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

Chairman’s Annual Report for May 2015

Chairman’s Report for 2014-2015 SCMO May 2015

This past year has been a very successful year for the orchestra. The momentum from all the hard work and improvements the committee has done over the past 2-3 years is coming to fruition.
One of the most obvious outcomes is the growth in our audience numbers at our concerts this past year, with our 2014 October concert setting a new record. With good audience numbers comes a real sense of confidence and pride in the orchestra and I suggest that this is now felt by all players. Evidence of this includes an increase in tickets sold by players, an increase in players that have paid their membership subs for 2015 and a very good attendance at the end of year dinner last November.

The increase in audience numbers comes down to the very hard work of Mary Greig-Clayton, our PR and Marketing person. Mary has a real passion for the orchestra and our success, and is determined that we will not remain Auckland’s best kept musical secret. Mary’s network of contacts continues to grow. The results can be seen at every concert and it is a delight to feel the buzz of a large audience in the church and to perform in front of one. Thank you Mary.

This confidence continues to show with the very exciting line up that we were able to secure for our 2015 Subscription series including 2 cello concertos, 2 soloists from the NZ String Quartet, 2 soloists from APO, and the Brahms violin concerto. Great work by Michael McLellan and the artistic committee and Michael Joel, our Musical Director, has seen this all come together and in record time. Thank you to all involved.

In 2014 we welcomed back ‘the piano’ to the church for 2 concerts. Works for piano are expensive to hold and we were fortunate to have the assistance of Epsom Girls Grammar School and David Guerin in supplying the pianos for these concerts. The ‘all Beethoven’ concert was a great success and we have David Guerin coming back to play Mozart with us in 2016. There were also two concerts that provided a performance opportunity for young performers. Our May concert had students from the University of Auckland playing works by Bach and Mozart and our October concert featured the Auckland Youth Choir performing the Faure Requiem.

In August 2014 we had our first in-house concert which was a great success and very well received by both players and audience. This was held as a result of feedback from players expressing a wish to play with the orchestra and it developed from there. It was lovely to be able to offer wine and cheese to all after this one hour concert and make it a bit of an occasion and I suggest that this will certainly be done again.

The initiative for this year will see us be involved in a ‘composers’ workshop’ in conjunction with SOUNZ. Louise Webster is the focal for this project. Details are still to be finalized, but this is another great opportunity to create a platform for us to perform different works, to different audiences and become involved with our extended community. This will culminate in a one hour concert on the 02 August in the church.

In late March the orchestra played to 2000 plus school children over two days, at the Southern Cross Campus and Mt Roskill School. Feedback received from the schools involved has been very positive indeed. We successfully applied for funding from the Auckland Council Creative Communities Scheme for these school’s concerts. They are an initiative of David Kayrouz and are proving to be an important part of our year, both as an income stream and being involved in our community. Thank you David for your passion and all your hard work in organizing these concerts, and making them happen.

Two other projects finalized within the past year have been our website and the storage of our timpani in the church. Our website was rebuilt and transferred to another host, and it is now up and running with the focus being as an information source. The church kindly agreed to allow us to build some shelves to store the 4 timpani and assorted bits and pieces in the area in and behind the kitchen. The shelving unit was donated to us by Dexion NZ. Thanks to David K and Michael McL for putting the shelving unit together. What a relief it is to walk everything around the corner.

I would like to thank everyone on the committee for their hard work and support this past year. The orchestra continues to be in very good shape and with the growing confidence of its members and audience we will continue to achieve great things. Planning for our 2016 season is already underway, communication with all players is a focus (player’s newsletters and Thursday rehearsal chats) and all opportunities will continue to be sought and welcomed.

Rebecca Stichbury
May 2015

Review of March 2015 Concert


There was a very full audience for the opening concert of the St Matthews Chamber Orchestra season. The big audience was clearly attracted by a well-chosen programme. The first item, Douglas Lilburn’s Overture “Aotearoa”, was written when he was a student at the Royal College of Music, London studying composition under Ralph Vaughan-Williams and the work had its premiere in 1940 at His Majesty’s Theatre, London. This work has an ethereal beginning with woodwind introducing strings which then weave through some spell-binding themes. The orchestra made the most of the contrasting orchestration which demonstrated some of the influence that Vaughan-Williams, Lilburn’s teacher must have had on him. This work formed part of a very cohesive programme which was really appreciated by the large audience who gave it well deserved applause. The work was 8 minutes long.

