WA Symphony Orchestra defies wintry weather for chamber series finale, Serenade, at Government House Ballroom

Noongar composer Aaron Wyatt’s tribute to Melbourne struck a buoyant mood for WA Symphony Orchestra’s chamber series finale at Government House on Sunday, despite wintry weather worthy of the Victorian capital. Cirrus, inspired by clouds on “a bright but cold day”, employed an eclectic mix of violin (Semra Lee), double bass (Giovanni Vinci), bass clarinet (Alex Millier) and vibraphone (Brian Maloney), starting low to lead in a violin lament full of feeling. Soft cadences in harmonics lent a reflective air before bass rumblings injected fresh energy. Maloney hammered out robust harmonies then switched to violin bow for a meditative pause and reprise of the opening figure. Mellow vibra-chimes filled the void between violin and bass instruments, rising and falling with the dynamic of the ensemble towards a comforting conclusion. Repertoire for Sunday’s program, Serenade, was chosen by individual groups of musicians in a kaleidoscopic roster of WASO talents, changing for each piece. An Australian premiere of Edgar Meyer’s String Quintet maintained momentum in a folkloric violin lead (William Huxtable) and a fluent ensemble segue, sonorous in symmetry. Huxtable led again, joined in violin duet by Akiko Miyazawa; their clear, spacious tones drawing the quintet into a perpetuum mobile driven by arpeggios with tuneful highlights. Miyazawa and violist James Munro paired in dance to develop the theme, mirrored by cello (Jeremy Garside) and bass (Robin Brawley); the latter breaking out over jagged chordal accompaniment. Folkloric figures again rose to forceful intensity, falling back to bucolic bustle then a violin duet to refresh the palette; closing in euphony. Jazz-style bass and cello broached a rumbustious beat with glissando garnish for the second movement, as violin and viola harmonics exposed the middle ground for cello to hold sway. Slowing in contemplation, all five artists explored a distant soundscape, throwing to bass for another round of jazz rhythm with hints of blues in softly strident violins. Where string quartets exploit the sound-alike quality of their instruments, Meyer seemed happy to give each its voice; combining again for a timely conclusion. Slow bowing across cello, viola and violins in the third movement opened perspectives to ponder; first as a foursome, then cello-viola duet and back to the quartet, while bass made sparse interventions to steady the flow. Meyer said in program notes that all were “looking for a melody”; playing quietly as if to seek it in one another’s sound. Huxtable seemed to find it first in an engaging sequence that flowed through the group towards the folkloric flavour of the first movement. Bass took another tack in the finale, flirting with glissando effects to unleash a frenzy in violins that infected all five parts. Cello and bass combined then fell to rhythmic pulses while higher strings navigated clear air above, lifting again to a fury across the quintet. Harsh bow strokes seemed to signal a reset, yet the same intensity prevailed time and again towards a robust conclusion. After the interval, a solid chord fixed the tone for Beethoven’s Septet in E flat, with one each of strings augmented by clarinet (Som Howie), bassoon (Adam Mikulicz) and horn (Julia Brooke); orchestral in timbre. Violinist Kylie Liang quickly lifted the tempo with a fluid lead, echoed by woodwind and horn, as she formed a seamless partnership with violist Daniel Schmitt, underpinned by assured cello (Garside) and bass (Robin Brawley). This was Beethoven before the Romantic revolution of the Eroica Symphony, full of Classical finesse. Lilting phrases in violin and viola translated easily to woodwind and horn, uniting in an exuberant conclusion. Stately rhythms in the second movement, Adagio cantabile, drew out a lush lead in clarinet then violin, with a rich bassoon countermelody to balance lavish tones in the upper register. Last seen at Government House playing Piazzolla’s tangos, Liang now danced to a different beat, with Brooke’s sumptuous horn a rich seam of contentment to anchor a calm conclusion. More elegance in the measured steps of a Menuetto and Trio ignited horn fanfares and woodwind flourishes, briefly, before violin and viola led out the fourth movement, Theme and Variations. Clarinet and bassoon mirrored high strings in call and response through permutations of the tune, with horn serene by contrast. Cello and bass had their moment in the sun before a collective pause and bold attack to finish. A horn call opened the Scherzo fifth movement, repeated to energise the ensemble. Cello picked up the lead over rhythmic accompaniment, with light and shade in response before a reprise of the opening pattern to conclude. Another bold chord announced the Andante finale, bookending the first movement. Initially the mood was darker, with horn intoning a solemn prelude to faster and lighter frolics across the range. Cello and viola hooked up again, with woodwind and horn chiming in to swell the theme. All then fell away for Liang to tap a lyrical vein; halting again for a virtuoso violin cadenza of understated brilliance before a joyous romp towards the exits.