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<\/a><\/figure>\n\n\n\nAlso to Tom Armati,<\/strong> James Cuthell, Declan Ma and<\/strong> Will McCowan <\/strong>who performed piano at Ms Lin\u2019s studio concert last Friday.<\/p>\n\n\n\n More on this next week, but a big congratulations to the students and staff involved in the Winter Concert <\/strong>at the Concourse last night and to Symphonic Winds who competed at the Sydney Eisteddfod <\/strong>last Tuesday. It has been a huge week for our musicians (and staff), and I commend them on their wonderful performances and outstanding effort.<\/p>\n\n\n\n Ms Kim Barber<\/strong> On the evening of 4 June, elective music students had the privilege of attending a performance by the Sydney Symphony Orchestra at the Opera House, led by Principal Guest Sir Donald Runnicles. The first half of the concert showcased two works by Mendelssohn, both of which he began writing in 1830 \u2013 reflecting his Classical training and his transition into the Romantic style.<\/p>\n\n\n\n The orchestra opened with Mendelssohn\u2019s The Hebrides<\/em> Overture (\u2018Fingal\u2019s Cave\u2019, Op.26<\/em>), a tone poem inspired by the composer\u2019s journey to Scotland, shown through the evocative melodies. Despite being seated near the back of the Concert Hall, we were enveloped in the sweeping textures and oceanic swells that vividly evoked the rugged coastlines and dramatic landscapes of the Hebrides, setting a dramatic tone for the rest of the evening.<\/p>\n\n\n\n Following the Overture, Sir Stephen Hough then took centre stage as the crew pushed the magnificent Hamburg Steinway in front of the conductor\u2019s podium. His performance of Mendelssohn\u2019s first piano concerto (Piano Concerto No.1 in G minor, Op.25<\/em>) was nothing short of mesmerising, clearly displaying Mendelssohn’s Classical sensibilities infused with Romantic expressiveness. The concerto was notable for its seamless transitions between movements, a characteristic that departed from the traditional concerto format of the time. After the performance, I even had a few boys ask me whether I could distinctly make out the movements.<\/p>\n\n\n\n The first movement, Molto allegro con fuoco<\/em>, opened with a vigorous piano entry, immediately establishing a dialogue between the soloist and the orchestra. The second movement, Andante,<\/em> offered a lyrical contrast as the piano\u2019s delicate lines weaved over the orchestra\u2019s gentle accompaniment. Hough\u2019s bold interpretation of the concerto\u2019s sparkling scalic passages captivated the audience from start to finish. The final movement, Presto \u2013 Molto allegro e vivace<\/em>, bursts forth with energetic rhythms and playful exchanges between the piano and orchestra, culminating in a spirited conclusion.<\/p>\n\n\n\n The synchronisation between the SSO and Hough was fascinating to say the least, as the orchestra stepped back under the guidance of Runnicles allowing for the melodic passages to reach every member of the audience. To the audience\u2019s delight, Hough returned to the stage for an encore, delivering an exquisite rendition of Chopin\u2019s Nocturne in E-flat Major, Op. 9 No. 2<\/em>. His expressive use of rubato filled the Opera House with tenderness and introspection, providing a moment of stillness before intermission.<\/p>\n\n\n\n Following the intermission, the orchestra presented an Australian Premiere of Detlev Glanert\u2019s Hidden Image: Contrafactum with Brahms<\/em>. This contemporary piece doesn\u2019t just \u201cquote Brahms\u2019 material literally, but instead explores the Brahmsian gestures, figures, motifs, and structural qualities that make up his musical language\u201d. The opening gesture underpinned by the F \u2013 A flat \u2013 F motto of the Brahms\u2019 Symphony, showcased the orchestra\u2019s commitment to tradition through a contemporary lens.<\/p>\n\n\n\n The evening concluded with Brahms\u2019 Symphony No.3<\/em>. From the bold and assertive motif, the orchestra captured the grandeur and emotional sweep of Brahms\u2019 mature style \u2013 immediately capturing the audience’s attention. Runnicles guided the ensemble through the intricate layers of Brahms’ composition, highlighting the dynamic contrasts and the rich textures that defined the symphony, from the noble heroism of the first movement to the bittersweet lyricism of the third. The concluding movement brought the symphony to a rousing finish, with the orchestra delivering the final passages with vigour and precision \u2013 even rousing some drowsy listeners who had grown perhaps too comfortable in the Opera House\u2019s famously plush red seats!<\/p>\n\n\n\n The opportunity to witness world-class musicianship and the rich tapestry of Romantic music firsthand was invaluable. Conversations during the intermission and after the performance centred on the nuances of the compositions, the historical context of the works, and the emotional resonance conveyed through the music.<\/p>\n\n\n\n On behalf of all the students who attended, we would like to thank the Sydney Symphony Orchestra, as well as Head of Music Ms Barber and Ms Robertson, for providing such a memorable and enriching experience.<\/p>\n\n\n\n
Head of Music<\/p>\n\n\n\nConcert Group<\/h3>\n\n\n\n