The second offering was the popular Variations on a Theme by Haydn, composed by Brahms. This piece of some 18 minutes is known universally as the St. Anthony Chorale. After introducing the simple melody, Brahms then elaborates on the theme with eight contrasting variations, each featuring the various sections of the orchestra, with extra special attention to the woodwind sections, including contra bassoon. This well-known work was given a fine rendition by all sections of the orchestra. During the work, I could not help playing the main theme over in my head as I listened to each variation and it was this that made me appreciate what a finely orchestrated work Brahms had done with such a simple theme. It was as if a master had taken the work of another master and worked miracles with it. Brahms originally wrote two versions of these variations, one for two pianos and the other for full orchestra. Each had eight variations and a finale. It appears that there is some doubt about the original St Anthony being composed by Haydn and it is often described as being “attributed to Haydn”. I see no problem with this as like most of the audience, I am prepared to accept and enjoy the music for what it is, a truly brilliant orchestrated arrangement of variations by Brahms for orchestra.

After the interval, we heard an enthralling performance of one of the world’s most celebrated violin concertos. The soloist Simone Roggen was beautifully dressed in a simple short-sleeved black wool top and a long full gold satin skirt. Her elegant appearance was matched by conductor Michael McLellan who was also impeccable in a white tux and black tie. Playing an 1838 vintage Italian violin, Simone conquered the audience with her warm tone and stylish technique. Originally from Auckland, Simone did spend some of her early years in Switzerland, where she played with Hans Fitzti in an Appenzeller Band from the age of 8. She returned to Auckland to study with Mary O’Brien at Auckland University. Now based back in Switzerland, she is well established on the world stage and we are privileged to have her perform here for the St. Matthews Orchestra. The Brahms violin concerto is among the leading six violin concertos of the world. Its popularity is world-wide and of course when you opt to play this concerto you have to give a flawless performance otherwise you will not be accepted. Simone’s performance was truly brilliant and the audience recognised it with sustained applause. Her performance of the Joachim cadenza was especially well performed and her double stopping technique was breath-taking. Performances like this are few and far between and deserves to be enjoyed by the widest possible audience.

Robert O’Hara

Review of October 2014 Concert

A capacity audience gathered at St. Matthews for the final concert in the 2014 scheduled programme, on a lovely spring day that made the heart glad to be alive.  The first work featured a composition from one of the members of the orchestra, Violist, Alison Talmage, who works as a music therapist at the Raukatauri Music Therapy Centre, and the Auckland University Centre for Brain Research.   Although the programme did not say so, I believe this was the premiere performance of the work.   The music was somewhat introspective and apparently drew inspiration from a World War 1 poet Wilfred Owen.   Although the music was modern in the sense that it explored new tonal harmonies, it did not seem to settle into a specific key which left me feeling somewhat frustrated at the end. I feel sure that on second hearing I would gain more from the piece than I did at first. The St Matthews Orchestra is to be commended that it programmes new works like this, and gives exposure to the music of contemporary composers.   We can all learn from hearing these works and I would like the opportunity to hear this work again.

The remainder of the programme was devoted to French composers, and first up was Ravel’s well known Pavane pour une infant defunte.   A Pavane is a stately dance and Ravel’s first theme features the horn in a somewhat melancholy mood with the same theme repeated by a plaintive oboe and carried on by singing strings and harp.   The orchestration grew in volume and intensity and finished up playing in fortissimo at the conclusion.   Ravel dedicated the work to his patron, Princess Edmond de Polignac and suggested that listeners imagine that the work would have been a dance that the little princess (as painted by Diego Valezquez) might have danced.   This was delightful music and much appreciated by the audience.

The next item was Faure’s Suite from Masques et Bergamasques in four movements, Overture, Menuet; Gavotte and Pastorale. Originally commissioned by the Prince of Monaco as incidental music for a one act presentation, Faure later assembled the four Pieces to form this orchestral suite.   This featured some cheerful melodies and lovely writing for the strings in the menuet, and later some stately music in the gavotte. The strings excelled themselves and conductor Michael McLellan enjoyed bringing forth some crisp playing from the orchestra. The harp featured in some soulful playing and the orchestra members clearly enjoyed themselves performing this elegant music.

