Kylie Liang leads Four Seasons of Buenos Aires for Music on the Terrace at Government House Ballroom
Piazzolla's Four Seasons of Buenos Aires made a challenging entrée for the 10-strong ensemble, its brusque opening chords and raw glissando a grungy reflection on Vivaldi's rural idyll.
Harsh bowing ground out the workaday rhythms of Argentina's capital for Liang to soar over the top then hunker down in a slow-burn tango; wringing blistering passion from her violin over pulsing bass and cello.
Harmonics in tutti violins offset the sonorous solo, echoed in cello then viola, as Damien Eckersley on bass beat a retreat to the coarser soundscape of the streets; picking up pace with Liang towards a parting parody of Vivaldi's Summer.
Autumn dawned with more harsh bowed effects, triggering an intricate cadenza from cellist Jeremy Garside; ruminating on the season of mellow fruitfulness to broach a slow serenade in lower strings.
Violins chimed in with crystalline bell tones then raced away with the lead, fading towards a cadenza from Liang almost classical in ambience. Skidding down range, she slowed for another listless dance; morphing to mayhem in jagged phrases and a jump-cut dismount.
Winter brought rich harmonies in cello and viola over walking bass, gradually lifting to follow Liang's lead; a skittish cadenza pausing then reverting to tutti play.
Sighs of longing flowed from Liang's fingerboard only to ignite a renewed frenzy across the group before fading as quickly to longing again.
Just like the fickle weather, if one mood did not suit another came along soon, with drama and romance in equal parts. Another solo cadenza brought on pizzicato bass then a violin-viola duet with James Munro that returned briefly to Vivaldi before throwing to cello and violins to close.
Strident fiddling announced the Spring as Liang warmed to the task; drawing in full ensemble for a romp, pause, then a sedate soliloquy. Vivaldi again surfaced in the solo before lilting rhythms summoned the tango genie; first slow, then quickening to a furious beat, with glissando giving way to vigorous bowing fit to shred a rug.
Liang unleashed one final scintillating solo, inspiring a last mocking echo of the Baroque and warm applause.
After the interval, Puccini's Crisantemi (Chrysanthemums) presented a funereal tribute, swooning and songlike befitting the composer.
Tight timing of rubato phrases made a stark contrast to Piazzolla's seeming free-for-all. Lush tone was another point of difference, with Liang and Garside setting a full timbre for others to follow; like a pop ballad though solemn in transition between sections, closing on sacramental chords.
Grieg's Holberg Suite was another step change, the Praeludium almost symphonic in texture, with flurries passing around to rest in contemplation then break out again with emotive force.
Sarabande, the second stanza, dialled back to an earlier era, elegant and unhurried, the lead passed by one instrument to another like partners in a dance.
Gavotte, the middle movement, put more spring in the step; a fresh breath after Piazzolla's bustle and Puccini's passion offering light relief on a dark afternoon, with bucolic and pastoral ornaments.
Air, the ear-worm of the piece, lifted the mood again, ethereal in concept and delivery. Limpid clarity in Liang's lead drew reverential respect to match the composer's note, Andante religioso, with devotion in the cadence.
Kicking off their shoes, Liang's charges scampered playfully through the finale, Rigaudon (Allegro con brio). Comforting waves of melody and harmony rolled towards a leisurely climax before reprising the opening vigour with bravura in conclusion.
An encore of Piazzolla's Oblivion wrapped up the evening's delights, exquisite in solo violin and serene in accompaniment. Pared back to pianissimo, Liang soared to high harmonics over barely-there chords; swooping in mid-range then blissing out in a stratospheric cadence.
Music on the Terrace returns to the Ballroom on November 8 and 9 with pianist Jeongwhan Kim.
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