A sublime performance by six master musicians
Presented by: TEG Dainty
Reviewed 21 February, 2025
German-born British composer Max Richter is currently one of the most streamed classical artists of all time. Much of this rare popularity may be due to his work being used in screen works such as television series Bridgerton, and science-fiction masterpiece film, Arrival. And then there is the fact that he is a genius composer.
Just as he has no qualms about crossing between what many would see as the sacred and profane divide between “serious” music and soundtrack works, nor does he hesitate to blend standard chamber instruments with electronica and the sound of found-objects. For many listeners he is possibly the first classical composer they have really dug!
Touring Australia this month, Richter has brought with him the ACME (American Contemporary Music Ensemble) Quintet, consisting of: artistic director Clarice Jensen who is also on cello and keys; Ben Russell and Laura Lutzke on violins; Kyle Miller on viola; and
Claire Bryant on cello.
The first half of the program consisted of Richter’s newest album In a Landscape, which was released late last year. A beautiful melding of melodic strings, electronic keys, and recorded objects, this is a piece which seeps into your body, gradually nudging you into an almost trance-like state, yet keeping you fully awake and aware at the same time. Unfortunately at the Adelaide concert, this wonderful work was slightly spoiled by the audience applauding at any lull in the work, thereby breaking the spell, and at times clapping over the music itself. Richter should perhaps announce before the piece that applause should be held to the end.
After the interval, we were treated to one of Richter’s earlier works, The Blue Notebooks. Originally conceived as a protest piece against the invasion of Iraq in 2003, the work includes readings from Franz Kafka’s so-called Blue Octavo Notebooks. This performance truly deserves the adjective “transcendent”. There were moments redolent of a yogic sound-bath, but with more melody. The read words add both depth and pacing, becoming part of the music itself, even though they are not sung.
On a sour note (pun totes intended), the performance was scheduled to start at 8 and didn’t actually get going until nearly 8.20. By the time the musicians came onto the stage the audience had gone from excited anticipation to grumpy annoyance, which is very unfair on the performers. It also meant that instead of staying to enjoy a long standing ovation, most audience members dashed out as soon as the final note was played. It’s unclear whose fault this delay was, but there was no announcement about the reason, no apology, and also, I note sadly, no acknowledgment of country.
However, even this cannot detract totally from the enjoyment of an evening of outstanding musicianship from everyone on stage, and a chance to see one of the greats of contemporary music playing in our glorious Town Hall.
Reviewed by Tracey Korsten
Venue: Adelaide Town Hall
Season: Finished
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