, was also premiered at the concert.
The chromatic fall of the opening flute lines seems to indicate that these sprites might be distant cousins of Debussy's faun, although koauau-like pitch-bendings make other cultural connections. These are not the only teasing echoes in Lodge's idyll: luscious chords, for a quartet of solo cellos, seem to hearken from some hinterland midway between Richard Strauss and Gil Evans.
The occasional moments of hesitation didn't mar the beauties of this evanescent watercolour. Orchestrated with precision and poetry, Aer accommodates passionate outburst and meditative stillness tellingly.
