Along with Dvořák’s ever popular Ninth Symphony, the West Australian Symphony Orchestra performed two less common works in Perth: Kodály’s Variations on a Hungarian Folksong, the Peacock and Bartók’s Viola concerto. The common theme was works involving folk music traditions from eastern Europe, representing two generations of composers. Not only was each immaculately played, but WASO and principal conductor Asher Fisch seem to have overcome the acoustic problems of playing in Winthrop Hall.
Kodály’s Peacock Variations, which premiered in 1939, comprises 18 short variations based on a traditional Hungarian song which features a group of prisoners reacting to the sight of a peacock, apparently a symbol of freedom in Hungary. Its sombre opening gives way to livelier variations, one of the better known being the Tempo de marcia funèbre which is not as serious as it might be without being unduly jolly. The succeeding variation features a number of bird-like sounds, happily not including anything sounding like an actual peacock! Without space to do justice to all the contributions, one could mention the charming flute section throughout (Andrew Nicholson, Mary-Anne Blades and piccolo Sonia Croucher) and the sumptuous string ensemble, including six double basses.
Bartok’s Viola Concerto was his final work, left incomplete on his death in 1945; the reconstruction is by his friend, viola player and composer Tibor Serly. The soloist here was Daniel Schmitt, WASO’s Principal Viola, who played with sinewy, committed energy. Unlike more traditional concertos, it opens Moderato, with the assertive solo viola joined by a double bass before other instruments join. The Adagio religioso slow movement is reflective with a touch of angst, moving via a drumbeat into the lively Allegro vivace finale, featuring Hungarian dance moves including what sounds like a csárdás. The final whirlwind of sound precipitated vigorous applause.
While it is agreed that Dvořák’s Ninth Symphony, on the score of which he wrote “From the New World”, shows folk influences, there is some debate as to what those folk influences are. Dvořák himself argued that American music should root itself in the traditions of Native Americans and African Americans. Whether he had actually heard any First Nations music (on his trip to Iowa, for instance), let alone included specific examples, there seems to be little evidence. His exposure to African American music is better documented through his relationship with composer and singer Harry Burleigh. Some (such as Anthony Cane in the programme notes) would argue that the particular folk influences to be found are more Czech than North American.
In any case, this much beloved work (“that old pot boiler” a friend said to me at interval – I think in jest) was superbly played. From the limpid Adagio opening to the forceful timpani heralding in the Allegro molto and throughout, tempi and dynamics were well judged. Again, all praise to the flutes but also the horns (led by Eve McEwen) and the strings – all in perfect balance. The always moving Adagio featured the plaintive cor anglais of Jonathan Ryan accompanied by poignant strings. The Scherzo danced, and the Allegro con fuoco crackled.
