Review of June 2016 Concert


The June Program of Opera arias sung by a very talented line-up of Auckland University Vocal Students, interspersed with Opera overtures was a huge hit with the big audience.  The feed-back that I got from several sources was that it was the most enjoyable program that they had ever heard from the Orchestra.

The dramatic Mozart Overture to the Magic Flute opened the program with its three declamatory chords, which are repeated at three intervals in the course of the overture.  These are said to be symbolic of the three degrees that a Masonic candidate has to undergo in the ritual of Masonry.  Mozart was an active Mason and throughout the opera there are obvious masonic references in the plot and the part played by various characters, including Sarastro the high priest, and Tamino the novice candidate who has to undergo various trials and tribulations, before he is accepted into the order.  Written at near the end of Mozart’s life he poured all of his skill and passion into the music causing Albert Einstein to comment “that Mozart compressed into this overture all the struggles and victory of mankind.” It was a fitting item to begin the concert and warmed the audience to what was to follow.

Samson Setu opened the vocal content with the well-known Figaro aria “Non piu andrai”.   In this aria Figaro is rather gloatingly comparing the vastly different life that Cherubino will have to lead in the army, compared to his previous service as a pageboy in the service of Count Almaviva.  Setu’s bright baritone voice with ringing resonance suited this aria to perfection, and he acted out the character he was portraying beautifully.    It is incumbent on every singer who sings an aria from an opera in a concert, to deliver the same performance as if he or she were singing it in costume on stage in an actual performance of the opera.  This demands that the character be portrayed in every aspect, and sadly this doesn’t always happen.   On this concert however, every single one of the performers made significant efforts to get “inside” the character of the aria that they were singing.

Gounod’s aria, the Waltz song from “Romeo and Juliet” was the choice of Natasha Wilson and it suited her Soprano voice to perfection.  This is a vocally demanding aria to sing but she met its demands with ease, reeling off the spectacular top notes with great aplomb.   Soprano Clare Hood was next on the program with Olympia’s Doll song from Offenbach’s “Tales Of Hoffman”.   This aria is a real show-piece, and Clare’s dress, deportment and her hand movements conveyed to perfection the automaton doll’s clockwork mechanics.  Her voice was well suited to this aria, and a nice touch was added with the Conductor David Kay winding up the key in her back when she wound down and collapsed forward.  The key winding mechanism sounds were aptly provided by the percussion section in the orchestra.   This performance got spontaneous applause from the audience.

Lalo’s opera Le Roi d’Ys features one of the most beautiful arias in the tenor repertoire, “Vainement ma bien-aimee” and this was sung by Manase Latu.  It is a plea to his beloved bride-to-be to leave her handmaidens and join him in the wedding procession.   Latu’s performance of this aria was quite sublime. He was able to show off his well-trained tenor voice by singing pianissimo on a sustained high note which the audience loved.    His was a performance of an aria that was not just right in character, but it suited his voice perfectly.   He has already had considerable performance experience and scholarship success, and I feel sure will go on to greater heights in future.  We returned to Mozart for the final vocal item in the first half, with the delightful trio from “ Cosi fan tutte” sung by Ben Kubiak (Don Alfonso) , Emma Fussell (Dorabella) and Teresa Wojtowicz (Fiordiligi). In this trio Don Alfonso joins the two fiancees of their men Ferrando and Gugliemo and commiserates with the ladies that their men have been called to war.   This trio was finely performed and the voices were very well balanced.

The first half wound up with Mozart’s mini-symphony No 32. This gave the orchestra and conductor David Kay the opportunity to shine with some fine string playing and delicate phrasing from the wood-wind sections.

The second half opened with an orchestra composition “Ortus” by Jessie Leov  an Auckland based composer who is currently in her third year studying Composition at the University of Auckland.  This piece opened with instruments in the orchestra playing melodic lines that interweaved in a subtle way with pleasant harmony and developed into broader themes with a melody that soared over the harmonies and took precedence.   I have previously commended the Orchestra for programming New Zealand composers, and Jessie Leov’s composition “Ortus” deserves more exposure.

