Music / “The American”, Australian Chamber Orchestra. At Llewellyn Hall, November 11. Reviewed by ROB KENNEDY.

WITH the mid-term elections in the US just over, it was fitting to hear a selection of some of the finest American music from the last 150 years in this Australian Chamber Orchestra concert.

Setting this concert of American and America-inspired music into action was the work “Aheym”, by Bryce Dessner. The Australian Chamber Orchestra (ACO) made this rendition explode on stage.

The intertwining of motives that build as underlying rhythms drive this music along, created a wall of complex layers in this lively piece. The harmonics, pizzicatos and grinding notes generate the colour as the music attacks the senses. A dynamic concert opener played at full pace and full volume.

Gently, but in deep emotion, “Lyric for Strings” by George Walker begins. Richly layered, like a dense Mahler work, it spoke out through aching beauty. Like a love song, an almost cinematic love song, it caressed the ears. Just gorgeous.

Three selections from “Five Folksongs in Counterpoint”, by Florence Price followed. “Clementine”, an intricately composed version of this American western folk ballad, set the first of these three pieces in motion. Then “Shortnin’ Bread”, another folk song cleverly arranged. Finishing off with “Swing Low”, showed what an extraordinary and overlooked composer Price is.

The son of composer John Adams, Samuel Adams, and his world premiere of “Echo Transcriptions” came before the interval. With Richard Tognetti on an electric six-string violin, including synthesiser and electric bass plus the string players, this deep and loud work sounded out.

The amplified violin was a little flat compared to an acoustic as it wandered through a repeated motive. When the bass came in, its volume and depth swallowed all the other low notes. The piece seemed like a jumble of sounds in a confused composition. More like experimental music than a composed work, I didn’t hear or feel its point. Adams, who was in the audience, took a bow.

After the interval Morton Feldman’s “Rothko Chapel”, 5th Movement. The “chapel” is an actual space in Houston, Texas. Its walls are adorned with paintings by Mark Rothko. The thick, ethereal chords, viola solo and background electronics sounding like a repetitive vibraphone painted a curious picture. Lasting only three minutes, it brought out a calming and colourful experience.

Selections from “John’s Book of Alleged Dances”, by John Adams followed. Full of bright lively rhythms with a percussion backing track, this had that American swing, with jazz and contemporary combined. Parts reflected that old-timey style found in Appalachian music. Adams’ eclectic and vibrant work had a bit of everything.

The rhythmic connection between the ACO players makes everything they perform own a specific distinction. And in this work, that was dynamically on show. This was the highlight of the night.

Arranged by Tognetti for the 17 players of the ACO, Antonín Dvořák’s “String Quartet No.12” in F Major, Op.96 “American”, finished off the concert.

It sounded warm and wonderful because of the well-thought-out arrangement. The folk-like tunes within and through solo moments stated clearly this was American-inspired music. This arrangement took the music to a whole new level. Symphonic at times, deeply intimate, like a string quartet, it brought all the finer things in this highly engaging piece together.

This, the ACO’s first performance on a national tour, “The American”, will be a hit across Australia.