Music / New World, National Capital Orchestra, directed by Louis Sharpe. At Snow Concert Hall, September 28. Reviewed by MICHAEL WILSON.

The National Capital Orchestra continued to impress with a beautifully textured expression of Antonin Dvořák’s 1893 tribute to America.

First, the world premiere of Riparian by Canberra bassoonist and composer Ben Hoadley showcased the NCO’s woodwind players before full strings and trumpets joined well into the work.

Beginning with an utterly beguiling flute solo, the first phrases using a melodic minor scale were evocative of Middle Eastern music, tracking the gentle flow of a river moving through a silent landscape. Full strings then introduced a more dramatic section, perhaps as water moves faster over rocks, giving way to a solo cello in its high register.

The finale brought out solo instruments in sequence with strings playing long chords over the top. This new work was a charming, brilliant surprise.

Canberra-born composer Mary Finsterer has featured in several concert programs this year.  In Lake Ice (Missed Tales No.1), she continues with one of her inspirations: fairy tales, including those from the icy landscapes of Scandinavia.

Premiered in 2013, Lake Ice is essentially a concerto for double-bass (with Kyle Ramsay-Daniel as soloist), beginning with a buzzy vibration from fast, short bow strokes. Clever use of percussion, including bells and bowed cymbal, opens the piece to a massive, spine-chilling climax with the double-bass section of the orchestra as the chorus.

Breathtakingly quick runs, with large intervals pitched effortlessly by Ramsey-Daniel well down the fingerboard, introduced a magical passage with harp, rolling drums and trumpet solo.  The work finished with solo portamento high on the G string at piano-pianissimo, fading to silence.

Dvořák’s Symphony No.9 “From the New World” has many grand and passionate moments. Conductors and players can too easily be beckoned to over-indulge. But this never happened in the NCO’s confident, expansive performance of this work.

Louis Sharpe – an accomplished, cheerful and experienced conductor – still may not realise his talent. Not only is he a pleasure to watch, he achieves dynamics and mood beautifully, all while giving this highly capable community orchestra what it needs – a very clear beat and clear entries and cut-offs.

The opening adagio was taken at a sensible speed, bringing the excellent French horns and reeded woodwind forward to introduce the first solo flute and oboe passages which were articulated beautifully. Wisely marking the tempo without fluster, the important full orchestral swells in this movement were carried off with sparkling grandeur, complete with fully detailed flute trills.

In contrast, the largo began quite quickly. Oboe soloist Yu-Lan Chan was so stunningly good it was impossible to determine where she breathed. Sharpe took long pauses between the final phrases – brave, but extremely effective – making the audience anticipate the landing.

The interplay between strings and timpani in the scherzo was delivered confidently and with dramatic effect. The transition to the pastoral section, with time signature and tempo changes all happening at once, was achieved without a hitch. The allegro brought the delicate, crisp fugue section back to the main theme and a sensational finale.