It is 23 years since a youthful William Barton, a Kalkadoon man from Mount Isa, made his first appearance playing didgeridoo with the Queensland Symphony Orchestra . Now, having just turned 40, Barton is recognised not only as a virtuoso but as one of the great players of his instrument, having performed all over the world.  Barton’s first full-length solo orchestral work has been commissioned for its premiere performance with the QSO, so he has come full-circle with his home orchestra. Written in part to celebrate his homecoming to both Queensland and the QSO, it is also a deeply personal and spiritual work that takes him back to Country, reconnects with his land, and pays homage and respect to his Kalkadunga language.

William Barton, Benjamin Northey and the Queensland Symphony Orchestra. Photograph © Peter Wallis

Playing a total of three didgeridoos of different sizes and timbres, Apii Thatini Mu Murtu (To sing and carry a coolamon on country together) began in epic orchestral style, bold and brassy with sweeping strings and strident brass. Into this melange of powerful orchestral music, that had all the resemblance of a film score, the ethereal and subversive qualities of the earthy didgeridoo were introduced.  Immediately, Barton’s trademark playing and interpretation of the Australian bush and landscape opened up before us. One senses that Barton is completely attuned to the sounds of his Country in the music he composes, while the language of his instrument personally communicates with his audience. His extraordinary ability to shape distinctive sounds from his evocative didgeridoo, through a mixture of well-honed breathing techniques plus his variety of separately tuned instruments, is magical. We can hear images of fauna and flora; the birds, animals, spinifex, rustling trees and even water flowing. Moreover, the colours of the bush came very much alive in some of the quieter passages, where the horns, woodwind and a tingling glockenspiel created a chilling atmospheric sonority.  Equally there were some menacing rhythms descending to a cacophony of sound with a colourful palette and rich, dark textures in the brass and darker strings.

What was equally impressive about this work is the strength of the composition for the orchestra; this is not just a passing glance at Barton’s musical forces, while the didgeridoo takes solo centre stage. Rather, this work is a carefully articulated, thoughtfully-driven piece involving all the musicians, bringing their collective cultures together to tell a story.  Vocalising sounds in the final moments of the piece, while bringing it to a lyrical and quiet finale was also a masterstroke.

The breadth of vision of this work by Barton was ambitious as well as subjective, shining through the power of the music, demonstrating a clear attachment to the importance of Country alongside the joy created by bringing this to a wider public. It is a major achievement.

The retirement of Principal Harp, Jill Atkinson, after a stellar 47-year career with the QSO, was the rational for the choice of Verdi’s overture to his opera La Forza del Destino. One of his best overtures, it foreshadows many of the dramatic moments of the tragic opera, opening with alarming brass octaves, a motif for the ominous fate that is to come, swiftly followed by a rush of strings illustrating the major tragic theme of the work, the curse of Leonora’s father. Leonora’s heartbreaking prayer was beautifully played, illustrating some fine harp playing by Atkinson, delicate woodwind and the unearthly quality of the shimmering strings. Tremolo horns and woodwind delivered the heart-aching orchestral version of the well-known duet by tenor and baritone.  Additionally, fierce brass and percussive playing, alongside the darker strings, helped underpin the intrinsic sinister quality of the work bringing the overture to a powerful conclusion.

Sibelius’ Symphony No 5 in E Flat is now recognised as one of his better-known and well-loved symphonies. Listening to it brings to mind the vast snowy expanses of land, dotted with spruce and pine trees, in his native Finland, while the flight of swans over a lake is said to have inspired its creation. With some exceptional orchestration, it is a symphony that inspires a hopeful future.

Under the baton of Benjamin Northey, the first moderately-paced movement began quietly with the horns and timpani, leading to a marvellous cadenza of woodwind and some lyrical tremolo strings.  A delicate bassoon solo gave way to some forceful trumpets, then to a brighter dance-like quality from flutes and oboes, followed by a colourful strong ending with strings and brass. The slower second movement was restrained and measured, with its pizzicato strings and some excellent work by the prevalent horns and woodwind. The final movement famously recalled the earlier theme of the swan calls from the horns, with some exceptional melodic rhythms on woodwind and fine collective playing from the strings and brass. There was excitement in the powerful ending with the final six trumpet chords perfectly realised.

Maestro Northey brought just the right amount of passion and measured control to the evening, from his sensitive and respectful treatment of Barton’s world premiere work, thoughtfully interpreted, through a first-rate, strongly delivered Verdi overture and a beautifully crafted and intelligent reading of Sibelius’s sublime Fifth Symphony. And the standard of playing just gets better, with a commitment and passion for delivery by all sections of the orchestra that is a delight to watch and hear. In all, a very enjoyable and stimulating evening in the Concert Hall.