The Press, NZ, 1st June 2006
Elgar Cello Concerto
Lloyd Webber weaves magic
NZSO with Julan Lloyd Webber (cello) and Hamish McKeich (contra bassoon). Town Hall Auditorium
The drawcard for this concert was always Julian Lloyd Webber.
The items flanking him were of definite interest — a rarely heard romantic anachronism and a new Kiwi piece — but first mention should go to Lloyd Webber. His account of Elgar’s Cello Concerto was a blend of introspection in the opening movement, red- blooded romance in the adagio and bite in the finale.
His eloquent interpretation ensured he never rode across the top of the orchestra, but rather with it, reserving his tone more as an extra orchestral colour.
His intense sound ensured we heard virtually everything, yet in many ways he was very laid-back.
The technical stuff was, of course, apple pie with the harmonics and deft upper-register work ringing like a bell. Even the pizzicato chords had that extra something.
For the hundreds of times he must have played this work, Lloyd Webber still demonstrated his absolute involvement in the music. His relationship with the orchestra was seamless, with its support never overwhelming. It was easy to see how his recording with Menuhin was voted one of the best discs ever.
His choice of the Britten as an encore was rather strange, with the disjointed pizzicato falling a little flat after the richness of the Elgar.
Heavy Traffic, by Michael Norris, is an engaging work, notable for its obvious humour and programmatic references, but most of all for giving the neglected contra bassoon its moment in the sun.
Hamish McKeich is passionate about his instrument and he plays it fabulously, facing the challenges of this tricky score with relative ease.
Norris, wisely, did not try to make it a surrogate cello, accepting that it can be a figure of fun and used the full gamut of effects — from B-grade horror movie to flatulent moose. Musical curiosity it may be, but this work may well turn out to be one of the most well- known pieces for the instrument.
Finally, Zemlinsky’s long- neglected Mermaid took up the second half. Conductor James Judd sculpted a passionate and virtuosic account of this unashamedly sumptuous score. The orchestra had supported magnificently throughout the night and taking centre stage, it dazzled.
Reviewed by Patrick Shepherd
