WASO players cond. James Ledger
Hale School Auditorium
reviewed by Neville Cohn
Cries of anguish, chilling moans, grunts and phantasmagoric violin harmonics made for an unsettling listening experience, definitely not the sort of music to listen to alone on a stormy night.
” Dead hands, dead stringencies” by Luis Tasso Santos is one of four new works given their first public performances by a 14-strong ensemble drawn from the WASO which breathed life into a number of works by young composers.
With artistic director James Ledger presiding over events, we listened to a wailing trombone, rumbling bass drum and a good deal of string tremolo. This might well have been a meaningful soundtrack for a scary movie. On first hearing, though, it seemed rather too long for its material. Some discreet pruning – a condensation – might well enhance its overall impact.
These concerts – given annually – are an important series specifically to provide young composers with a platform for their work.
Corey Murphy’s Sword and Stone takes its inspiration from stories about the legendary .King Arthur. An attractive contribution by Leanne Glover on cor anglais and sonorities of finesse courtesy of Andrew Sinclair on double bass contributed to a score which gave much listening pleasure.
Excellent playing from Julian Leslie (horn), Glover on oboe and Joshua Davis (trombone) gave point and meaning to Callum O’Reilly’s Prickles/Goo. Oscillating between insouciant frivolity and much whooping and grunting – as well as a rather delightful Left Bank-style waltz – this could have well been an effective soundtrack for a cartoon movie.
According to Brock Stannard-Brown, his Lullabies for Regan was inspired by that creepy movie The Exorcist. And with ominous notes from both Cameron Brook on tuba and Alexander Millier on bass clarinet – as well as very quiet music box tinklings – this made for intriguing listening. Laurels to percussionist Robyn Gray who did wonders in the ensemble’s kitchen department here and throughout the evening.
Whether so intended or not, just about everything on offer might well have been suited to complement this or that film.
As in the past, each work was prefaced by the composer in brief conversation with Ledger, although a surfeit of mumbling lessened its impact.
Olman Walley provided a Welcome to Country, his virtuosity on the didgeridoo a magnificent starting point to the proceedings.
