Music / “Watercolours”, Canberra Symphony Orchestra Chamber Classics. At Albert Hall, March 5. Reviewed by ROB KENNEDY.

“PLEASURE is the law”, so declared French composer Claude Debussy. In this chamber concert of French and Australian music, pleasure spoke out through the sounds of poetry and colour.

The performers in the first Canberra Symphony Orchestra Chamber Classics concert for 2023 were Chloe Lankshear, soprano, Kirsten Williams, violin, Edward Neeman, piano.

With a rather warm Albert Hall at capacity, Williams and Neeman opened this concert, titled “Watercolours”, with “Sonata in G minor for Violin and Piano”, by Debussy. A listener can hear the pleasure of this music as it unrolls its voice, stating a new style for the time, and in every musical colour the ear can hear. This is exquisite and searching music. It’s grand and expresses many voices; it’s free.

At times, it sounded like the violin part was detached from the piano music, but it was to great effect. It made the whole composition stand out as it speaks its unique language. It’s part playful, part experimental, especially so on the violin. There were wandering and elusive passages on the piano that again seemed detached from the rest of the music. The performance from Williams and Neeman was fittingly capricious, introspective and dynamic.

Then, “Ariettes oubliées”, (Forgotten Songs), by Debussy. The songs that make up this cycle all have a text by the French poet Paul Verlaine. The subtle beauty in these works was all perfectly expressed by Lankshear. Her voice distinct, even in the rapid song.

Lankshear is comfortable in her voice, and it makes a listener receptive and relaxed when hearing her. The refined beauty in these compositions worked a charm for the soprano and the audience.

Gabriel Fauré’s, “Violin Sonata” No. 1 in A Major, op. 13, followed. The players got stuck straight into the music with a flourish on the piano, and a beguiling opening for the violin. The first movement is rapid, with moments of grand passion. It soars. The darker second movement oozes out its depth and yearning, which Williams made sound like a dream.

The edgy scherzo and last movement were full of lavish sonorities. Canberra is lucky to have two such fine and talented players among its host of musicians.

Debussy’s, “Colloque sentimental”, from Fêtes galantes, 2ème recueil, came next. This was a ghostly story of past love and despair. Its haunting opening with increasing tension before it fades produced a tantalising experience that seemed to end before its ending. A most captivating song.

A new commission by the CSO for Australian composer Connor D’Netto, titled, “white flowers”, came next. It was written for violin, cello and soprano. With a solo violin opening, it seemed to echo the Debussy. The voice of the soprano and the violin at times intertwined, which made for a mysterious experience.

Its strength was in its subtlety. While sitting in a contemporary mode, this work conjured sounds of the past. Soprano and violin talked to one another as the piano’s haunting tones crept under and in between the others.

This was a divine art song that held its breath all the way through. The performance from all three, and the music will leave a lasting impression.