Music / CSO Down South: Myth and Melody. At Tuggeranong Arts Centre, September 4. Reviewed by SARAH BYRNE.

Tuggeranong Arts Centre’s music program includes a series called CSO Down South, the Canberra Symphony Orchestra’s bite-sized and scaled-down concerts for that equally bite-sized and scaled-down venue.

Thursday night’s offering was Myth and Melody, featuring CSO concertmaster Kristen Williams on violin and Edward Neeman on piano.

The opening course consisted of Elgar’s famous Chanson de Matin and even more famous Chanson de Nuit. William’s bowing was long and liquid, though her best and mellowest tone did not emerge until the latter half of the program. These pieces are always gorgeous, though Neeman’s accompaniment seemed muddied at times by what might have been the TAC’s acoustics, or use of an unfamiliar sustain pedal.

This was completely resolved by the next two pieces, solos from Neeman, first Debussy’s The Sunken Cathedral (known inside my head as I Can’t Believe It’s Not Satie), evoking the Breton myth of an underwater cathedral.

Neeman’s playing was clear and considered; almost forensic, and the languid, swelling mood of the piece was an excellent contrast to the Rachmaninoff that followed. Red Riding Hood, from the Etudes Tableaux, showcased Neeman’s precision and mastery of dynamics, the interaction of the frightening wolf and terrified girl clear and exciting.

An interesting choice by Rachmaninoff, when generally, per Jung and Sondheim (just for two), the initial meeting of these characters is generally reflected as more of a seduction, with the fear and frenzy arising much later in the story.

The second half of the program was devoted to Cesar Franck’s Violin Concerto, a fun and innovative piece. It was in the last two movements that Williams’ bowing really attained its best tone, and though at her concluding notes are sometimes a little abbreviated to my ear, this was a thoroughly enjoyable performance.

The Tuggeranong Arts Centre is offering an eclectic and interesting program of music this year. I suggest that programs, even electronic ones, would do a great deal not just to make the job of the critic easier, but to enhance the enjoyment of the audience by providing more information and context for the works.