Sydney Symphony Orchestra – David Robertson, conductor; Diana Doherty, oboe. February 9, 2019.

Concert Hall, Sydney Opera House.  Mid-Circle (Seat L36, A$65.)

Program

Also Sprach Zarathustra – Symphonic Poem, Op. 30 (1896) by Strauss (1864-1949).

Spirit of the Wild – Oboe Concerto (2016) by Westlake (b. 1958).

The Warriors – Music to an imaginary ballet (1917) by Grainger (1882-1961).

The season opening concert for SSO was Friday February 8.  On their webpage both the February 8 and 9 concerts are grouped under the “2019 Season Opening Gala.”  As a tourist the best I can put on would be polo shirt, khaki pants, and black walking shoes.  So I decided to tempt fate with the second day of this Opening Gala.

The Program probably would appeal to an Australian concert-goer, as two of the three pieces were composed by Australian composers, one of them featured the SSO’s Principal Oboist; and who didn’t love the opening theme of 2001: Space Odyssey?

I had just heard on January 26 the Strauss piece performed by the NJ Symphony.  In my blog entry I mused how a description of the tone poem’s program would help my appreciation of the music.  My answer: just the listing the parts that comprise the music (see my previous blog for this list) helped a lot.  While I couldn’t make out where the music was some of the time, I could clearly tell “joy and passion,” “science” (a fugue), and “night wanderer.”  The last was obvious as we got close to the end of the 33-minute piece.

My experience with the NJSO performance was such that it gave me cause for concern.  The SSO certainly sounded more disciplined and confident than what I heard from the NJSO.  It really behooves them to help the audience understand what they are playing.

Nigel Westlake’s father was principal clarinetist of the SSO, and he started his musical career as a clarinetist before adding composition to his repertory.  Today’s piece was inspired by his visit to Bathurst Harbour of Tasmania, which he describes as “… a pristine waterway … within the Tasmanian Wilderness World Heritage Area.  Almost completely devoid of modern human intrusion, the area … is accessible only by boat, plane, or foot.  It is a magical patchwork of button-grass moorlands, heathlands and estuaries, bordered by jagged works, wild rivers and rugged coastlines.”  The four movements have the following markings: (I) quarter=96 – cadenza (II) quarter=96 (III) Tranquillo – Liberamente - quarter=96 (IV) Agitato.  Diana Doherty, SSO’s current principal clarinetist, met up with Westlake to demonstrate some of the techniques that could be incorporated into the piece.  This piece was first performed in 2017.

And that was what the piece sounded like.  I had seen rugged Tasmanian coastlines, and had to say what I heard didn’t evoke memories of the boat rides I took next to them.  To have music describe certain thoughts or landscapes always was somewhat arbitrary, as opposed to most people see a cigar when a cigar is drawn, for instance.

Diana Doherty and Nigel Westlake being acknowledged by the audience.  Robertson standing among the violins.  There were no woodwind instruments in the orchestra.

Percy Grainger was also an Australian composer; and his “imaginary ballet” suite is still awaiting its program.  There are eight distinct parts to this music, and Grainger lists the ghosts of male and female warrior types that are being described: Greeks, Zulus, Vikings, Amazons, Greenland women, Red Indians, Fijians, Polynesians.  In his writeup he used quite a few adjectives to describe these warrior which are not acceptable nowadays.

The section changes are relatively easy to catch, even though I could have mis-identified how the music connects with the actual group being described.

A much larger orchestra was used to perform the Grainger composition.

The SSO is a fine orchestra, controlled and precise under the direction of Robertson, who is serving as the music director for the final season.

I bought two extra tickets for Ellie and Kuau, and Anne would remain behind to babysit.  Ellie decided not to go at the last minute, so we had an empty seat.

As to the concert being labeled a gala?  Many did show up in suits and dresses, but being the summer, many were dressed casually also, and I certainly didn’t feel out of place.