BACH MUSICA NZ
Music and Artistic Director: Rita Paczian
2024 Concert No. 2, Sunday, June 9th 2024 , Auckland Town Hall
Dvorak
Mass in D-Major, op. 86
Romance in f-minor, op. 11
Slavonic Dance No. 2, op. 72
Ralph Vaughan Williams
The Lark Ascending
REVIEW
For their second concert in 2024, Bach Musica NZ attempted to lure its audience to the Town Hall on a wintry Sunday afternoon. To shift proceedings even further into the area of risk, Bach Musica NZ’s artistic director and conductor, Rita Paczian, had decided, to depart from its customary fare of baroque music. Instead, she offered the more contemporary music of the Czech composer Antonin Dvorak and the English Ralph Vaughan Williams.
With the compositions of his two Slavonic Dances op. 46 in 1878 and op. 72 no.2 in 1886, the young Dvorak achieved something of an artistic breakthrough. With the ‘assimilation’ of the folklore music from his native country, op. 46 is energetic, light and versatile. In contrast, op. 72 no. 2, well-known through many radio broadcasts and last Sunday’s concert item, is insightful, contemplative and of more sombre connotations. Exquisitely executed by the Bach Musica NZ orchestra, it seemingly struck the audience’s contemplative mood in their expectation of things to come.
In Dvorak’s f-minor Romance Op 11, Bach Musica NZ’s concertmaster and soloist, Yanghe Yu, took the reins. Skilfully guided by the conductor, he led the orchestra into the realm of romance, orchestral richness and tenderness. This process was accompanied by particularly expressive celli, double bass, flutes and woodwind-instruments. Yu’s performance, featuring sensitive phrasing par excellence and the captivating contrast of restful play versus passionate fortissimos, was accompanied by a super-attentive orchestra. It was truly enjoyable music-making.
As a result, audience-expectation reached crunch-point, whilst anticipating Yu’s solo-violin-performance of Vaughan Williams’ “The Lark ascending”. In the past, this Vaughan Williams composition has repeatedly been the favourite amongst broadcast-audiences in several RNZ-ConcertFM-countdowns. It was therefore well-known. Hence, a pronounced audience-scrutiny turned into an expressed responsibility for the soloist.
Yanghe Yu did not disappoint. Instead, it seemed his play reached yet another level. Believingly and most sensitively illustrating on his instrument an endearing creature’s ascension into the free and open sky, he luxuriated in sublime, sweeping cadenzas and electrifying double-stop-play. His play was both – carolling and haunting. Eventually, his extended departing cadenza against the background of a total orchestral ‘tacet’ mesmerised the audience into a complete silence. Its extended duration was so intense, that one could have heard a needle fall to the ground.
Following the concert’s intermission, its second part saw a return to Antonin Dvorak – and to his rarely performed Mass in D-Major, op.86. Now back to their usual orchestral strength and joined by the chorus, Rita Paczian and Bach Musica NZ seemed to prepare for even more exuberant offerings. The chorus’ electrifying ‘Kyrie Eleison’ entry delivered a poignant statement along those lines. In their “Quoniam tu solus sanctus” chorus and orchestra once again shone in their exquisite strength and expertly repeated the process in the Mass’ following, numerous movements. The Credo’s last chorus “Qui locutus est per prophetas” created a lasting impact.
Once again, Rita Paczian had a successful hand in assembling a formidable ensemble of soloists.
Alto Kate Spence contributed distinctive warmth and depth through the luscious timbre of her cultivated voice.
Tenor Taylor Wallbank came with a well-modulated voice, but had to overcome initial nervousness. Eventually, he distinctively shone, however, during the concert’s progress.
Joel Amosa’s bass was profound and authoritative – a beautiful voice, an admirable and solid foundation for the soloists’ ensemble-performance.
Soprano-soloist, Emma McClean, Christchurch, appeared to be a newcomer to the larger concert-stage. Her voice projected distinctive beauty, lustre and unrestrained passion. This was the very first time that she sang with a full chorus and orchestra. It can most probably be assumed, that her soprano-solo-performance with Bach Musica NZ in Dvorak’s D-Major Mass was something of an artistic break-through.
Initially composed for organ, small orchestra and chorus, Dvorak’s D-Major Mass is a difficult work. Whilst in their presentation last Sunday, chorus and orchestra once again demonstrated overwhelming musical competency and intelligence, a few particular challenges, however, must be mentioned: Double reed oboe specialist Alison Jepson had to operate enduringly in the difficult, lower registers of her instrument. She did so admirably. This also applied to the highly dependable and expressive bassoons of Philip Sumner and Craig Bradfield. Luca Manghi’s and Christine Kim’s flutes added glamour. The trumpets of Orson Paine and Peter Reid added musical pageantry and Shane Currey’s timpani was impeccable and sensibly phrased.
As ever, conductor Rita Paczian artfully and competently master-minded proceedings, driving her concert yet again to an overwhelming finale. She demonstrated another remarkable Bach Musica NZ characteristic: that of pronounced and assured artistic versatility.
Defying the miserable winter outside, this ambitious concert ended to the “bravo” calls of a packed Town Hall audience.
Rainer W. Buhmann