Following the interval, the Auckland Youth Choir assembled behind the orchestra to perform the Faure Requiem.   Audience members were provided with the Latin words of the work together with an English translation, and were able to follow the choir and soloists as they sang their way through the work.   The introduction and Kyrie were beautifully sung by the choir, with great contrasts in volume which gave added point to the text. Baritone Benson Wilson featured in the Offertorium and his ringing voice gave authority to the words. He was especially effective later in the Libera me and he was able to stress the gravitas of the prayer seeking liberation. Soprano Hannah Bryant was also most eloquent in her solo performance of the Pie Jesu hich is preceded by the Horn Section in declamatory fashion In the Sanctus.   As far as I am aware this is the first occasion in some years that the Orchestra have featured a choir in their programme in St. Matthews Church, and it was a welcome departure from the usual. The Auckland Youth Choir are a superbly disciplined group who sing as one voice and it was a joy for audience members to hear them in such a wonderful work as the Faure Requiem.   Clearly we have a group of young singers who perform music to a very high standard, and who are well trained by their Musical Director, Lachlan Craig.   Also deserving of mention was the discrete organ continuo provided by Timothy Carpenter, and the unique contribution of the two harpists, Melody Lin and Emilia Guo.   On the podium Michael McLellan again showed sensitive control of the orchestra, and also gave positive direction to the choristers throughout the requiem.

Following the programme audience members were invited to share wine and cheese and the 2015 concert programme was unveiled.   It is a great pleasure to see former solo performers like Simone Roggen (violin), Camille Wells (oboe), James Tennant (conductor & cellist) Gillian Ansell (viola) and Holly Mathieson (conductor) who have previously featured in S.M.C.O. concerts returning to delight audiences in 2015.   The Orchestra and its following go from strength to strength.       Robert O’Hara

Review of September 2014 Concert


The September program featured all English composers and first up was a tuneful concert march by contemporary Englishman Vince Harris which was the final movement of his Rodney Suite.  A bassoonist who had a career with the Royal Marines as Bandmaster and then as a Chief Instructor at the Royal Marines School of Music, Vince’s explanation of this march was to mirror the activity and fun of the Kowhai Festival, and the lyrical theme to represent the beauty of the Region.   The March was bright and breezy music that reminded me of Eric Coates, and was very well received.   Vince joined the bassoon section for this concert and took a bow to acknowledge the applause.

The next number, George Butterworth’s Shropshire Lad Rhapsody was by contrast much more sombre.  Violas introduced a sad melody that was somewhat reflective of the horrors of World War 1.   The rhapsody moved quietly forward to build to a climax in which the brass section echo the poignant melody and with the timpani drum beats dominating  the finale.  Scored for full orchestra, this work gave some eloquent music to the bass clarinet and the cor anglais, and featured some interesting writing for the string sections as well.    Sadly the composer died in the battle of the Somme aged just 31yrs.

Gerald Finzi’s clarinet concerto featured soloist James Fry who has had a distinguished career as a Principle clarinettist with several orchestras in Australia and New Zealand.  Finzi lost three older brothers during World War 1 and this is said to have reflected in the darker mood of some of his music in comparison with his contemporaries.  In this concerto scored for clarinet and strings the soloist is given some music that demands virtuoso performance, especially in the final movement.   The Adagio movement featured some dreamy music of restful quality with the soloist soaring above some delightful string playing in legato passages.   In the final rondo movement, the soloist really demonstrated his consummate virtuosity, and the concerto finished on an optimistic note.   The soloist was given a rousing reception by an enthusiastic audience.

The best known work, Elgar’s “Enigma Variations” was saved till last.   For some people who know Elgar only as the composer of “Land of Hope and Glory” and the Pomp and Circumstance marches, it might seem that he is doomed to be known as the creator of music of “jingoistic pomposity”.     As Master of the King’s Music he was obliged to compose works for various State events, and he duly did so, serving up music that was appropriate to these solemn and often grand occasions.   However he was also the composer of some lyrical music of touching beauty, for example, “Salute D’amour” which he composed for his wife Alice as an engagement present.    He too was affected by the tragedies of World War 1 and his moving cello concerto is a lasting testament to his feelings about the horrors of war.    His “Enigma Variations” after years of hard work, turned out to be an overnight success in 1899, and he finally achieved the accolades that he deserved from an adoring public.   Clearly conductor Michael Joel has an affinity with this work, as he directed it with great care and precision, bringing out the features of each of the variations with great clarity.   The orchestra too played the work with attention to detail, especially  Helen Taber, whose fine viola solo featured in variation 10 and Michael Weiss, whose eloquent cello solo featured in variation 12.  The audience showed how much they appreciated the orchestra’s performance of this wonderful work.

