Music / Hope in Terror, cellist Zachary Connor and pianist Edward Neeman. At Australian Centre for Christianity and Culture, Barton, June 12. Reviewed by ROB KENNEDY.

To perform Shostakovich’s demanding first cello concerto, cellist Zachary Connor and pianist Edward Neeman created a strong partnership for this resilient music.

I reviewed cellist Zachary Connor in 2022 when he performed at a Canberra Symphony Youth Chamber Orchestra concert. I wrote that Connor was “a little uneven at times when trying to hit the exact pitch.” How two years have made a difference. 

Opening with Blue Silence by Elana Kats Chernin, almost still, it begins like a soft breath on piano. A minute in, the cello enters. It’s a weeping melody wrapped in distinctive Kats Chernin layering. Full thick piano chords blended smoothly with long cello notes. It’s a rich piece, beautifully written and performed.

For solo cello, the Caprice No. 6, from 12 Caprices by Carlo Alfredo Piatti (1822-1901). It’s a devilishly difficult piece filled with ultra swift then dead slow sections that quickly follow one another. It’s part music, part deception. With slides through consonance and dissonance wrapped in a veneer of old and new music, it plays tricks on the ear.

The Sarabande in D Major by Bach, from his sixth suite, is a complex piece. Yet it fits the strings of the cello perfectly, even though it was originally written for the five-string cello, the violoncello piccolo.

Shostakovich’s first Cello Concerto, in E flat Major written in 1959, in four movements, reflects a time he felt threatened by the watchful eye of the soviet authorities. The threats come through in the repeated main motive. This is powerful, sardonic and attacking music, which is quite orchestral, too. 

It’s like a battle, both instruments fighting together, and against one another. Watching Connor and Neeman was a pleasure, their theatrics fitting the fiery sounds. 

The music grows dark and gets disturbing, as though those prying eyes were burning into the composer. There’s an almost comical yet disturbing ambience set within this composition, as though to say, “here we go, this game of scrutiny begins”. It speaks of a strong mistrust, so much so it was spooky. This is busy, highly expressive music and both performers brought this out through great authority.

This highly nuanced performance by Connor showed his compelling power over his instrument. And, as always, Neeman delighted on every level.

Finishing off with Bach’s Prelude in D Major from his sixth suite, and its many notes, which were played so well, highlighted how much Connor has advanced in the last two years. He has developed a wonderful performance style and technique under the guidance of his teacher David Pereira at the ANU. 

Connor’s playing is authoritative, enthusiastic, and demonstrates a high level of technical ability and emotional maturity.