The vocal opera bracket opened with Kayla Collingwood (Mezzo) singing the well-known “Habanera” from Bizet’s   opera Carmen.   In this aria she expounds her philosophy about love in true gipsy fashion, and Kayla gave a very polished performance of this aria.  Her French diction was flawless, and she captured the capricious nature of Carmen well.    She was then joined by Natasha Wilson to perform the Flower Duet from Delibes “Lakme”, and their voices were well matched, in a moving performance.     The Orchestra then gave Johan Strauss’ “Die Fledermaus” overture.  This featured some exquisite string playing and also some sweetly played oboe and it was a joy to hear this very popular overture given such an exciting performance. We then heard the Farewell trio from the same opera with Emma Fussell (Rosalinde):  Manase Latu (Eisenstein) and Teresa Wojtowicz (Adele) in which Eisenstein farewells his wife and maid on the pretext that he is going to prison for seven days when in fact he is going to have a merry romp at a Ball.

The Orchestra then played Verdi’s Overture from “The Force of Destiny”. This starts with three ominous Chords, which is then followed by  crisp runs from the strings which in turn leads into some of the most memorable melodic writing that Verdi ever did.    It traverses many of the main theme tunes that occur in the course of the opera and finishes up grand style.  To conclude the Program all eight singers took the stage to perform Verdi’s Brindisi from La Traviata.   This lively drinking chorus extols the pleasures of alcoholic drink, and life in general.     The program was given rapturous applause.

The next St Matthews Chamber Orchestra concert on the 21st August features conductor Holly Mathieson with the APO concertmaster Andrew Beer as soloist.     Robert O’Hara


Review of May 2016 Concert


It was gratifying to see such a good attendance at the second concert of 2016 for the St Matthews Chamber Orchestra. In balmy Autumn temperatures it was a great feeling to sit in St Matthews Church to hear such an uplifting program.

The Overture to “Don Giovanni” was the first offering.  Its dark introspective chords give a foreboding feeling of the tragic drama that is to follow.  From Lois Westwood’s informative notes we learned that Mozart wrote the whole overture the night before the first performance, leaving no time for the orchestra to rehearse.  Despite this the opera was a resounding success, and continues to enthral audiences all over the world to this day.  In the view of the great opera critic, George Bernard Shaw, “Don Giovanni” was the “greatest opera ever to have been written”. Many would agree with him.  Certainly the St Matthew’s Chamber Orchestra’s performance of the overture was a superb beginning to what was to become one of the best concerts in my view that they have performed.   Michael McLellan’s direction was superb and we heard some very fine string playing.

Renowned pianist David Guerin was the featured soloist in Mozart’s Piano Concerto No 9.  The Allegro first movement was dashed off with great panache, and the second movement was played with great sensitivity, the soloist showing a very real feeling for the most delicate of Mozart’s passages for the keyboard.   He was well supported by the orchestra, and was able to command respect with the contrast he was able to achieve between forte and pianissimo passages.  One could not have wished for a better interpretation of Mozart from any solo pianist, and at the end, the audience showed their loud appreciation of his and the orchestra’s performance.

The performance of Anthony Arthur Watson’s “Prelude and Allegro for strings” was a curious choice to play alongside Mozart.  However with conductor Michael McLellan opting to offer dissected fragments of the work at the beginning, we were able to gain a greater appreciation of the compositional structure of the work.  Watson for over ten years played the viola in the National Orchestra of New Zealand and later was the first Mozart Fellow at the University of Otago.  This work was commissioned by the Alex Lindsay String Orchestra, and was first performed by the N.Z.S.O. in 2009.  Although the work was only 6 minutes in length it offered great tonal colour, with clever use of dissonance.   There were times during the work that reminded me of Ligeti with his broad tonal colour achieved by so many different notes being played at once on different instruments.   There were other moments when I was reminded of Stravinsky’s “Rite of Spring” with its pulsing bow work on the strings.   It received a good reception and it is pleasing that the orchestra chooses to include works like this from New Zealand composers on their program, because we might otherwise be denied that opportunity.