The final concert of the St. Matthews Chamber Orchestra on Sunday 19th October will feature the Auckland Youth Choir conducted by Michael McLellan in a program featuring French composers, Ravel and Faure.          Robert O’Hara.


Review of August 2014 Concert


The August concert of the St Matthews Chamber Orchestra was originally an “All Beethoven” programme, and although the celebrated Triple Concerto was planned, this had to be abandoned when the Ben Morrison trio was no longer available. I am reliably informed that Ben Morrison, (one of New Zealand’s most talented young violinists) has accepted a position playing with an orchestra in Vienna.    Its replacement with the “Emperor” concerto featuring piano soloist David Guerin was a serendipitous choice.

The opening offering, “Distant Voices” was a short piece composed especially for the S.M.C.O. by Louise Webster who is the orchestra’s principle second violin.  She has previously written for the orchestra and her explanation of the title made it easy for the audience to hear it with greater insight.     “Distant voices “is intended to reflect the way in which our forebears speak to us through the stories, writings and objects that they leave behind.   The composer was motivated by “the centenary of World War One as the horror and pointless suffering emerges from old letters, journals and eyewitness accounts.”      The opening used the poignant sound of the clarinet playing a sombre melody with muted strings accompanying.  The mood of the piece throughout was sad and melancholy and obviously intended to convey the composer’s sadness at the futility of war.   This was a most appropriate piece to perform to mark 100 years since World War One broke out.    I suspect that in her other profession (She is a paediatrician at Starship Children’s hospital) she is daily confronted with suffering and sad situations from which she could take musical inspiration.    I look forward to hearing more of her compositions in future.

Beethoven’s Coriolan Overture was written in 1807 intended for Heinrich Joseph vin Collin’s tragic play “Coriolan” which was about the ancient Roman leader Gaius Marcius Coriolanus.   The structure of the overture follows the course of the play in a general way, commencing with some emphatic declamatory chords followed by a rhythmic melody that is developed further.   The first part in a minor key reflects Coriolan’s war-like attitude (he is intending to invade Rome) while later a more gentle theme in a major key tends to suggest a softening in his attitude, and when he finally recognises his mother’s pleading not to invade the City, he gives in to her pleas .    He has however led his army to Rome’s gates and cannot turn back, so he resorts to killing himself.     This overture was a chance for conductor Michael Joel to demonstrate his control of the orchestra and its dynamics and he did so to perfection.

The “Emperor” concerto with David Guerin as piano soloist was a wonderfully satisfying work.  In three movements, it does not follow convention in that after the initial chord, the soloist launches straight into a lengthy and quite brilliant cadenza, a solo showpiece which normally is presented later in the usual piano concerto format.   David Guerin stamped his authority on the work from his first chord, and continued throughout to charm the audience with his crisply clear playing of runs and his affinity with the orchestra.  His judicious use of the pedal throughout the work helped to heighten the drama of the piano part, and demonstrate his keyboard skills.    At times the work featured the cellos and basses playing pizzicato against the legato bowing of the violins and violas with the piano soloist towering over all.   This movement showcased Beethoven’s ability to introduce a theme and then develop and adorn it with so many subtle variations.  Suddenly the Bassoon heralded a key change and led to an impressive sweep into the final movement which kicked off without a break.   The final Rondo movement produced some wonderful pianistic effects from the soloist, who dashed it all off with nonchalant ease. Guerin got a clamorous ovation from the audience and seemed to be modest in his acceptance.   The Orchestra too got their share of the applause and deservedly so.

The final work was Beethoven’s Seventh Symphony.   It premiered in 1813 which marked a high point in Beethoven’s popularity.  On that same occasion the appreciation of the symphony was somewhat dulled by the “Battle Symphony” (or Wellington’s Victory) a showy work that Beethoven did in collaboration with Johann N. Maelzel (the inventor of the Metronome, who also made Beethoven’s ear trumpets).  In the Seventh Symphony, Beethoven reverted to a slow introduction in the first movement which is a long and dignified passage which morphs into a bouncy 6/8 rhythm which carries on to the end of that movement.  The allegretto movement is a slow and somewhat sombre march led by the cellos and double basses which is later joined by a plangent obbligato.   It moves inexorably on to finish rather wearily on an unresolved minor chord.     In the following Scherzo an exuberant melody Is introduced with some clever changes of key and the scherzo and trio is repeated leading to the final movement.    Two huge chords introduce the final movement which launches into a dance-like rhythm in which the timpani play an important role.    This symphony has on occasion been dubbed “The Symphony of Dance” and one can see why especially in this final movement.   The orchestra for this concert boasted four double basses and eight cellos which enabled these sections to command audience attention especially in the final work.

