The NZSO got old and new chums along with a romping cabaret themed concert. The evening was a mixture of German, Austrian, French and Kiwi compositions, combining vivacity and reflection.
Photo: NZSO
The NZSO’s Shed Series successfully reduces the pomp while keeping the class in classical music. The informal atmosphere the orchestra seeks with this series was on full display for this, the final edition for 2020, titled Kabarett. The use of the more surreal German term for the French Cabaret was appropriate – while the repertoire was a mix of cabaret, contemporary and romantic music, the mood of the evening was decidedly playful and jesting.
The multipurpose space was scattered with seating options, as well as the odd table. Those who had been before knew seats were few and I had to absorb Austrian composer Hanns Eisler’s Kleine Sinfonie without the support of a beanbag or stool, settling for the concrete. My laxness seemed to be mocked by the music – particularly the ‘wah’ ‘wah’ effect from muted trumpets and trombones.
The night was also the New Zealand premiere of Kiwi composer Simon Eastwood’s Quanta. As most of the orchestra filed off the stage for this work, the audience filled the gap with chit chat. When several polite ‘thank you’s from conductor Hamish McKeich went mostly unnoticed, he began the piece out of the hubbub. It took the audience a couple of bars to realise.
While the ensemble was still sizable, the piece required a lot of solo performance. The flipside of this is a lot of counting for the other musicians. I saw the cellist in front concentrating furiously as he had to intermediately punctuate the spacious piece, then return to his count. However, soon the percussionists were hammering away on xylophones. I was briefly transported back to a primary school classroom, running a plastic mallet up and down a tinny xylophone.
After a drink and momentary respite, I reunited with the concrete floor – this time sitting behind the double basses for Austrian composer Franz Schreker’s Kammersymphonie. That’s the advantage of the space: actual seating may be scarce, but the audience is allowed –encouraged even – to take unorthodox perspectives of the orchestra. From my position I got a view of the face of the conductor, something rarely seen by concert attendees. The piece was upbeat with recurring frisky passages from the woodwinds but also certainly melodic. So much so that the chap next to me pretended to conduct over a rich swell in the strings. Another bloke enjoyed his beanbag to the full: falling asleep in full view of everyone.
The comparatively well-known Gymnopedies by Erik Satie changed the mood completely. The orchestra moved to the back of the shed to perform standing. As the audience took their places, the harps began the sweet and simple riff. Almost instantly a girl started to sway in the front – the first time I’ve seen something resembling dancing at a classical concert.
I had enjoyed this arrangement, by fellow Frenchman and romantic composer Debussy, many times before. But live, and with the orchestra so close, I felt electrified. A real goose-bump moment. The feeling seemed to be contagious. I saw tears wiped away more than once.
The orchestra had to return to their seats for the final piece – Kurt Weil’s playful suite from Aufstieg und Fall der Stadt Mahagonny which later hatched Alabama Song, the woozy sing along popularised by The Doors. The break gave the audience – me included – a few minutes to come out of our trances. And we were soon taken away on an almost goofy ride through the 1930s. In several places people chuckled. The piece was a fun and fitting end to the evening; I sensed that some of the attendees would make their way to the next whisky bar. I also left feeling rather inspired and keen to return to the NZSO Shed Series in 2021.
Kabarett performed by the NZSO, conducted by Hamish McKeich
Eisler Kleine Sinfonie, Op. 29
Simon Eastwood Quanta
Weill Suite from 'Aufstieg und Fall der Stadt Mahagonny'
Satie orch. Debussy Gymnopedies Nos. 1 & 3
Schreker Kammersymphonie
Performed live at Shed 6, Wellington, 13 November 2020