The main symphonic work on the program was Mozart’s “Linz” Symphony No 36 in C.  This work composed at breakneck speed is unusual in that it starts with a slow introduction reminiscent of Haydn.  It teems with melodic invention and is generally a sunny and extrovert work.    The second movement in a minor key finally settles down and proceeds in orthodox fashion.   The glittering minuet that follows is martial and followed by a trio that is a rustic dance of gentle beauty that features an elegant duet for Oboe and Bassoon.  The finale is a bustling presto that trots out a dazzling variety of musical ideas and exhibits a pungent wit timed to perfection.  The composer’s direction was that it be played “as fast as possible”, and the orchestra and conductor did their best to carry this out.   This performance was a fitting end to a superb program and ensured that the audience will be back for the next concert on June 19th when David Kay will conduct the Orchestra with a group of Vocal Students from the University of Auckland presenting a program of Opera Arias and Excepts.  – Robert O’Hara

Review of March 2016 Concert


The St Matthews Chamber Orchestra drew a large audience for it first concert in 2016, and the program proved to be very popular. There was a hushed expectancy for the Wagner Idyll which was the first item on the program. This very romantic piece was intended by Richard Wagner as a birthday surprise for his wife Cosima. It was first performed on Christmas Day 1870. Wagner had gathered together a small group of musicians from the Tonhalle Orchestra, Zurich and they played the Idyll on the staircase of the Swiss villa outside Cosima’s bedroom. She was much moved by the performance and the music had deep significance for the family. It includes many of the themes that later formed part of “Siegfried”, the third opera in the Ring Cycle. Conductor Michael Joel has just returned from London where he was working as a duty conductor at the Royal Opera House, Covent Garden. He drew a very sympathetic reading of the Wagner work from the orchestra, and the strings were particularly expressive. The orchestration is mainly quiet and serene in character and the themes are spread around the various instruments, so that every section of the orchestra has its moment of glory. This was much enjoyed by the audience.

Catherine Bowie, professor of flute studies at Auckland University, was the featured soloist in Carl Reinecke’s Flute concerto in D Major. Composer Carl Reinecke was a noted pianist who studied under Mendelssohn, Schumann and Liszt, and also taught Liszt’s daughter Cosima. His Flute sonata “Undine” is perhaps his best known composition, although the D Major Concerto has become an important part of the concert flute soloist repertoire. Playing a Lillian Burkhart flute, Bowie’s performance of the first and second movement was exquisite, but in the demanding final movement she had the opportunity to demonstrate her virtuosity which was outstanding. The scoring for the orchestra in parts of this work is quite heavy and called for the conductor to keep volume levels under control. This was sensitively achieved by Michael, and at the triumphant conclusion, the soloist’s skill was roundly applauded.

The final work in the program was Antonin Dvorak’s Symphony number 7 in D Minor. This work was composed during a rather sad period in the composer’s life and his personal tragedy is reflected in some of the music. In 1884 Dvorak was admitted to honorary membership of the London Philharmonic Society, who commissioned him to write a new symphony. He completed this and conducted the first London performance on 22nd March 1885. As in his previous symphonies he made quite extensive use of Bohemian melodies. In the early part of the work the St Matthews Orchestral performance highlighted the contrast between the movements. At first introspective and foreboding, then the mood changed and the darkness was swept away in a glorious rush of impassioned music. The opening theme was developed and the whole work swept on to an impressive climax. Once again the thoroughly researched program notes by Lois Westwood were significant in adding to audience members’ appreciation and understanding of the program.

The next concert will feature pianist David Guerin, with Michael McLellan conducting, and this will be on Sunday 15th May 2016. Robert O’Hara.

