Dreams and Visions
After a delay due to Covid-19 lockdown, Southern Cross Soloists Dreams and Visions was finally performed, albeit with several of their regular musicians absent due to interstate lockdowns. But in their place were some highly accomplished guest artists, including two of Australia’s foremost musicians, cellist Trish Dean and husband clarinetist Paul, founder of Southern Cross Soloists.
The theme of the concert was to take musical portraits from the innermost imaginations of some of the greatest composers: Vivaldi’s Spanish-flavored oboe concerto, Bruch’s Jewish-inspired Kol Idrei, Debussy’s dreamlike vision of nymphs through a faun’s eyes, and Ravel’s Grecian dreams in his suite from Daphnis and Chloe.
The highlight of the concert was undoubtedly the world premiere of a new work by Hollywood-based Queensland composer Joe Twist that took inspiration from the atmospheric paintings of the ancient Gondawanda Rainforest of Springbrook National Park as seen through the eyes of artist William Robinson. The Ancient Rainforest, was especially commissioned by SXS, and was written for oboe, string trio and didgeridoo.
Dramatically performed by Chris Williams, who entered on the left-hand side of the Concert Hall before moving to the stage, it began with the song of the butcher bird and escalated into imagery of mist rising in the mornings and sparkling waterfalls amongst the trees. It was a beautifully expressive piece with Williams bringing a range of sounds that was perfect for the work’s intent.
The concert could have been called a ‘Salute to Composer in Residence: John Rotar’ who skillfully re-arranged or reduced the scores of four pieces on the program. The piece de resistance was reducing Ravel’s masterful orchestration of Daphnis et Chloe Suite No. 2, and still retaining the color and dynamic of the original. With nine musicians on stage, including two pianos, one played by Roger Cul, the other by Ruby Luck, the popular Greek myth was a fitting finale.
Daydreams and Greek mythology were also present in Debussy’s Prelude a l’apres-midi d’un faune L. 86, with the audience transformed to images of the ballet stage of Nijinsky and the world of nymphs and naiads.
Prior to that we had Trish Dean showing her masterful command of the cello in a gorgeously performed Kol Nidrei op.47 by Max Bruch, artistic director Tania Frazer captivating on Vivaldi’s Oboe Concerto in D Minor RV 454, and Nick Mooney showcasing the French horn with some thrilling arpeggio swoops in the last movement of Saint-Saens’ Morceau de Concert in F minor Op.9.
Although superbly played, the concert if anything lacked heart. But who wants to be picky when the ensemble is back on stage again, playing well and often brilliantly.
Peter Pinne
Photographer: Darren Thomas
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