The venue was well filled for this concert and clearly audience appreciation is leading to more supportive attendance, which the players really deserve.   The next concert on Sunday 14th September will feature Clarinet soloist James Fry in the Finzi Clarinet concerto, and also Elgar’s widely popular Enigma Variations.   Robert O’Hara

Review of June 2014 Concert


The June concert programme spanned four centuries, with the opening short piece for orchestra “Waitemata”, by 22yr old composer, Nelson Lam. A recent graduate of the Auckland University School of Music , Lam has won several Awards and Prizes for his compositions. This atmospheric piece was intended to convey his impression of Auckland Harbour shrouded in fog with shapes appearing and disappearing, finally opening out to reveal the sparkling beauty of the harbour in sunlight, with the indistinct horizons of the gulf in the distance. For this piece there were two oboes on either side of the orchestra with two horns in the middle. It opened with muted
strings playing softly with the woodwind and horns adding colour and with the volume building gradually to a climax with wind chimes adding further colour to the sound picture. This was well received by the audience who appreciated the composer’s explanation of the music that had been influenced by his observation of the Waitemata Harbour.

In total contrast we then heard the Brandenburg Concerto No 5 in D Major by J.S.Bach, which featured three talented young soloists from the Auckland University Music School. With Music School Professor John Elmsly conducting, the three soloists, Hanny Lee (violin); Abigail Sperling (flute) and Eddie Giffney (harpsichord) delivered an exemplary performance of this well-known work. With a smaller orchestra of 35 players well suited to the baroque programme, the clarity and precision of the music was fully realised by the conductor and soloists. At times the three soloists were accompanied by a string quartet, consisting of the leaders of each string section playing, and then with the full orchestra entering to add emphasis and complete the ensemble. In the Allegro movement the harpsichord underpinned the other two soloists and towards the end launched into a lengthy solo cadenza in which Giffney was able to take some liberties with the tempi, which until then conductor Elmsly had kept very strict. The second movement was a showpiece for the trio of soloists, and Bach’s sparkling contrapuntal writing came to the fore in the final movement with soloists melodies intertwining with a magical clarity.

Haydn’s Symphony number 44 known as the “Trauer” was next. The first movement was played crisply and with conductor clearly had a real feeling for the music. He was rewarded by some of the best string playing that the orchestra has produced, and the audience was able to appreciate the dynamic contrasts that Haydn had intended, with the slow movement especially expressive. The final Presto movement highlighted the agitation and urgency that the composer intended to convey, and here too the string section excelled themselves and the symphony was brought to a satisfying conclusion. Haydn was a master of symphonic composition and this is typical of his ability to write brilliant counterpoint contrasting melodies in such a way as to give real audience satisfaction.

The final item was Mozart’s Sinfonia Concertante in E Flat which was in effect a concerto for violin and viola. Soloists; Joella Pinto (violin) and Alexander McFarlane (viola) presented stylishly; she in a pale mauve dress, and he in a black dinner suit and they shared the podium with aplomb. When this piece was composed it was very fashionable to feature two soloists and in this work Mozart gives equal prominence to both, at times giving the leading melodic line to one soloist, while the other follows, repeating the phrase an octave apart, and with soloists alternating in introducing the melodic theme. Soloists and conductor clearly displayed an affinity with each other and we were treated to a performance of exceptional precision. This is music in its purest form and I am sure that the audience appreciated the opportunity to hear performances from such a talented line up of young students. The St Matthews Chamber Orchestra deserve credit for offering the opportunity to these talented students to gain experience in performance at this level with a full orchestra, something that is not easy to come by.
The next concert on 17th August, is a Beethoven programme featuring pianist David Guerin with Michael Joel conducting. With the Coriolan Overture, the Emperor Concerto and the Seventh Symphony this is a concert not to be missed. Robert O’Hara

Review of May 2014 Concert


There was a good audience for the St. Matthews Chamber Orchestra’s second concert in the 2014 season. The programme offered something for everyone, with Prokofiev, Mozart, Sibelius and the first performance of a short work by the young Auckland composer, Ryan Youens.