Review of October 2015 Concert


The buzz of conversation among the audience told me at the outset that they had been looking forward to this final program. The works selected were some of the most technically difficult for the orchestra that they have played this year. However the petite conductor gave such clear direction that the orchestra players were able to master all of the difficulties and deliver a superb performance.

It was a pleasure to listen to the very first public performance of “Whim”, a work commissioned by the St Matthews Chamber Orchestra from Auckland composer Leonie Holmes, who is a lecturer in Composition and Music Studies at the School of Music, University of Auckland. It was described by the composer as “a light-hearted look at the epic, versus the whimsical in an all-out stylistic battle”. Although it was easy listening for the audience, this was technically difficult music to play and the percussion section shone with Sam Girling’s playing of the xylophone especially effective. After some capricious melodic passages the piece eventually modulated from the minor to the major key for a satisfying conclusion. The audience showed its ready acceptance of this bright new work, and applauded the composer and conductor together.

The viola concerto by Sir William Walton is not particularly well -known and there are all too few concertos written for the instrument. This concerto was first performed in 1929 and later in 1960 the composer re-wrote it omitting some woodwinds and brass but adding a harp. The soloist was Gillian Ansell, violist with the New Zealand String Quartet, and sister of Simon Ansell, violinist in the orchestra. The orchestra with all strings muted allows the viola soloist to soar beautifully above in the spot-light with a lyric melody that forms the main theme of the work. A second theme is introduced in which both major and minor harmonies are used. The orchestration features the oboe and flute, and Gillian Ansell demonstrated some impeccable double stopping. A dancing Scherzo in which both soloist and orchestra play melodies that are broken up by syncopated accents finishing with a flourish. A solo bassoon leads into the final movement in which the orchestra and soloist inter-weave material that had been previously introduced and wind onwards to a peaceful conclusion. Throughout there had been obvious rapport between the conductor and soloist and the audience showed their appreciation of this work.

It was however in the final work that the conductor Holly Mathieson, such a tiny figure on the podium, was a veritable “tour de force” in her direction of the orchestra throughout Tchaikovsky’s Fourth Symphony. The work opens with a blazing and ominous fanfare from the horns and brass suggesting that fate “hangs like the sword of Damocles above our heads”. This moderates somewhat until later the same fanfare brings the movement to its conclusion. The oboe plays the melancholy theme introducing the second movement which reflects the composer’s sorrowful past pain following his disastrous marriage to a young student, Antonina Milykova. The third movement, a scherzo, features the entire string sections playing pizzicato, probably inspired by the balalaika. This was done with great delicacy by all of the strings and was most effective. In this movement’s trio the melody played by the oboe suggests drunken revelry by peasants, and this is referred to by the composer in his correspondence with his mentor, Madame Nadezhda von Meck. The finale features a Russian folk song, “A birch stood in the meadow” and while the fateful motif of the first movement is re-introduced, it does not dampen the celebratory fervour as the work progresses to a spectacular conclusion. Holly Mathieson’s conducting drew forth some magic playing from the orchestra whose obvious enthusiasm was evident in their performance of this exciting Symphony. The audience showed their enthusiastic appreciation with foot-stamping applause.

Following this concert the audience were invited to partake of wine (from sponsor Cooper’s Creek) and cheese to celebrate the release of the 2016 program. It is pleasing to record that Holly Mathieson will return next year to conduct a Tchaikovsky Symphony.

Robert O’Hara

Review of September 2015 Concert


The selection of Rossini, Elgar and Dvorak music was a wonderfully contrasting choice for it ensured that there was something on the programme for everyone.

