A FINNISH WINTER
Review of June 2026 Concert by Rogan Falla
The June 2026 concert of St Matthew’s Chamber Orchestra was centred on music of the last two decades of the nineteenth century with all its Romantic elements. Michael Joel conducted with his usual aplomb and Indiana Williamson was a splendid Concertmaster.
Many of the world’s greatest compositions have been written to raise patriotic spirits at a time of oppression, and Finlandia, Opus 26, by Jean Sibelius was one. The Finns were beginning to rise against the press censorship and civil restrictions placed upon them by their overlords of the Russian Empire.
The tone poem opens with a dark and foreboding theme from tympani and brass, representing oppression and struggle before the woodwinds and strings join and the music grows faster and more aggressive, before moving into a more serene and confident tone where peace is restored. The beautiful theme of this section is often used as the music for a hymn, ‘Be Still My Soul.’ Throughout, the orchestra played with passion and confidence, and the articulation, particularly within the woodwinds was disciplined.
Lara Hall, one of New Zealand’s finest violinists, who teaches violin and viola at Waikato University, was welcomed as soloist in the Saint-Saens Violin Concerto No 3 in B Minor Opus 61. Lara has an illustrious history of study in New Zealand before advanced study in USA. Since returning to New Zealand Lara has played as a soloist, a member of chamber groups such as the NZ Chamber Soloists with Katherine Austin and James Tennant, and as concertmaster of the Opus Orchestra since 2006. Saint-Saens was a close friend of the brilliant violinist Pablo de Sarasate and dedicated his Third Concerto him. It is truly a piece for a virtuoso violinist and Lara Hall was totally equal to all its demands. Double and triple stops, dramatic runs up and down the finger board, harmonics, arpeggios, and passionate melodies – some with ethereal character and some with sensuous Spanish themes were all there aplenty. Michael Joel and the orchestra followed her every move and seemed to enjoy the interplay between themselves and Lara, who received rapturous applause she so thoroughly deserved.
Sibelius wrote his Symphony in E minor Opus 39, while he was in his thirties, when he had full mastery of the orchestra. The symphony opens with rumbling tympani and a brooding clarinet solo. On this occasion SMCO’s clarinettist had to retire with a blinding migraine headache during the first half of the concert and the orchestra was very fortunate to be able to call on the very talented Peter Scholes to step in after a necessarily longer interval. After the clarinet solo the strings entered and led the orchestra into a majestic chorale. The second theme included a harp and oboe, played with finesse. Although the second movement began with a gentle melody based on the chorale heard earlier, there was throughout the symphony a slightly restive and dark atmosphere. Peter Scholes was given special thanks and was accorded warm applause. The strings were the central force throughout, supporting the woodwinds, brass and percussion so that the orchestra played as a united ensemble. For this, much credit must be given to Michael Joel, the orchestra’s Musical Director – his real rapport with the players has generated a real sense of camaraderie which is appreciated by the audience. SMCO has developed a very loyal audience base and the church is always well filled.