The ten minute “Overture on Hebrew Themes” by Serge Prokofiev opened the programme. Originally composed for Piano, Clarinet and string quartet, when it was first performed in 1920, in New York, the composer later orchestrated it in 1934 and it was this version that we heard played by 59 members of the orchestra. The music is unmistakably Jewish in style being mainly in the minor key with the solo Clarinet playing in the lower register in lugubrious manner accompanied by rhythmic strings. The Piano also added an extra dimension to the orchestration, and the flow of the work alternated between being mournfully sad, and joyous and happy. Conductor Peter Thomas quickly demonstrated his command of the score and his clear direction of the orchestra.

The second item brought featured soloist Matteo Napoli to the Piano to give a sensitive performance of Mozart’s Piano Concerto No 21. This is a demanding work with the ornate piano score matching the orchestral support in brilliant fashion. The gentle beginning of the concerto featured the woodwind section of flute, oboe and bassoon, who ushered in the solo piano in stylish fashion, and the movement continued in majestic style. Mozart’s music is always neat and tidy in its form and the soloist’s attention to the intricate detail of the piano part was impressive. The Andante section of the work features a tune that has become known as the “Elvira Madigan” theme, after it was used extensively in the 1967 film of that name. Singer Neil Diamond also made use of the Mozart melody in his “Song Sung Blue.“ This movement gave the soloist the chance to shine and he took it in eloquent fashion soaring over the orchestra with ease. The final movement Allegro vivace assai was performed with great flair as the music deserved, and moved to an exciting and exuberant end. The performance was rewarded with an enthusiastic ovation, and the pianist was called back three times to acknowledge the audience appreciation.

Following the interval, we were privileged to hear the first performance of a brand new work for orchestra composed by the young Auckland –based composer Ryan Youens. Titled “Unwrapped”, the programme notes indicated that the work was intended to explore the range of emotions that are experienced when unwrapping a gift. It did not require a vivid imagination to appreciate how much the orchestration conveyed the various feelings that might be felt in the course of opening a parcel containing a gift. This composition was tuneful and the orchestration skilfully managed and well balanced, so that every section of the orchestra had its moment of glory. We look forward to hearing more of this talented composer’s work in the future. He uses the Sibelius Composition System and has his own web site on (

Symphony No 2 of Jean Sibelius was the major offering. Again it seems that the composer’s words eloquently described the symphonic composition, when he wrote, “It is as if the Almighty had thrown down the pieces of a mosaic for heaven’s floor and asked me to put them together.” The music of Silbelius seems always to have a nationalistic dimension and the opening movement of this Symphony introduces fragments of melodies which he later forms into a powerful whole. The music is evocative of the rugged Finnish countryside and he paints a wonderful picture with all the orchestral colour at his disposal. Conductor Thomas had no easy task in plumbing the depths of this powerful work, but he was very clear in his direction and the various sections of the orchestra acquitted themselves in worthy endeavour. The percussion section featured prominently throughout the Symphony and deserve special mention, and at the conclusion, the conductor insisted on each section of the orchestral soloists taking their individual bows.

I was sorry due to my absence in the Chatham Islands, to have missed the opening concert of the series featuring Cello soloist Eliah Sakakushev-von-Bismark playing the Rococo Variations with Napier based conductor Jose Aparicio, and Symphonies of Haydn and Schubert. I understand that this was a very fine performance.

We can look forward to the next concert on 22nd June, which will feature a number of talented senior students from The Auckland University Music faculty.
Robert O’Hara


An enthusiastic audience gathered at St Matthews in the City on Sunday 18th August for what proved to be a unique experience for many. The opening item was Douglas Lilburn’s Drysdale Overture written in 1937 when he was a student at the Royal College of Music, London. The overture was composed in response to a challenge from his professor, Ralph Vaughan-Williams. The work was dedicated to the composer’s father Robert Lilburn and celebrates the family farm and estate north of Hunterville. The music is evocative of New Zealand rural landscape and in fact I felt that the musical style had “Vaughan-Williams” stamped all over it. Clearly his teacher had a definite influence on his early compositional style.

