Great Romantics: Hamer Hall

Of the three “great romantics” whose work was represented in this richly rewarding program, perhaps only Brahms would immediately seem to fit the profile. His String Sextet no.2 in G major, Op.36 was both written at the height of German Romanticism, in 1864-65, and was a public declaration of a lost love.

But the program cleverly included, not only a massive work by the 20th century “late Romantic” Arnold Schoenberg but also one by a contemporary Australian composer. Both fitted comfortably into the program brief – albeit in contrasting ways.

Ian Munro’s “Black is the Night” is based on a work by the Australian poet Judith Wright and successfully sets to music for string sextet what the composer describes as “her magnificent, lyrical, meaning-laden words”. The work was commissioned by the ACO in celebration of director Richard Tognetti’s 20th anniversary season with the ensemble – and so it is fitting that Tognetti’s violin plays something of a solo role within the sextet.

His violin explored the space above the atonal, then elegiac and subtle creation of night, the plaintive melody echoed by players who deserved a greater prominence than they usually enjoy in the larger ensemble. Ian Munro later made a brief appearance to take a well-deserved bow.

Brahms, of course, was not present on the night – perhaps fittingly, as his sextet, sometimes called “Agathe” was inspired by a love whom he deserted, yet could not quite forget. According to K.P. Kemp’s program notes Brahms’ biographer Kalbeck found her name “lurking in the sextet”. That aside, the work typifies the lyricism and harmony that one expects from Brahms, particularly in the first movement.

With the cello and viola carrying a lilting refrain the movement swings into a lovely waltz – although it is brief, and serves mainly to lend a ¾ time signature to more introspective passages before re-asserting itself. Although the second movement draws on another dance form (scherzo) it is no exuberant romp, being more subdued and in the minor key.

This movement served to illustrate the precision and empathy of the sextet, which is a hallmark of the larger ensemble. This cohesion carried through the at times sorrowful adagio to the virtuosic speed that brought the final movement to a triumphant end.

Schoenberg’s “Transfigured Night” took the performance to an even higher level, if possible, from the moment the cellos, then violas, then finally the violins entered, Tognetti’s violin “breaking free” to introduce the melody and engage in dialogue.

Every musician in the ACO is a master of his or her instrument, a truth which can be lost in the performances of the full orchestra. The value of this concert of music for sextet was to appreciate six of those performers in three fine vehicles for their musicianship.

Great Romantics: Hamer Hall
AUSTRALIAN CHAMBER ORCHESTRA
14 June (touring nationally until 25 June)