Thank you to all those who entered our 2011 Young Critics Competition!
Please see below the winning reviews!
WINNER - Stephanie Smith (18 years)
The opening night of the Australian Festival of Chamber Music on Friday the 28th of July proved to be an elegant night with a varied and impressive program, paradoxically based on a theme of farewell. To open the concert a quartet of clarinet, violin, cello and piano (an unusual combination, but not without precedence) performed ‘Quartet for the End of Time' by Olivier Messiaen, a French composer of the 20th century. The piece was composed while Messiaen was kept as a prisoner of war, and narration provided by Damien Beaumont during the performance described the composer's inspiration for each movement. However the inclusion of the narration meant that the flow of the performance was continually interrupted, and perhaps was not needed as the audience could invent their own explanation and interpretation for each movement. Overall the performance was compelling and the performers were clearly well-rehearsed and cohesive. With every instrument playing in unison, the 4th movement in particular demonstrated the skill and precision of all performers.
The second half of the night opened with a two piano adaption by Liszt of Beethoven's final and famous 9th symphony performed by the Contiguglia twins. While overall this was a pleasant and satisfying performance, there were occasional tempo issues and at points the piece became unstuck. However it was entertaining to listen to this classic piece in a different medium from its original conception: on two pianos in contrast to a symphony. To finish the evening's eclectic program, members of the Queensland Symphony Orchestra performed ‘Four Last Songs' by Strauss, arranged for a smaller orchestra by James Ledger. Louise Page sang soprano with words by Hermann Hesse in German. While the songs deal with the subject of death, Strauss himself did not live to hear these songs performed live. This performance was the most enjoyable of the night, as orchestra and vocalist were united in conveying a sense of warmth and dignity. Perfect balance between the orchestra and vocalist was achieved at all times, and dynamically the effect was captivating. Overall the entire musical evening was one of variety, contrast, surprise and anticipation, offering a tantalizing taste of what will surely end as a festival for all tastes.
RUNNERS UP - Carla Trott (20 years)
Concert goers at the opening of the 21st annual Australian Festival of Chamber Music in Townsville were encouraged by Artistic Director Piers Lane to clap, whistle and stomp. The prodigiously talented pianist, with a curious and quirky sense of humour, promised to take the audience through an entertaining yet challenging and inspirational programme. The opening night already contained all the elements promised by Piers.
Patrons slowly entered the auditorium, warily awaiting the harrowing ‘Quartet for the End of Time,' composed and performed by Messiaen during his time in a German prisoner-of-war camp during World War II. The cool, gusty and cutting wind enveloping the Civic Theatre was no comparison to the bitter and cruel world inflicted on Messiaen and his fellow musicians during the harsh winter of 1941, when this piece was written. The abstract harmonies, odd instrumentation (violin, cello, clarinet and piano) and ethereal solos were executed by some amazingly talented feature artists, especially clarinetist Michael Collins and cellist Louise Hopkins. Narrator, Damien Beaumont, explained each movement using notes written by the composer that included biblical references. This heightened audience empathy for Messiaen and his prisoner compatriots and for the endless nature of war. It was a fitting piece that obviously transcends the years, emulating the emotions felt today by those in countless other troubled countries.
In contrast to Messiaen's piece, Liszt's arrangement of Beethoven's ‘Ode to Joy' Symphony was bright, uplifting and inspirational (with an unexpected piano stool skit surprising both the audience and performer). Was this Piers Lane working at his best by taking us from the depths of war and cruelty experienced by Messiaen to the joy and exultation of Beethoven? American twins, John and Richard Contiguglia, most likely played on their brotherly sixth sense, hardly making eye contact across the grand pianos, yet producing a virtuosic effect of perfect timing and phrasing. The 70 plus-year-old brothers, through expressive phrasing and articulation, breathed fresh life into what is one of the world's most recognised tunes.
An arrangement of Strauss' ‘Four Last Songs' by Australian James Ledger firmly plants him on the international compositional map. Performed by a condensed Queensland Symphony Orchestra and soprano, Louise Page, the harmonies and textures were luscious and rich. Despite the reduced instrumentation the melodies were ornate and distinctly Germanic.
The next eight days of musical sojourn are going to be riveting if this introductory concert is anything to go by - book your tickets presto!
RUNNERS UP - Hannah Sorensen (20 years)
As the weekend began many young Australians lamented that they had not made it to Splendour in the Grass, one of Australia's biggest music festivals. But Townsville music aficionados need not have despaired as another of the country's prestigious music festivals began in the region with the opening night of the Australian Festival of Chamber Music.
The Festival launched its 21st season on Friday night with a performance of Olivier Messiaen's Quartet for the End of Time, with Michael Collins on clarinet, Philippe Graffin on violin, Louise Hopkins on cello, and the festival's artistic director Piers Lane on piano. The quartet moved through eight epic movements, composed to reflect God's seven days of creation and the day of Sabbath. They superbly portrayed the composer's imagery of the coming of an angel announcing the end of time, playing out the frantic staccato of the score flawlessly and creating an eerie feeling of impending doom. Each musician demonstrated a passionate mastery of their instruments. Michael Collins was particularly impressive during his clarinet solo, where he built to a powerful crescendo with the music resounding throughout the theatre.
American brothers John and Richard Contiguglia then performed Beethoven's Symphony No. 9, arranged for two pianos by Liszt. The pair was a sight to behold as the identical twins hands danced across the keys in perfect unison. The duo showed great control moving from calm intimate parts of the score to frantic scurrying sections without missing a beat.
The night was closed by soprano Louise Page with members of the Queensland Symphony Orchestra performing Richard Strauss' Four Last Songs. Page's vocals echoed a sense of tender yearning producing a moving performance when mixed with the artistry of the orchestra. Conductor Johannes Fritzsch guided the musicians through the performance which was well received by a rapt audience.
The opening night was an outstanding show of musical talent and only a taste of what is planned during the festival. These classic scores can be enjoyed by all and while most young people would usually prefer to see the likes of Kanye West at an event like Splendour in the Grass, they should not pass up the opportunity to see these gifted and often underappreciated musicians at their best. Tickets are selling fast so get in and enjoy these performances before the conducting sticks, bows, and instruments are put away for another year.
