I have been a classical music fan for over 40 years, pre-dating my obsession with hifi by more than 10 years. Music lingers in the mind almost more than any other sensual pleasure. It's a corner you can call your own.
Other non-music art events that I find enjoyable shall also receive some treatment in this page.
November, 2009 Janacek From the House of The Dead Metropolitan Opera, Esa-Pekka Salonen
I watched this opera just before I came back to HK. It was everything the NY Times review said it is, and more. I liked the Chereau staging, austere in the extreme, comprising a few grey cubes that change subtly in combination as the action "proceeds", much like LEGO products. The conducting of Salonen was positively one of the best I've heard in the opera house. Indeed, this opera is meant as much to be heard as seen. This is not an easy opera to listen at home, but after watching this production, perhaps I shall re-visit it one day just for the great music, way ahead of its time.
Concert Review: Philadelphia Orchestra - Christoph Eschenbach
November 19, 2009, Carnegie Hall Mahler Symphony No. 7
For some reason I always run into concerts by the Philadelphia Orchestra and concerts by Christoph Eschenbach (sometimes together) whenever I'm in NYC. This time, I was not able to get tickets for the BPO/Rattle Brahms cycle, but this concert, coming hard on the heels of the BPO, was oddly satisfying. I may not always like Eschenbach's often wayward and aloof ways, but I have high regards for his considerable strengths, chief amongst which the ability to re-think warhorses and cultivated imagination.
The Philadelphia is a staggeringly good orchestra these days (has always been in fact). It really is a pleasure hearing them play anything. That aside, perhaps their Mahler credential is not as strong as some of their brethens, like the CSO, NYPO, even BSO. In the vast canon of recorded Mahler, the Philadelphia had only a small share and even fewer that are distinguished, but that is changing due to the Ondine recordings (cycle?) conducted by Eschenbach.
Their burnished tone is not just confined to their famous strings, rather to all sections. Despite their powerful playing, nothing grates the ears, and that can be a little disconcerting in Mahler, where you likely want to hear struggles. Add to the equation the cool Eschenbach, and the enigma of the 7th symphony, this was not a concert for those who want pathos, or at least a healthy dose of sturm und drang. Although it took a while for the players to warm up to their best, under Eschenbach's gripping direction the symphony unfolded fluently. Sometimes the tempo was too fast for the music not to sound dispassionate. An example was gearing up for the last part of the sprawling first movement, at a tempo that was surely allegro, but not ma non troppo. Similarly, the Rondo-Finale was taken at a clip, with occasionally odd rhythmic pointing, so the conclusion was resounding enough but stripped of some triumphal grandeur. The story-telling here portrayed mother nature as finicky, even idiosyncratic, but not at all malignant. Perhaps that is fitting enough for a symphony Mahler calls his happiest.
Eschenbach brought out a wealth of details along the way. This worked best in the three inner movements, where I savored every second of the enchanting playing. They not only played with great individuality but they listened to each other and sometimes it felt like chamber music on the grand scale, not a bad way to play Mahler's reflection on nature and man.
When it ended, the fellow behind me said: "...(Eschenbach) is all nuts in his head, but how he made them PLAY!..." The appluase was tumultous. The hall was packed and the balcony was stuffed by young students. How refreshing. Mahler's future is bright. A wonderful concert.
I attended the last performance of this re-run of last year’s hugely popular production. This opera would not have been so successful if not for the visual wizardry of director Robert Lepage. Admittedly I have never been a fan of the music and went for the theatre part of it, and in the end I got not much more than what I had bargained for.
Although the visual alignment was not perfect for someone sitting in the family circle, one could see all the happenings and even learn how some of the visual tricks were achieved. Aligned close to the front, the simple set of evenly spaced tall support columns and planks spanning the full width of the stage divides the vertical plane into grids. Aided by video projection onto mechanized screens these were alternately transformed into rooms with windows. The rooms were populated most of the time by the chorus and dancers, less often by the main characters.
The visuals were riveting most of the time. One got busy in the futile attempt to register everything happening in every grid. The lighting was masterly, imparting much needed three-dimensionality to the relatively compressed depth of the production. Only in certain scenes, such as the ride to hell, did the compression become painfully evident. The direction gave much for the chorus and dancers to do, and that is apt as they as much as the soloists are the stars of this opera/oratorio/music drama. The chorus sang solidly and the dancers were bent on their acrobatics.
The largely successful deployment of the chorus and dancers unfortunately threw the singers into not always flattering relief. Ramon Vargas sang Faust relatively stylishly but could not fill the hall. Despite her poorer diction, Olga Borodina sang better but was visually unconvincing as Marguerite. One cringed when in the Epilogue her large body had to climb up the stairs to heaven. Better was the Mephistopheles of Ildar Abdrazakov, the real-life partner of Borodina. Perhaps fatigue had set in by the end of the run. Note that the cast was completely different from that of last year (see NYT link). James Conlon conducted efficiently and the orchestra played well, though I think the score’s lyricism was not always in abundant supply.
How do you "review" the collaboration between a playwright and a director who outdo each other in deconstruction? AND, how do you review Robert Wilson ((classical fans are most likely to know him as the director of Einstein on the Beach, which employs one of Philip Glass' greatest scores) at all? Well, I think the NYT theater critic has done a brilliant job here. For myself, I'd just add some thoughts of my own and provide some links. Who knows, perhaps one day the play shall travel to HK?
