When the music spoke of one thing particular

Canberra Strings’ octet performers. Picture: Peter Hislop.

Music / “Mendelssohn Octet”, Canberra Strings. At Wesley Church, Forrest, October 23. Reviewed by ROB KENNEDY.

SIXTEEN is an awfully younger age to jot down a fancy octet, however not for Mendelssohn. Even after virtually 200 years, his octet continues to be one of many best chamber music works.

The gamers in Canberra Strings for this live performance had been Barbara Jane Gilby, Pip Thompson, Jack Chenoweth, Matthew Witney, violin; Lucy Carrigy-Ryan, Caroline Suthers, viola; Samuel Payne and Liam Meany, cello.

Felix Mendelssohn reached inventive maturity as a boy. His extremely developed musical language is distinct all through his octet. He died at 38, in 1847, but his affect on Western music continues to be robust as we speak.

Canberra Strings started with Mendelssohn’s “4 items for String Quartet”, Op. 81. With the gamers organized as two string quartets, they started with one quartet taking part in the stately “Tema con Variazioni”, and the “Scherzo”, and the second taking part in the “Capriccio”, and the “Fuga”.

Written over the area of a number of years, these 4 items had an attractive readability. With a gentle-to-moderate tempo and a flowing type with poignant solo moments, this work accommodates the essence of chamber music. It will have been splendid for a home live performance, however labored properly in Wesley Church, which had one of many largest audiences I’ve seen on this area for a while.

After shuffling their stage association to arrange as an octet, the Mendelssohn “Octet in E-flat Main”, Op. 20, right away, via a way of anticipation, spoke of one thing particular. When collectively, the eight gamers stuffed the church with heat and wealthy musical tones.

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This prolonged work, full of various instrumental mixtures, speaks a number of languages without delay. However it all gels to type a singular passionate expression. By the evocative kinds on this octet, the gamers expressed some individually sensuous timbres. Performed exceptionally properly, had been the forceful runs the place all eight performers mixed on the one phrase.

The slower and extra delicate sections had been stuffed with lush heat. The cellos stood out via a sturdy drive of their taking part in. Often, within the center register of the group, the intonation was not fairly there.

The “Scherzo” motion is the place this music actually comes alive. The beautiful, playful and devilish writing is sort of a play inside a play. It was recent; alive with vibrant vibrant colors the place every member had one thing distinctive to say. The tunes inside tunes, the just about Celtic themes, the group staccatos and tremolos; this part had all of it.

The fast opening of the final motion took off with the cellos grinding out a theme that was handed round to the opposite performers. Every participant produced a vigorous tone high quality and dynamic via the various pacy notes. It in-built pace and quantity. The melodic and harmonic voices mixed to create a joyous, vibrant and highly effective finale. The viewers went off. Cheering, loud applause and foot stomping. That mentioned all of it.