The St Matthews Chamber Orchestra concert opened with the ever-popular Overture to Rossini’s Opera Buffo “The Barber of Seville”.   The alternative title to this opera was “The Futile Precaution.”   Giuseppe Verdi declared it “The finest Opera Buffo in existence.”   However he also commented that, for the first six minutes of the overture the audience mostly talked and paid no heed to the music.  Obviously opera audiences in Verdi’s day lacked the musical appreciation to recognise the consummate skill of Rossini in his melodic flare and also his clever orchestral instrumentation. On Sunday’s concert the audience however enjoyed the stylish performance that conductor James Tennant drew from the orchestra, and showed their appreciation by hearty acclamation.

For some years now the St Matthews Chamber Orchestra has engaged young solo performers who have demonstrated exceptional talent, and the cello soloist for the Elgar concerto, 17-year-old Catherine Kwak is an excellent example of this policy.  Starting cello lessons at seven years of age, she has in just ten years made her presence felt, both nationally and internationally in competitions.  She was a prize winner at the 18th International Brahms Cello Competition in Austria, and has already built up an enviable reputation as a cello soloist in Europe at the Euro Arts Festival and at the International Summer Academy at Biel, Switzerland where she was chosen to perform as a soloist with the Budweis Philharmonic Orchestra. Elgar’s cello concerto is an extremely poignant work written just after World War one, when Elgar was at the peak of his compositional powers.  He was at the time somewhat depressed by the horrors of war and in particular the death of the son of a woman to whom he had been very close during her residence in England.  The work requires a mature approach to bring out the feelings of pathos that music evokes, and Miss Kwak rose to the occasion magnificently and demonstrated a maturity far beyond her age.   Her teacher James Tennant was right with her supportively throughout the work, ensuring that the orchestra gave her the sensitive backing that is essential to the moving performance that resulted.  This was a performance that went to the very heart and soul of listeners, and the audience’s applause reflected this. Following her performance she unobtrusively joined the cello section of the orchestra to play the Symphony.

Dvorak’s Symphony Number 8 was the major work presented, and it proved to be a masterpiece of contrasts, with extensive use of the Mixolydian mode suggestive of neither major or minor and thus giving the work a definite folk character.  Dvorak was a real master of melody and once said that “melodies simply pour out of me.”   This Symphony is literally “wall to wall” melody from start to finish, and it contains many Bohemian folk tunes. These are played cleverly with contrasting sounds from each of the orchestral sections taking their turn at presenting melodies which are either dark and sombre or bright and cheerful depending on the minor or major key in which it is played. Stirring trumpet fanfares feature in the middle section of the second movement, and one could sense the influence of both Beethoven and Brahms in this Symphony.   The third movement is a charming waltz that has a foot-tapping quality and the orchestration used enhances the music to a great degree.    The finale is introduced with another trumpet fanfare and the theme and variations are most colourfully presented by the various sections of the orchestra. James Tennant’s conducting of this Symphony was vigorous and dynamic.  He was dressed in a multi-coloured waistcoat which contrasted with the sombre and formal black of the orchestral players and at times he literally danced his way through different sections, which seemed to add authority to his hand gestures. Shunning the usual conductor’s baton, his conducting gestures were both eloquent and elegant and his directions to the orchestra were crystal clear.   It resulted in a superb performance and I am sure that the orchestra members numbering over 50 maximised their satisfaction playing under his direction.   It was well received by an appreciative audience.

The final concert for 2015 on Sunday 18th October will feature Viola soloist, Gillian Ansell, and Melbourne based conductor Holly Mathieson.  The works presented will be a commissioned piece by Dr Leonie Holmes, Lecturer in Composition at Auckland University, William Walton’s Viola Concerto, and Tchaikovsky’s  Fourth Symphony.


Reveiw of August 2015 Concert

Classical Programme Delights Audience

With the cold weather we have been experiencing, the audience needed to be well rugged up in St Matthews Church for the August concert.   However with Haydn, Bach and Mozart on the programme, what more could the purists desire?   It was certainly an afternoon of absolute delight and every one of the listeners went away glowing with praise for the choice of music presented.

