Brahms’ Triumph with Allan Meyer and Asher Fisch in WA Symphony Orchestra farewell to Perth Concert Hall

Allan Meyer took a 34-year conversation with WA Symphony Orchestra to new heights this weekend in their last program at Perth Concert Hall before it goes dark for renovations. Principal clarinet since 1990 and only the fourth in WASO’s 97-year lifespan — Meyer sealed this piece of history with a polished, assured rendition of Brahms’ Clarinet Sonata No.1 under principal conductor Asher Fisch. Broad phrases in full orchestra launched a questing, restless solo, probing tone and technique in rippling runs and meditative meanderings of pure, limpid sound. Dialogue between front and back of stage tested each before a quiet moment to draw breath, then back to discussion. Individual voices were raised but attention always returned to the clarinet, devolving to a quiet cadence. A pause to “pull through” the instrument drew a knowing titter from the stalls before the Andante second movement dawned in contemplative mode, drawing in a warmly lyrical solo, echoed in oboe, with faint hints of Stranger on the Shore. Restraint was key, with brass silenced and other interventions subdued to give Meyer space for expression, fading to another infinitesimal close. The Allegretto gracioso third stanza refreshed energy across the ensemble and solo with silken threads of melody wafting over the hall, lilting and listless as if riding currents of air to a feather-light conclusion. Bell tones from clarinet and brass lit a cool flame in the finale, Vivace by name and nature, tolling to stir the chase as individual voices stalked the solo once more, this time in grace and harmony. Meyer’s less-is-more approach carried him seamlessly through every permutation of Luciano Berio’s 1986 orchestration, down to a starburst of hometown admiration. Brahms’ earworm Academic Overture had opened the bill with furtive, rhythming scurrying through strings, woodwind and brass gradually leading out well-worn themes. Breaking to celebration then back to studious contemplation, the orchestra paused to release a gorgeous brass chorale led by German trumpets (Jenna Smith and Koominka). Ebb and flow between figures had an organic, unstructured ambience as if reaching back to the source; Fisch unleashing drama in decisive moments then relaxing to ease pressure for lush reflection. Finally, the student anthem “Gaudeamus igitur” (So let us rejoice) broke out in commanding brass, crashing timpani and a flurry of strings for a bombastic climax. After the interval, Brahms’ final Symphony No.4 — the last piece he heard performed — made a fitting farewell to the hall. Barely-there woodwind and strings stealthily inveigled the work into the becalmed auditorium, a sense of occasion adding spice to the mix. Horns then strings led out expansive measures, breaking to pizzicato and back as Fisch caressed then carved the air to coax the big Brahms sound. Horns Rob Gladstones and Eve McEwen, then trumpets, reset the mood for cool woodwind contemplation, with the old firm of flautist Andrew Nicholson and oboist Liz Chee back in business. Unrelenting drive in the score drew extra effort from Fisch, with massive impact in the timpani-fuelled conclusion. Horns heralded the portentous Andante moderato second movement, throwing to woodwind, back to horns (David Evans and Ysolt Clark) then clarinet (Som Howie), drawing in strings on the way. Fatalistic redoubling of the theme across the orchestra unleashed stark intervals then rich harmonies, heavy on strings, rising with flute and brass to close over ominous timpani. Florid celebration in the Allegro gracioso third stanza gave full play to Brahms’ late Romantic palette, with timpani (Alex Timcke) in one back corner and triangle (Brian Maloney) in the other summoning light and shade across the ensemble, both combining in a just-so sign off. Dark moods prevailed in the onset of the Allegro finale, as jagged brass and sweeping strings filled out the soundscape. Flute wove a silvery spell, answered by clarinet then eclipsed by trombones in concert (Joshua Davis, Liam O’Malley and Brett Page), with trumpets, horns and woodwind chiming in to raise heat and temper across the board. Swirling drama rose and fell, whipped up by Fisch towards a stormy, brass-edged finish.