This is music that is easy to listen to despite the occasional dissonance and I could identify with Lilburn’s observation that composing the overture left him with the “image of Tom Sawyer and Huckleberry Finn drifting dreamily down the Mississippi and wondering if the Stars above them had been made or only just happened”. Lilburn’s overture has been performed a number of times by the APO and the NZSO and a recording of it is available conducted by James Judd. It mostly features a pulsing melody that drives onwards building up to a very satisfying climax. The orchestral colour often suggests elysian fields and a pastoral setting. Throbbing strings provide a backdrop for solos from both the brass and the woodwind sections. The cello section features in an eloquent solo with lush sweeping melody that moves on to a fitting climax.

Next up was the very talented Japanese marimbist Yoshiko Tsuruta, who along with the conductor Justus Rozemond was making her debut with the St Matthews Chamber orchestra. The marimba is a very large solo instrument (longer than a concert grand piano) with a 5.5 octave range. It has rosewood keys of varying length and thickness with the sound of each key having natural amplification through individual hollow tubes of varying lengths and diameter. The player uses mallets of varying degrees of hardness or density to strike the keys and produce the music notes.

The soloist holding two mallets in each hand gave us a wonderful demonstration of her virtuosic skills, in the performance of Emmanuel Sejourne’s Concerto for Marimba and strings. Sejourne a French composer and percussionist was born in 1961 and is now the Head of the Percussion Department of Strasbourg Conservatory of Music, and composed this concerto in 2005. For a modern work it is very tuneful and easy listening for the first hearing. The String orchestra opens the work with a gentle and rather plaintive introduction and then leaves the soloist to open up with a fiery cadenza that features a brilliant display of keyboard skills which range from the bottom notes to the very top, and also demonstrate the wide variation in volume that is possible for the player. The cellos introduce the main theme and the soloist breaks into dance mode weaving a playful dance theme, with string accompaniment.

For the first movement the soloist used softer mallets which produced a sweeter tone. She alternated with the strings at times playing the melody, and at other times the accompaniment. This worked well throughout the work and at all times we were given a wonderful demonstration of what this unique instrument is able to accomplish in the hands of a brilliant exponent. The conductor in this work gave meticulous attention to the co-ordination of the orchestral score with the soloist, not made easy by the fact that she was directly behind him and not alongside (as is usually the case with a marimba concerto) Using harder mallets for the second movement, Yoshiko was able to produce louder and even more percussive notes from the instrument and, at all times, totally dominate the tonal harmony produced from the string ensemble. There was a return to the theme introduced in the first movement which ended in a spectacular flourish. She got a well deserved round of applause from an appreciative audience.

Following the interval, we were treated to a fine reading of Brahms Symphony No 2 in D Major. Initially this work was given the nickname of “Pastorale” though this is now rarely used. It might be more fitting to label it “Viennese” because it was so well received by the citizens of that musical city and in the first movement Brahms gives something of a tribute to Johann Strauss and the Viennese waltz. History tells us that Brahms proclaimed this work to be “a sorrowful and melancholy” work that merited the publisher Simrock printing a black mourning band around the score. However the symphony in performance is so buoyant and full of melodic incursions and mellifluous harmony that it could never be considered mournful or melancholic.

Justus Rozemond’s conducting of this symphony was energetic and he used his whole body to impart his wishes on the orchestra. With precise direction he was able to eloquently shape orchestral phrases to perfection and one sensed that members of the orchestra were very much at home with the tempi he adopted. The second movement written in sonata form introduces two themes, one played by the bassoons and the other by the cello section. Both themes remain in contact but developed and varied in different ways ending in a fugato. In the scherzo the landler theme is played by the oboe in an elegant melody accompanied by cello pizzicato, almost Schubertian in style. In this Symphony Brahms added a tuba to the trombones, and in the final movement marked allegro con spirito the brass features prominently in a robust movement that moves quickly to its dramatic conclusion. In acknowledging the applause, the Conductor paid tribute in turn to each section of the orchestra who were asked to stand to accept their rightful accolades. This was a fitting end to a polished performance. Reviewed by Bob O’Hara

Audience wowed by Schumann concert

The May concert presented by St. Matthews Chamber Orchestra was dedicated to Huko Kobe, a double bass player who has been a stalwart member of the Orchestra since its inception forty years ago. He died five weeks ago and will be sadly missed.