Haydn’s “Laudon” Symphony was first up with its copious elegant melodic content.   The Symphony was named after a distinguished Austrian General, (Ernst Gideon Freiherr von Laudon) but not because it was militaristic or martial in style.   At that time it became fashionable to name works after famous citizens in order to promote more sales of the sheet music.   This particular symphony was somewhat different in style from his previous symphonic works, and showed wonderful elegant melodies that flowed one after the other and also showed Haydn’s skill in orchestration.  He wrote over a hundred symphonies and this particular one would mark his further development in symphonic composition.    The orchestra’s performance was well received.

Huw Dann (Principal trumpet with the APO) was the soloist in the very popular Haydn Trumpet concerto which followed the Symphony.   In this work the soloist and conductor collaborated well and chose tempi that suited the instrument and also plumbed the utmost benefit from the wonderful acoustics of the building.    Dann’s fingering of the many melismas in the concerto was crystal clear and an absolute joy to hear a work that is so familiar, performed with such style.   Michael Joel’s direction of the orchestra was sympathetic and supportive at all times and the performance was given a well-deserved ovation.

Following the interval, Dann with a piccolo trumpet joined Peter Mumby and Nicholas Allan in the trumpet section of the orchestra for the Bach orchestral Suite in D major.    This work features the well-known “Air on G String” in the first movement with the violins playing the air while the cellos provided the accompaniment.   In the following section the trumpets soared high above the rest of the orchestra to great effect and this was followed by two French dance movements, a gavotte and a bourree.   The trumpets again featured in the final movement, a gigue, and again playing high above the orchestra to spectacular effect.    Penny Christiansen swapped her first violin and played the harpsichord for this work.

Mozart’s symphony number 38 (known as the “Prague” Symphony) tends to be overshadowed by his final three symphonies (numbers 39, 40 and 41), but despite that it has some wonderful melodic development that can be appreciated.   Throughout the concert, music director Michael Joel showed sympathetic control of the orchestra and opted for tempi that enabled the players, especially the strings to play at their very best.   We heard in this performance some of the best string playing that the orchestra has achieved this year and they were rewarded by a most appreciative audience.

Don’t miss the next SMCO concert on the 20th September, featuring cello soloist Catherine Kwak in the Elgar Concerto, with conductor James Tennant presenting the Barber of Seville overture and Dvorak’s Eighth Symphony.

Robert O’Hara

The SMCO-SOUNZ Composer Workshop

We are pleased to advise you of the details for this year’s additional concert. Last year we held the “In house concert” featuring our own players as soloists, conductors and composers and this year we are to work with SOUNZ and NZ composers.

The SMCO-SOUNZ Composer Workshop is a new collaboration between the St Matthew’s Chamber Orchestra and SOUNZ Centre for New Zealand Music. The aim is to create a collection of high quality resources for composers, non-professional orchestras and orchestra directors, to enable them to collaborate on new commissions in the future. The five works chosen will be rehearsed and work- shopped during the week and then performed at a one hour concert on the Sunday afternoon.

Details are as follows –

                                  Sunday 02 August 2015, 3pm

                                      Followed by wine and cheese.

Venue : St-Matthews-in-the-city Church, cnr of Hobson and Wellesley Streets
Entry : By gold coin donation.

The following works were chosen by a panel consisting of representatives of the SMCO and the Composers Association of New Zealand (CANZ):

Callum Blackmore: 3 vignettes for orchestra
David Hamilton: Solar Phoenix
Andrew McMillian: In the shadow of the dark moon
Denzel Panama: Time in Paradise
Alex Taylor: Silk/Gravel

A work of Louise Webster (composer and violinist in SMCO) will be played to complete the concert.

This collaboration came about as New Zealand has a large number of non-professional orchestras and music groups, most of whom are interested in playing new music. However there is no information available anywhere to guide composers in writing for non-professional orchestras. In 2014 the players of SMCO completed a questionnaire that asked for our views and experience on what made it easier for us to play contemporary music. Louise then presented the results at a composer’s conference (2014 CANZ Conference). SOUNZ then asked SMCO to run a composer workshop which SOUNZ could video and turn into a resource.

