Stravinsky Pulcinella Suite Harrison Pipa Concerto Shostakovich Symphony No.1
To hear an unfamiliar instrument is a revelation, but doubly so when its unexpected depths are revealed by a virtuoso. Wu Man is the preeminent player of the pipa, a Chinese lute, with five Grammy nominations to her name. The American composer Lou Harrison, a lifelong devotee of Asian music, wrote this fabulously eclectic concerto for her.
Shostakovich’s First Symphony is a madcap piece that instantly propelled its 19-year-old composer onto the world stage.
Stravinsky reached back to the past with Pulcinella, reinventing 18th-century music in what can only be called an exceedingly Stravinskyian way. Auckland Philharmonia Orchestra's Reimagined could well be its most imaginative concert of the season, an exhilarating cultural mix that made for enthralling evening.
Stravinsky's Pulcinella may be a curiosity for those accustomed to the wild primitivism of his earlier Rite of Spring, as the composer stepped back in time and worked his wiles on unsuspecting 18th century music. Here, it was delivered with the perfect style, grace and humour by young Taiwanese conductor Tung-Chieh Chuang.
A smaller orchestra put the focus on telling solo contributions, particularly from Andrew Beer and Camille Wells, while the tingle and crunch of dashing dissonances left us in no doubt that we were in 1919 not 1719.
The evening ended with a teenage symphonic debut. Shostakovich's First Symphony bristles with the energy of youth, from the strutting marches of its first movement to the sonic thunder of its finale.
It has none of the secret codes and agendas of the later symphonies, in which Shostakovich played cat-and-mouse games with Soviet authorities. However, Bede Hanley's passionate oboe solo through a sea of evasive harmonies in its heartrending Lento might have been a chilling portent of strife to come.
Lou Harrison's 1997 Pipa Concerto introduced the star of the evening, soloist Wu Man. Last here at the 2013 Auckland Arts Festival with Kronos Quartet, she brought the ultimate authority to a score written expressly for her.
This woman is a peerless virtuoso, transforming her Chinese lute into a balalaika one minute and a mandolin the next, as if by magic — not to mention exploring its percussive potential in an instrument-tapping trio with Ashley Brown's cello and Gordon Hill's bass. Harrison had one of the biggest hearts in American music, and this comes out in this exuberant work, a joy that made its poignant Threnody to the late AIDS activist Richard Holt Locke all the more moving.
Pipa Wu Man
Stravinsky Pulcinella Suite
Harrison Pipa Concerto
Shostakovich Symphony No.1
To hear an unfamiliar instrument is a revelation, but doubly so when its unexpected depths are revealed by a virtuoso. Wu Man is the preeminent player of the pipa, a Chinese lute, with five Grammy nominations to her name. The American composer Lou Harrison, a lifelong devotee of Asian music, wrote this fabulously eclectic concerto for her.
Shostakovich’s First Symphony is a madcap piece that instantly propelled its 19-year-old composer onto the world stage.
Stravinsky reached back to the past with Pulcinella, reinventing 18th-century music in what can only be called an exceedingly Stravinskyian way.
Auckland Philharmonia Orchestra's Reimagined could well be its most imaginative concert of the season, an exhilarating cultural mix that made for enthralling evening.
Stravinsky's Pulcinella may be a curiosity for those accustomed to the wild primitivism of his earlier Rite of Spring, as the composer stepped back in time and worked his wiles on unsuspecting 18th century music. Here, it was delivered with the perfect style, grace and humour by young Taiwanese conductor Tung-Chieh Chuang.
A smaller orchestra put the focus on telling solo contributions, particularly from Andrew Beer and Camille Wells, while the tingle and crunch of dashing dissonances left us in no doubt that we were in 1919 not 1719.
The evening ended with a teenage symphonic debut. Shostakovich's First Symphony bristles with the energy of youth, from the strutting marches of its first movement to the sonic thunder of its finale.
It has none of the secret codes and agendas of the later symphonies, in which Shostakovich played cat-and-mouse games with Soviet authorities. However, Bede Hanley's passionate oboe solo through a sea of evasive harmonies in its heartrending Lento might have been a chilling portent of strife to come.
Lou Harrison's 1997 Pipa Concerto introduced the star of the evening, soloist Wu Man. Last here at the 2013 Auckland Arts Festival with Kronos Quartet, she brought the ultimate authority to a score written expressly for her.
This woman is a peerless virtuoso, transforming her Chinese lute into a balalaika one minute and a mandolin the next, as if by magic — not to mention exploring its percussive potential in an instrument-tapping trio with Ashley Brown's cello and Gordon Hill's bass. Harrison had one of the biggest hearts in American music, and this comes out in this exuberant work, a joy that made its poignant Threnody to the late AIDS activist Richard Holt Locke all the more moving.