The opening offering was “Remember Parihaka” by New Zealand composer Anthony Ritchie. While Composer-in-Residence at Dunedin, Ritchie became aware of the colonial aggression against peaceful Maoris who were occupying their ancestral lands at Parihaka in Taranaki. Many Maori taken prisoner in the late 1870s and 1880s were shipped to Dunedin where they were held in caves secured by iron doors at Andersons Bay . (These caves are there to this day). Ritchie was much moved by this disgraceful episode in New Zealand ’s history, and this orchestral composition was his way of expressing his feelings about the matter. It opens slowly and quietly like a gentle sunrise with no percussion, and evolves into an impassioned statement with the woodwind section introducing a chant-like theme based on a Maori song. The intensity grows with several melodic ideas presented by the string section over a growing relentless bass and percussion building to a frightening climax. The work then returns to a peaceful conclusion tinged with sadness perhaps reflecting the passive resistance adopted by the Maori leaders Te Whiti and Tohu. It is commendable that the Orchestra elects to introduce the work of talented New Zealand composers in this way. This work was first performed by the Dunedin Sinfonia in 1991.

Clearly the highlight of this concert for the audience was the spirited Robert Schumann Concert piece for a horn quartet. The work demands some virtuoso horn playing from the soloists, particularly Nicola Baker who played a descant horn and together with the other three, Emma Richards, Carl Wells and Simon Williams gave a brilliant reading of this exciting work. This particular performance was the first time it has been performed in the North Island, and it has only been previously heard once in New Zealand with a performance several years ago in Christchurch . The three movements of the work are contrasting. The opening has great impact. Two declamatorychords from the orchestra bring in the horn quartet fortissimo in a brisk lively movement that shows the contrast in tone between the horns playing in the high register with the more mellow tone of the instruments taking the lower register.

The slow lyrical Romanze of the second movement contrasted cleverly with the liveliness of the introductory movement and we were treated to some of Schumann’s inventive melodic beauty. Schumann is best know for the many songs he wrote during his life and was a master of melody and the lied. The final movement returned to a very lively pace with arpeggios featuring and some brilliant inter-action between the four solo horns and the orchestra with conductor David Sharp in fine form. His direction of the orchestra in the accompaniment of the horn quartet provided judicious support at all times and when the work came to it’s brilliant finish, the audience erupted in eager appreciation of the virtuosity that they had just experienced. The four horn soloists were recalled three times to acknowledge the prolonged applause. Incidentally there is an excellent example of this work on You Tube by a Spanish orchestra conducted by James Judd.

The large work to conclude the programme was the Beethoven “Eroica” 3rd Symphony. This work was originally dedicated to Napoleon Bonaparte, but when he crowned himself Emperor, a disgusted Beethoven struck out the dedication on the score with such vehemence that his pen tore through the parchment paper. This symphony is popularly regarded as being the transition between the Classical and Romantic music periods. In size and emotional depth this symphony is truly “heroic”. The first movement kicks off with two massive chords followed by the eight strong cello section introducing the first subject in legato style. This is developed and built upon with massive syncopated chords at the end of the exposition which is broken by a dissonant horn solo that introduces the recapitulation. A solemn funeral march follows with the double basses performing a simulation of drum rolls. This is followed by an excited Scherzo. The word scherzo actually means “Joke” and Beethoven’s treatment of this is light-hearted but by no means frivolous. It features the horn section playing a triumphant fanfare, and the strings and horns unite to conclude the movement with a determined fortissimo. The final movement seems to capture the all of the moods of the former three, and features pizzicato strings played in joyful and almost playful variations. Suddenly it changes to a solemn chorale with some of the most moving passages ever written by Beethoven. David Sharp guest conductor from Adelaide was able to coax some very fine ensemble playing from the whole orchestra, and they seemed to rise to the occasion under his precise and sensitive direction. The end result was an excellent performance of this iconic symphony.

It is fair to say that a number of organisations provide sponsorship for this worthy orchestra, and I acknowledge their generosity in this review – Kirk Burnand (KBB) Music; Pub Charity; ASB Community Trust; Coopers Creek Wines; Sky City Auckland Community Trust; Presentations Design & Print; The Auckland Printing Company and the Chisholm Whitney Family Trust. Performances of this standard reflect intense rehearsals which with a visiting conductor have to be squeezed into a few days. Auckland can be truly proud of St Matthews Chamber Orchestra which seems to go from strength to strength.