Our Musical Director Michael Joel, will be the conductor for this workshop and concert. He says –
“I’m delighted to be involved in this initiative. Supporting and encouraging composers to create new work is the life-blood of music and this is a wonderful opportunity for SMCO to bring these pieces to the ears of the audience, orchestra members and the composers themselves. I’m really looking forward to working on the five pieces we’ve selected and bringing them to life – what a privilege!”

“There are non-professional orchestras throughout New Zealand who are keen to play new music written with their capabilities in mind. I hope that this project will encourage them to commission and play new compositions, and also encourage New Zealand composers to write for such groups of interested musicians,” Louise Webster, composer and SMCO member.


Review of June 2015 Concert

Cellist excites Audience

Only two items were programmed for the St Matthews Chamber Orchestra concert for 21st June, but the Charles Ives Symphony No 2 and the Dvorak cello concerto were a very suitable match and showed considerable sensitivity from those responsible for selecting the programme material. Both works were composed in U.S.A. within a few years of the commencement of the 20th Century, and both composers made use of traditional American folk songs in many of their compositions.

Charles Ives Symphony No 2 is sublime music that incorporates in its five movements, patriotic songs, gospel hymns, and popular fiddle melodies. It is a real “salad-mix” of American folk music cleverly assembled to provide a very satisfying audience experience. Although the symphony was written in 1907 it was not performed in public until 1951 when Leonard Bernstein conducted its first performance in New York. Bernstein was almost totally responsible for bringing Charles Ives’ music to public notice in the musical world. Sunday’s performance was very capably conducted by the noted Viola Player, and Bartok expert, Professor Donald Maurice, and his reading of the Ives Symphony was truly exciting. With five contrasting movements, the symphony was about 36 minutes in length and featured some challenging orchestration which Maurice made the most of. The orchestral sound was colourful with some expressive playing from the horns and flute sections, and the pizzicato string playing was crisp and well balanced. Towards the end the intensity and pace of the music became frenetic and built to a wonderfully satisfying climax.

The SMCO is most fortunate to be able to secure the services of internationally acclaimed cellist, Rolf Gjelsten as the featured soloist in Antonin Dvorak’s popular cello concerto Opus 104 in B Minor. This work was composed in 1895 by Dvorak while he was Director of the New York National Conservatory of music. The concerto at 43 minutes long is among the most popular of the cello concertos and includes some of the most poignantly beautiful music that Dvorak ever wrote. The symphonic orchestral opening lasts for almost 4 minutes before the soloist enters and elaborates on the main melodic themes. Here too the horn solo was expressive and plaintive, while later the flute took up the tune interwoven with the soloist. Dvorak’s orchestration was seriously affecting and brought out the wistfulness and emotional quality of the music. The soloist at times intertwined with the woodwind in a most expressive way. The final movement in march time gradually built from a quiet beginning to an intense finish. The cello soloist was brilliantly dominant and exhibited some virtuoso playing. The enthusiastic audience response showed just how much they had enjoyed this exciting performance. Gjelsten performed on a 1705 Venetian made cello by Francesco Goffriller.

Once again I must pay tribute to the informative and well-researched programme notes provided as always by Lois Westwood. There is no doubt that they enhance the audience’s enjoyment of the programme that is presented by the orchestra.

Robert O’Hara

Review of May 2015 Concert


With Auckland in the grip of some “dirty” weather it was a pleasure to seek refuge in St Matthews in the City for the second of the St Matthews Chamber Orchestra concerts.

Said to be composed in the “Italian Style”, Schubert’s overture D591 with a lot of florid string passages and emphatic repetitive endings is clearly very like Rossini in its style. This work deserves to be heard in performance more often than it is, and it is surely to the credit of the St Matthews Chamber Orchestra’s programming personnel that they have included it in this concert series. It was also a joy to welcome Adelaide conductor David Sharp back to the podium and the orchestra under his baton gave a sterling performance of this colourful work.

