Review: "Canberra Symphony Orchestra 2nd Subscription Concert". Dene Olding, violin. Stephen Barlow conductor, with The Australian Chamber Singers. Llewellyn Hall, May 28 1997

Conductor Stephen Barlow with wife Joanna Lumley, 1986.
Photo courtesy Daily Mirror

by Tony Magee

For this series, the orchestra was under the direction of visiting English conductor Stephen Barlow, whose publicity photo by the way, is a dead ringer for Mikhail Baryshnikov, but whose appearance on the night, revealed a huge mop of lush dark hair which he used to great effect whilst conducting.

The concert opened with Dvorak's symphonic poem The Noon Day Witch - an interesting work particularly for it's recurrent featuring of the woodwinds, both as a section and as soloists. David Nuttall's oboe solos were particularly fine, displaying a warm, mellifluous tone.

The choral setting of Samuel Barber's Adagio for Strings (which actually started life as the slow movement to his String Quartet in B minor) followed in a beautiful performance by the Australian Chamber Singers, coupled with his Violin Concerto with soloist Dene Olding. Mr Olding played with sensitivity and beauty of tone and was extremely well supported by the orchestra with skilful control of dynamics and tempos from the conductor.

The second half of the concert revealed the world premiere of Bright Meniscus, a one movement symphonic essay commissioned by the CSO from Australian composer Gordon Kerry, which programises the Canberra landscape. This work was inspired by a poem by J.R. Rowlands. Barlow's realisation of this work seemed highly convincing as he swept the orchestra from moments of full auditory onslaught to silken strings shimmering like moonlight. Does that sound like Canberra? Well, I guess it could be many cities, but it's certainly flattering to think that someone felt moved to compose music about our city. Received with delight and thanks.

In keeping with the theme of music that depicts earthly concepts, Debussy's La Mer closed the concert. La Mer explores the ever changing moods of the sea and Barlow's realisation of this great work was evocative, sensual and at times frightening, as he took both orchestra and audience on a wonderland journey through oceans deep and mysterious. Really great stuff.

Originally published in Muse Magazine (Canberra), July 1997