The Southern Cross Soloists present Magic, Mystique and Melancholy

Concert Hall, QPAC

20^th Oct, 2024.

Skipworth/Williams New Work World Premiere 
Saint-Saëns Le cygne (The Swan) R.125
Fauré Pavane Op. 50; Fantasie Op. 79
Tchaikovsky Souvenir d'un lieu cher, Op. 42: Méditation 
Stravinsky Petrushka 

Violin Catherina Lee
Didgeridoo Chris Williams

 

Dr Gemma Regan

 

A fantastic finale from the SXS closed a year packed with drama

 

With another world premiere with Chris Williams on the didgeridoo and internationally esteemed Queensland violinist Catherina Lee, the Southern Cross Soloists’ Magic, Mystique and Melancholy final concert was a chaos-free fantastic finale to a year packed with drama.

 

Marg O’Donnell, Chair of the SXS, thanked the SXS supporters before highlighting the many changes that the SXS has undergone in 2024. The cancellation of the popular Bangalow Festival after 20 successful years and the unexpected resignation of Tania Frazer after 14 years as SXS Artistic Director and oboist, were amongst the many changes that the SXS endured this year. Fortunately, as always, the SXS shone under adversity with a stunning new Soloists Mountain Showcase at Mount Tambourine and two new Acting Artistic Directors, SXS clarinetist Ashley Smith and violin virtuoso Margaret Blades.

 

The dramatic world premiere of Lachlan Skipworth's The Ascent opened the concert with aplomb. It is the third piece of a collaboration between Skipworth and Chris Williams as part of the SXS Didgeridoo Commissioning Project, which will deliver ten new songs promoting Aboriginal culture by 2032, in time for the Olympics in Brisbane.

 

As The Ascent began, the slow, meditative chords and earthy Didgeridoo were transformed by a bright piano. The strings climbed the summit with light pizzicato steps as Williams tapped the pace on the Didgeridoo and emulated the climber's laboured breaths. The pace quickened to the end, crescendoing with Smith’s booming bass clarinet to end with a ferocious finale.

 

A surprise inclusion in the programme was Elena Kats-Chernin's Peggy's Minute Rag, played as a duet on the clarinet and violin. This lovely ditty from the great Australian composer was a delight.

 

There was a stark transition to Karol Kowalik’s debut cello solo of The Swan from Saint-Saëns’ Carnival of the Animals, accompanied by Roger Cui. It was tender and melodious but seemed to gallop along rather than glide.

 

The SXS forayed into Fauré with Pavane and Fantasie, both adapted by John Rotar for flute and strings. The Fantasie was fabulous, with David Silva mesmerising the audience on the flute. His virtuosic, flowing runs flirted with the strings, displaying skill while creating a delicate tone.

 

Tchaikovsky’s Méditation from Souvenir d’un lieu cher featured Gold Coast soloist Catherina Lee. She now lives in Vienna and is always a delight to hear, although it was a pity she wasn’t included throughout the concert. 

 

The show closed dramatically with Stravinsky’s Petrushka where the brass emulated the famous Punch from the 16th century Punch and Judy shows, using mutes to squark like the rasping swazzle commonly used for the voice of Punch. Stravinsky uses comical motifs for the puppets as the magician manipulates them, mimicked well by guest artists Natalia Edwards on the French Horn and Isabella Geeves on three different trumpets.

 

It was a diverse and enjoyable concert that left the audience desperate for more. Fortunately, the concert was recorded for replay on ABC Classic FM. Next year will be the SXS's 30th year, and with a packed programme including a tribute to the Bee Gees, Turkish Folk music, and with a focus on female soloists, I can’t wait!