The contemporary American composer Eric Ewazen’s oboe concerto featuring Camille Wells was next on the programme. Ewazen was a student graduate and later a staff member of the Julliard Music School, and has composed a significant body of music for solo horn, marimba, trumpet and other brass instruments as well as for vocal ensembles. His music is romantic in style but clearly written in the 20th Century idiom. Some of this work reminded me of Aaron Copeland’s compositions. Soloist Camille Wells is Associate Principal Oboe with the APO and in this concerto she handled all of the various moods of the work with sensitivity and great style. She was given a rousing ovation from a very appreciative audience. David Sharp too gave her great support with his direction to the orchestra.

The concluding item was Mendelssohn’s “Scottish” Symphony, which just happens to be a special favourite with me. His orchestration especially for the strings is very lyrical and conjures up images of the most wonderful Scottish scenery. From a very wealthy family, Mendelssohn had every advantage in life, and as well as being a most accomplished musician and composer he was also a skilful water-colour painter. Music and Art go together, but Mendelssohn clearly had a brilliant capacity for writing music that was able to evoke visions of beautiful scenery every bit as colourful as any painting. The first movement starts slowly and rather introspectively with a hint of sadness, but is followed by a bright and lively scherzo with some elegant melody. The following two movements Adagio and Allegro vivacissimo are played without interval, and bring the symphony to a majestic conclusion. David Sharp’s direction of the orchestra was a tower of strength and brought out all of the nuances and colour of this truly exciting Symphony. The ovation of the audience demonstrated just how much they had enjoyed it.

The next St Matthews concert will on Sunday 21st June and will feature conductor David Maurice with Cello soloist Rolf Gjelsten .
Bob O’Hara

Reveiw of May 2015 Concert

Soloist Camille Wells Oboe concerto creates a very expressive atmosphere for our May concert.

St Matthew’s Chamber Orchestra performed the second concert in its 2015 subscription series on Sunday 17 May. The conductor was David Sharp, who has been a regular conductor of SMCO over a number of years. His conducting style was direct and confident and his rapport with the orchestra was very evident.

Opening the concert was an early work of Schubert – his Overture in C in the Italian Style. It was written after Schubert had heard Rossini’s opera, Tancredi. It begins with a slow and rather majestic adagio before launching into a lively and tuneful section. The orchestra played with enthusiasm and accuracy, with excellent contributions from woodwind and brass.

A contemporary work for oboe and strings followed. Written by Eric Ewazen, it was commissioned by Linda Strommen in memory of her father. Linda Strommen is a former oboe teacher of Camille Wells, the soloist in this performance. Camille Wells is presently the Associate Principal Oboe in the Auckland Philharmonia Orchestra. The concerto is entitled ‘Down a River of Time: Concerto for Oboe and Strings’ and proved to be a very melodic and quite arresting work. The oboe’s expressive and rather haunting timbre was well suited to this work, relating the passage of souls down through a river of time. Camille Wells created a very expressive atmosphere – from feelings of loss and sorrow through to ultimate peace and serenity. Although the work was new to both conductor and orchestra they melded with the soloist and accompanied in an empathetic and supportive way. Congratulations to orchestra and soloist for introducing the audience to an intensely emotional work, rather reminiscent of Vaughan Williams.

Mendelssohn’s Third symphony, the Scottish, was the final work. Finished some years after his first visit to Scotland when he began sketches on parts of it, it was dedicated to Queen Victoria. There was plenty of opportunity for impressive work from clarinets, flutes, oboes, bassoons, horns and trumpets. The strings were in sparkling form – good intonation and attention to phrasing and wonderfully sonority in Mendelssohn’s majestic and dramatic themes.

The conductor and orchestra received warm and well-deserved appreciation. Rogan Falla