Melbourne Symphony Orchestra | Debussy’s Nocturnes: Darkness and Light
October 13, 2022, Hamer Hall, Melbourne
Nodoka Okinawa – conductor
Yinuo Mu – harp
Upper voices of the MSO chorus
Descending multiple sets of escalators to reach the stalls of the Hamer Hall, and surely we were beneath the high water mark of the Yarra now in the early stages of flooding, my mind ran to the compositions of Japan’s great composer Toru Takemitsu as many of his titles talk of water and rain and his music paints aural landscapes and mindscapes of being in a state of stasis whilst sheltering from the weather or of hoping for life-giving water. His 1982 Dreamtime is a masterpiece in orchestral tone colour and immerses the listener in exquisite sounds. The transparent logic of the music, it’s shimmering surface, allows pointillist melodic fragments to float and to create multi-coloured melodies that seem to come from a time faraway. There were so many delightful solos from the players and in particular flautist Prudence Davis enchanted throughout.
Much has been written about Takemitsu being influenced by composers such as Debussy, Ravel, Messiaen and others but he developed a compositional voice full of individualism and born of his country. Following up his work with Debussy’s Nocturnes was a lovely way to see the importance of country in both composers. Debussy is so French and the same can be said about Takemitsu, he is totally Japanese.
Stunning solos from string principals Sophie Rowell, Christopher Moore and David Berlin were matched by the elegance of Michael Pisani on cor anglais in the opening Nuages. A tremendous energy from all the woodwind and strings at the opening of Fetes was subsequently and perfectly counterbalanced by the warm toned ensemble work from all the brass. I found the Sirens movement most notable for the orchestral playing. This was not a definitive performance of the Debussy but still the audience had much to savour.
The concert opened with a perfunctory and safe reading of Ravel’s Vale nobles et sentimentales. The MSO is obviously a band that plays well seemingly without effort and sectional ensemble playing is a delight. They know how to balance the sound, the tone quality all by themselves and it is a joy to listen to them.
Sonarmilo by Melody Eötvös for harp and Orchestra was commissioned by the Melbourne Symphony Orchestra and received its first performance in this concert. Written especially for the wonderful and committed soloist Yinuo Mu this work revelled in creating orchestral colours whilst hinting at music from times past. A touch of Saint-Saens here, a smidge of early English 20th century there could be followed by languid melodies reminiscent of Peter Sculthorpe. Lovely moments of fragile string and piccolo textures and again more notable solos from the principals of the orchestra.
Conductor Nodoka Okinawa made clean gestures throughout though at times I thought some more subtle indications to the orchestra, particularly regarding dynamics, would have been suitable.
