Music / “Redemption”, Llewellyn One, Canberra Symphony Orchestra. At  Llewellyn Hall, April 13. Reviewed by CLINTON WHITE.

IT was a somewhat subdued concert of the Canberra Symphony Orchestra, but nonetheless a thoroughly interesting one.

Guest conductor, award-winning Fabian Russell, who stepped in at short notice while chief conductor Jessica Cottis was recovering from covid, acknowledged Cottis’ programming, saying it honoured women and youth.

Wagner’s opera “Tristan and Isolde” finishes with Isolde’s “Liebestod” (Love-death) scene, in which the young Isolde sings mournfully over her love, Tristan, lying dead on the floor in front of her. The orchestra played the music from that scene after opening the concert with the “Prelude”.

Then it was Australian composer Margaret Sutherland’s “Concerto for Violin and Orchestra”, featuring the young soloist Courtenay Cleary.

Next was Bernard Hermann’s soundtrack for Alfred Hitchcock’s classic, “Vertigo”, which sets the scene for Scottie’s (James Stewart) infatuation with Madeleine (Kim Novak). (Another death is involved.)

Finally, Mendelssohn’s Symphony No 5 was given its nickname, “Reformation”, by Mendelssohn’s sister, Fanny, herself a successful composer.

Then the program notes for three of the four works performed were written by women.

Capping it off is that the orchestra’s popular concertmaster is Kirsten Williams.

Russell said it was “about time” that women and youth were better represented in classical-music concerts.

Wagner’s piece includes the so-called “Tristan Chord”, which appears very early on in the “Prelude”. It has an interesting if rather technical musical construction, but the result is a masterly composition that builds tension by never resolving musically. There are only the merest hints of melodies, each quickly giving way to another and none of them going anywhere. Added to this is its very slow tempo, with volumes never climbing higher than mezzo forte. The “Liebestod”, while mournful, is more melodic, but again quite slow.

Russell held the orchestra to the dynamics and tempi magnificently, including the silences. And the orchestra responded with beautifully clear and steady sustained notes.

Nor is Sutherland’s concerto melodic, but the writing requires a virtuoso soloist, which Cleary displayed with passion and drive. Her double stop bowing – and there was plenty of it – was assured with uncommon clarity and her many fast runs were crystal clear and beautifully toned. 

Russell, who had heard the work for the first time only a few days before the concert, had the orchestra at just the right level so as not to overshadow the soloist. And the duos between David Thompson’s French Horn and the soloist were especially charming and interesting, both playing lead and echo roles.

I must confess that I have not seen “Vertigo”, so Hermann’s music for the film was somewhat out of context for me, rather like listening to ballet music without the visual of the on-stage action. And, just as Hermann preferred it, there were no “singable” melodies or “pop tunes” that, he says, are “demanded of a film composer … to help promote [the film]”.

Under Russell’s direction, though, the orchestra painted many pictures, including a nod to Sibelius at one point.

Mendelssohn’s fifth symphony (as published, but it was the second to be written) is perhaps the inspiration for the title of this concert, “Redemption”. It is full of religious overtones, even to the point of quotes from hymns and other religious motifs. Even its formal nickname “Reformation” has a religious tinge to it. But, like Wagner’s music in the “Prelude”, heard earlier in the concert, and even Hermann’s music, it is not full of “singable melodies”. Overall, the work is not what would be called grand or even uplifting, but it does have its charming moments, especially in the second movement which had a delightful dancing tempo.

Apart from the fourth movement, marked Andante con moto (at a walking pace with motion), being taken a tad slow with some sections dragging a little, the orchestra was at ease with the work, giving it a respectful treatment that was full of emotion and quiet confidence.

An interesting start to the Canberra Symphony Orchestra’s 2022 Llewellyn series.