World Premier of Stephen Gardner's New Work "Hallelujah"

national | arts and media | news report Saturday November 01, 2008 15:00 by Sean Crudden - impero sean at impero dot iol dot ie Jenkinstown, Dundalk, Co Louth. 087 9739945

Big Dynamic Range at NCH

The program at The National Concert Hall last night gave the audience an unusual experience of a great range of sounds - some of them up to ear-drum-shattering volumes. This music presented was in various styles - some of which were contrasting and some of which were complimentary. On the whole, the concert was exciting and more interesting than I thought it would be a few weeks ago when I booked two tickets on the internet.

Last night the RTE National Symphony Orchestra presented the following program starting at 8.00 p.m. in the National Concert Hall, Earlsfort Terrace, Dublin.

Stephen Gardner (b 1958). Hallelujah (2008) World Premier (RTE commission)

Mozart (1756 - 1791). Violin Concerto No 5 in A major.

Interval

Olivier Messiaen (1908 - 1992). Reveil des Oiseaux

Maurice Ravel (1875 - 1937). La Valse

Chloë Hanslip (violin)
Therese Fahy (piano)
Gerhard Markson (conductor)

One noticed immediately the large scale of the forces on stage including celeste, bells, cymbals, bongo drums, harps and as the performances wore on they were all given the chance to show off producing a range of sound and sound effects which kept the audience interested and entertained.

The first work made a very strong impression and it had political relevance because everyone knew it was connected in some way to the war in Iraq. The underlying music was quiet and contemplative but the piece built up nicely with drama and attack in several crescendos. The orchestra gave a very fresh performance, I thought, and, in particular I thought the percussion sections had the necessary assertiveness and snap. I take no notes, my memory is bad, my attention wanders at times so I cannot say now precisely who did what exactly. Anyway the piece of music is substantial, coherent, programmatic and I think it is destined for universal popularity. It will grace many a platform in the future and it will not get many better performances than it got last night.

Ms Hanslip’s performance was definitely no anti-climax. In a ruby red sleeveless floor-length gown, with some sparkling, suspended by two narrow black straps, a black band at the diaphragm patterned in sparkling gold, straight shoulder length hair, a gold cross pendant on a thin chain, a black head band, black suede narrow-toed high heeled shoes, she created the impression of confidence, involvement, movement. To use a phrase common in my youth around Ardee, she "put me in mind of" Breanne Loucks the famous Welsh golfer, young, bouncy, small, strong, a big quiet swing. It is not just that she was aware of the audience, the orchestra, the conductor, the music, she took pains in explicit body language to project this awareness. Some people might prefer a more introspective approach. My judgement is that Chloë is open and honest and her modus operandi is merely intended to get everyone on the same wavelength. And, to be honest, it is good to watch.

Therese Fahy did not get star billing. She was the main protagonist in the first item after the interval. She was also dressed in red. However it was a more restrained Autumnal red totally off the shoulder. Naturally she was sitting down most of the time she was on the stage so she created a different kind of impression. She stuck to her task, she got the job done, the whole piece finished very sweetly. Rather deprecating she left the stage without much of a delay without really lapping up the applause. In retrospect, now, I think she did a great job.

As regards the Ravel I have to confess I got out of step with the music at the end. It seemed then to me to be somehow deflated although there is no doubt it was loud. Possibly this was lack of comprehension on my part, attention deficit, tiredness.