Such a pleasurable afternoon it was! Yes, lovely weather, but I was inside for the Canberra Concerto Orchestra (CCO) String Quartet. They performed the final concert of an 11-gig tour through Victoria and NSW, and it was a gem. Beethoven, Mendelssohn, Tchaikovsky. In my classical-ignorant way, I knew none of the works, but they were all well spoken. I checked out the Beethoven (String Quartet no.1 in F major) before I went, so I felt comfortable when the first strains appeared and expected the affectionate and passionate Romeo & Juliet second movement and the rest. But the Mendelssohn (String Quartet no. 2 in A minor) was a delight, and the Tchaikovsky (String Quartet no. 1 in D major) was, to my surprise, perhaps my favourite. The change of eras, from classical to romantic, was obvious. I don’t see myself as a lover of the Romantic period, but these works got progressively more modern, less courtly, and perhaps the quartet also settled into the gig and played with more ease.
The quartet was made up of professional and student players. Charlotte Winslade (first violin) is the musical director of the CCO. The CCO “exists to create the most inspiring and highest standard training opportunity for aspiring musiciians, mentored by some of the country’s finest professionals”. I could believe it. This music had lovely feel, nice comfortable tempos, the players worked together well, with eyes frequently on Charlotte. As a bassist, I was watching cellist Anne Ewing at the bottom end and it was a delight. It was a lesson in watching your colleagues and following a chart and the playing was luscious, too. There was one oddly groove-like passage in the Tchaikovsky, but there were also passages passed through the ensemble and low-pitched melod parts and some very pacey lines. The violins were edgy at times, but high strings are that way to my ears. But they, too, were in synch with Fia Walsh (second violin) also watching closely. Thad Shadduck (viola) was watching under his brows, too. The skills of all were glorious to watch: lithe, fluid, well read. But what a range these instruments have! They are tuned in fifths (unlike the fourths of the double bass that I know) so just one position covers a generous range. And while the cellist has to move liberally over a larger instrument, the viola is small, but the violins are diminutive. Charlotte went way into the stratosphere with some notes, and they all covered extended ranges with little arm movement. But I fear the intonation issues: these semitones are seriously close, especially when venturing up the violin’s neck. But thus is the life of a violinist. I hear that Fia and Thad are both students seeking to enter a conservatory program. I couldn’t see how they could fail. They performed perfectly comfortably with their senior colleagues. This was a concert of 3 major works and unusually with two intervals. Perhaps not CD-release-perfect but very impressive. Just another lovely Sunday arvo in Canberra, but Canberra’s like that. I’ll be back for more.
The Canberra Concerto Orchestra (CCO) String Quartet comprised Charlotte Winslade (first violin), Fia Walsh (second violin), Thad Shattuck (viola) and Anne Ewing (cello).
First concert of the day was a Lunchbox concert at the ANU School of Music. These are students, presumably at different stages of their training, performing a varied repertoire on diverse instruments. What's not like. Aaron Chew (piano) started with Fantasia Baetica by Manuel de Falla. This was a substantial work, virtuosic, exciting, passionate. He mentioned the sounds of guitar, footstamps and female vocals (this is Spanish music). Aaron played with confidence the waves of notes with crossing hands and several passages of a quizzical dissonance. I loved this piece and I thought he did an excellent job on it. Then Jelena Mamic (soprano) sang four Canti di lontananza by Menotti with accompaniment by Anne Ewing (piano). This was intense, vibratoed high notes (
