Pictures at the exhibition
Jayson Gillham (piano), with Christchurch Symphony Orchestra, conductor Ben Northey.
New Zealand Airplane Museum, Wigram, November 10.
Built around the central concept of Mussorgsky's iconographic series of symphony camps, this sold out concert marked the end of the Symphonic Orchestra of Christchurch in Wigram, one of the events of the wild show for the City Hall of the Earthquake.
What a way to celebrate, with orchestra in top form, first-rate work by Kiwi and a brilliant young soloist who brings a passionate work of one of the most respected works in the repertoire.
Jayson Gillham had his job for him. Rahmanjinov je Second Concert Gig It is extremely demanding, emotional and technical, and the soloist has been involved most of the time. Along with the musical performance of the music that is just coming, the endurance required for the full realization of this concert is enormous, but also must have the air of serenity and serenity around it. Gillham has surely achieved both of these extremes, suppressing great chords and digging through the arpeggios, but finding a really quiet space in a slow motion.
* Shapeshifter and CSO first play the rebuilt town hall of Christchurch
Christchurch Symphony Orchestra at the Top of Your Game
Even then, the solo part is a motto perpetual, never rested rather than weaving between orchestral textures. Here is a very good solo clarinet. The balance in the first few minutes of the first movement saw the piano slightly blurred, but soon succeeded in correcting, as Gillham claimed. The horn itself was perfect. Gillham left fireworks in the finals with an expansive, wide-ranging game and his focus never ceased.
During the performance I've heard the excerpts I did not raise before, and Gillham really snatched in the details of the attack that was polite clean. Just to rub it off, after taking one of the hardest pieces and crashing out of the park, Gillham returned to the stage and played Rachmanin's translation of Bach's Violin Partita in E major, Expressions on the faces of the orchestra all said this – amazing admiration and disbelief in the devotion of this talented young pianist.
Lyell Cresswell's Dance on volcano provided that the opening of the opening, but, in reality, could have even more edges and bites than he did, it sounds so decent. The cello quartet was well established before the storm, and insufficient humor came through the wind and the percussion.
Finally, a great invitation to the brass section in Zagreb Pictures at the exhibition – they were indeed front-and-center in this paper and they were flashing, especially Thomas Eves and Karl Margevka, who ultimately deserved their acknowledgment of Ben Northey as the last applause.