To begin to comprehend the whole thing, even to read the NYT review, it is necessary to have some familiarity with the original novel Les Liaisons Dangereuse, from which this play is derived ("pilfered" is perhaps just as appropriate a word metaphorically). In the wikipedia link you shall note that several films have been made to the original story. Chinese are most likely more familiar with the Korean and Steven Frears remakes. Should you have time, check out the original film, "period" Roger Vadim (Babarella is likely his most well known film), which incidentally employs Thelonious Monk's music to great effect.
It goes without saying Wilson's production is visually stunning as much as it is austere. Most bewildering was the effect of role change, when the voice stiffens up or softens to accomodate. This is made more complicated by deliberate manipulation of the amplified voice, adding elements of uncertainty and bestiality by turns. I love the story and have watched all three films before, yet I could not most of the time make out whether the woman or the man was behind the spoken lines. One just give in to the augmented effect of music and thetrical effects on words.
In the end I think the contribution of the playright is very little, and I even wonder about its quality. I personally do not think his fragmentation adds much to the original story. What it did provide was a lot of "obscenities" in the frequency the anatomical parts and some parts of the sexual act were impassionately detailed. No wonder there was a small but constant trikling out of the audience.
A passing mention on the mesmerizing actress Isabelle Huppert, who is probably best known in Aisa for her more recent film The Piano Teacher. I first encountered her in Claude Chabrol's wonderful Violette Noziere. How time flies.
I greatly enjoyed the score by Michael Galasso, who had just died. You may know him as contributor to the film scores of 重慶森林 and 花樣年華.
This little known orchestra mean something special to me and I'm ecstatic to have caught up with them in NYC this time.
In the early eighties a friend and I went to the annual Brucknerfest at the Brucknerhaus in Linz. My friend is none other than the person who introduced me to Bruckner and Sibelius, composers who have remained my favorites unto today. Imagine, mostly bored undergradute students (Chinese, Koreans etc, and a senior citizen gwei-lo ex-ranked player!) at Columbia University playing pingpong every afternoon (even when there was no class)! My friend talked to me and one day lent me some LPs and I was an instant convert.
Linz is to Bruckner as Salzburg is to Mozart. It was rather bucolic and conservative/Austrian country in those days; I don't know about now. I still remember the Bruknerhaus where we went to hear a Bruckner symphony performed by this very orchestra, very ably. Most memorable was the way the hall reminded you of show time: instead of some kind of bell and gong thing, the mighty brass opening theme of Bruckner's 5th symphony was played repetitively. Effective and appropriate.
I have always liked Dennis Russell-Davies, familiar through attending the American Composer's Orchestra and the Brooklyn Philharmonic (see wikipedia entry too). So it was not surprising that the concert opened with the Violin Concerto No. 1 of Philip Glass, whose music he has always championed. From the word go, it was clear the orchestra is superbly attuned to this music. The hall was awash in Glass' throbbing and ostinating sound. With this kind of minimal music, when it's played played routinely one is apt to find it repetitive, yet when it's well played, as it was here with the greatest attention to the pulse, it is strangely mesmerizing. In the outer movements, one heard the power in reserve, imagined looming horizons and felt the wheel of time. Unfortunately, the power of the playing frequently drowned out the soloist Renaud Capucon, who played valiantly, with good intonation and feeling, but it was too evident he has too small a tone for the large hall (one even feels that on his recordings). Only in the tender slow movement was he able to project more.
Just a few bars into the Glass piece and knowing what was to come, I began to see the logic of the programing. With its frequent crescendos and decrescendos (some rather sudden) and ostinati, Glass really is not unlike Bruckner, even if they inhabit different spiritual worlds. The realization was a wonder, something that only happens in the concert hall, in intelligently planned programs.
The Bruckner 4th Symphony was played for all its worth, with only one caveat. The 1874 version was employed (they recorded it for Arte Nova and the complete box shall appear soon). Now, I had previously heard the 1874 version by Inbal (Teldec CD) many years ago, and I remember I was rather dis-oriented by it. Now, in the live performance I was able to really sink my teeth into the original version, much more than could have been done listening to it at home, where attention usually falters. I confess I still much prefer the 1888 version (what we usually hear, more or less), but I found the performance fascinating. Davies held a tight rein and was attuned to the constant dynamic changes, keeping the rather repetitive passages fresh while maintaining the long line. With the excellent orchestral playing, the performance held together rather well, lasting almost ninety minutes! My only caveat was the accurate but piercing trumpets which in balance overwhelmed the trombones (partly an acoustic problem I guess). Otherwise the orchestra played with great verve and character, refined and robust in turns.
The concert was VERY poorly attended, with most people in the orchestra and empty tiers. As I walked up to my usual third tier box a nice usher on the first tier told us we could sit there, in the more expensive seats. Like everyone else, I took advantage of that but afterward wondered whether that was a smart move. The sound I think is not as good lower down, sometimes reverberant. Sounds familiar?
As with Bruckner, not to mention in less polished original versions, after each movement many people left. Fortunately, those who remained managed to give the orchestra and Davies the curtains calls they deserved.
I shall get the Davies Bruckner cycle when it comes out. Let us not forget Capriccio still has a complete set by this orchestra, conducted by various conductors, and a fine set that is too, though more difficult to get now.
October 24, 2009, CCCH Sasha Rozhdestvensky, violinist Beethoven-Shostakovich
Yet another HK surprise. Years ago, I was ecstatic to have caught up with the legendary Sviatoslav Richter, who had an aversion to America. That was truly a once-in-a-lifetime concert. This time I am very happy to have finally heard 78 year old Gennadi Rozdhestvensky, who is now also legendary. He must have appeared in NYC before but I had never heard him. