Scotch College

Promusica 2002

It is not often that a classical music enthusiast can attend a concert of three well-known works and be fortunate enough to hear all three done justice, but such was the case this afternoon. What was particularly remarkable about this event was that all of the solo performers are students.

The programme opened with La Calinda, a brief but delightful overture from the opera Koanga (1895-7) by Delius, just the thing to set the mood for an afternoon of great music from the Romantic repertoire. Sumptuous string playing, combined with some exquisite sounds from the woodwind section and fine support from the brass, gave this sunny piece a warmth and vitality one could quite happily bask in.

Dvo˙rák's Cello Concerto, which followed the overture, is one of the warhorses of the cello repertoire. Today it was given an interpretation that was authoritative, exciting, lyrical, passionate and above all - fearless.

Ye Lian He (a Year 12 Scotch College student), who is undoubtedly one of the rising stars in the classical music world, seemed completely uninhibited by the fact that in tackling such a big work he is setting himself up for comparison with all the cello greats.

Ye Lian convinced this listener that he has made this piece his own.

His very first entry set the tone for the first movement. Energy and intensity were the dominant features, but equally compelling were the lyrical phrases, so beautifully shaped. The second subject in particular demonstrated a mature musical understanding, with a complete change of mood to one of contemplation and introspection that was almost ethereal. But it is the agitato passages that the audience will probably remember best. Ye Lian attacked them with flair and gusto, his left hand fingers and bow arm performing gymnastics that left one breathless and wondering if he could possibly keep up such a display, intonation nearly always perfect and even the famous octave double stops coming off with ease.

The second movement brought a welcome change of mood, and Ye Lian was able to demonstrate that he is as comfortable with long, lyrical phrases as he is with tempestuous runs and arpeggio figures. The opening theme was played with enough tender pathos to melt the hardest heart and exquisitely contrasted with haunting melodies in the woodwind section.

The last movement contained some uneasy moments when Ye Lian appeared to forget that an orchestra accompanied him, driving the tempo and leaving some sections to trail him.

Fortunately, Pro Musica conductor, John Ferguson, ever professional, was able to stem the tide and orchestra met soloist at agreed spots more or less safely. The passion and intensity in the last two notes on the cello, F sharp to B, was a reminder that here is a soloist to be reckoned with.

Lin Jiang (a Year 11 Scotch College student), who performed Glière's Horn Concerto, is a less intense personality than Ye Lian He, but no less convincing as a performer.

In his reading of this masterpiece for the horn, one got the distinct impression that Jiang is a musician who has a genuine respect for the composer. He simply follows the instructions, and lets the music speak for itself. What one observes about Jiang's playing is the quality of his sound. We do not usually think of the French horn as a colourful instrument.

We associate it with hunting themes and with mellow, haunting motifs. Jiang demonstrated that there is far more to playing the horn than this. What a wealth of colour he produced from his instrument! One moment it sounded clear as a bell, the next it was hushed, then it was warm, then it was sombre. At one moment, in the joyful final movement, I could have sworn the horn was laughing.

The first movement of the Gli`ere provides ample opportunity for variety in sound. Jiang was particularly impressive in the cadenza, where clear single notes contrasted finely with rapid and perfectly articulated runs. In the second movement the first entry was thoughtful, the tone mellow, but the second had more attack to suit the brooding theme. Intensity was achieved with marvellous crescendo passages, demonstrating superb breath control in long phrases. The last echoes, where the performer must produce a muted sound by placing his hand in the bell, had an extraordinary effect. This is such a difficult technique, requiring great skill if the notes are to come out distant, but clear, rather than as squeaks and squawks. This is the first time I have had the pleasure of listening to Lin Jiang, but I have to agree with another young Scotch student, who once told me, 'Lin is more than a genius. He's a freak!'

What better way to end a recital of romantic music than with that most versatile of instruments, the human voice? And what a voice! Rich, warm, weighty, with a texture as round as a good red wine.

Tania Ferris, a Master's student at the VCA, has a voice as ravishing as her appearance. She performed Elgar's perennial favourite, Sea Pictures, with a depth and understanding worthy of a seasoned vocalist twice her age.

Each of the five songs was lavished with a tenderness that was evocative and appealing. Ferris' strengths lie in her magnificently supported voice and in the liquid sophistication of her phrasing.

Occasionally, she sacrifices diction to a round and beautiful sound, and it would perhaps have been nice to hear one or two of the songs given a more varied character. However, the beauty of her voice and her obvious love for the music sweeps you along regardless. This work presents some great difficulties, in that the vocal part can sometimes sound fragmented if the singer does not have the ability to blend with the orchestra one moment and soar above it the next. It is also essential that the vocalist be capable of projecting above the orchestra without forcing the sound and becoming harsh. Ferris did these things brilliantly.

The three soloists were today given fine support by the Pro Musica chamber orchestra, whose sensitivity and commitment puts some of our other small Australian orchestras to shame. John Ferguson is an experienced and flamboyant conductor, but one instinctively divines that he understands this key element: it is the conductor's job, when performing programmes like this, to make sure the soloist shines. Today, Mr Ferguson allowed his young and very talented soloists to do just that.

Teresa Lavers