Wonder

To mark its 30th anniversary, the SXS Chamber Ensemble presented a thoughtful program centred on the lives of Robert and Clara Schumann and their close friend Johannes Brahms - a fitting choice, given their enduring influence on the Romantic chamber repertoire. This was no ordinary concert: excerpts from their works were interwoven with spoken verse, some drawn from the composers’ letters and with choreographic interpretations by two dancers, Georgia Lorange and Jai Fauchon, from Queensland Ballet’s Jette Parker Young Artist Program. Adding further depth and contrast, the evening also featured an original work, Two Winds, One Song, by co-composers Ray Lin and Chris Williams, with Williams performing on the didgeridoo. The piece forms part of the SXS Didgeridoo Commissioning Project 2022–2032, an initiative that continues to highlight the ensemble’s commitment to new Australian music.

After a warm introduction from Chair of the Board Marg O'Donnell AO, outlining the exciting future plans of the group whilst endorsing all-round gratitude for those associated with and sponsoring SXS, the concert began with solo didgeridoo, breathy and atmospheric, immediately setting the scene for a somewhat poignant, and I quote "deeply Australian story of cultural meeting, resilience, and identity". History pinpoints the clashes of culture in Australia, particularly with the arrival of the British and Chinese, increasingly smothering traditions which have long been a part of the country. Then of course came the inter-breeding and the resultant psychological aftermath for those caught up in the cultural storm. The composers have sought to express this era, even the present, and its attempts at resolution through a most captivating work of colourful didgeridoo coupled with a combination of lyrical and percussive scoring for the piano and strings. Chris Williams has for many years demonstrated his remarkable talents as an exponent of the instrument, and this work is no exception.

With all three composers’ prolific repertoire at hand, the choice was succinctly put together by the team, expressing an extension of the intricacies of their turbulent lives.  What with Clara’s mixed roles as a mother of eight, composer, performer and wife to a husband with mental health issues how she did it all is a remarkable achievement in itself, along with maintaining her own health, and the way SXS have chosen various movements from the repertoire to portray the life and relationships of all three involved is to be commended. As someone who once studied and performed two of Robert Schumann’s popular piano works, I felt a personal connection to this music and an appreciation for how SXS curated the selection to trace the composers’ personal and creative struggles. On first hearing, though a somewhat convoluted choice it was nevertheless beautifully played by the team with Margaret Blades on violin, Gyorgy Deri on cello, a most passionate player, Molly Collier-O'Boyle on viola and popular Artistic Director Ashley Smith on clarinet/as part-compere; and all tastefully selected to express the spoken verse.

Guest artist, pianist Aura Go diligently rippled through a myriad of expressive passages with sensitivity and a lovely touch, as poetic as her prose while the two guest dancers were as poised and passionate as the music they were dancing to. Their combined performance needed perhaps a little more refinement in certain areas and it’s a shame there was no mention of the choreographer in the program, unless it was the dancers themselves. Nevertheless, incorporating a visual interpretation to the music added spice to a program of predominantly unfamiliar music: a refreshing addition to the concert norm where box-office success is often determined by the choice of program. Traditional ballet, after all, goes hand-in-hand with the romantic era, so what better a vehicle to express the music.

The last piece, one of Clara Schumann's Three Romances for piano, so expressively played and touchingly conveyed through dance was the perfect choice to close the concert, poignantly expressing Brahms' tender feelings for Clara, whilst letting her go like a dove through the mists of time.

SXS concerts remain a vital platform for showcasing local talent, commissioning new work and fostering cultural connection. While greater audience support would be well deserved, the ensemble’s legacy of innovation and collaboration continues to flourish and with such creative programming and artistic conviction, SXS looks set to inspire for many years to come.

Brian Adamson

Images by Stephen Harry Photography.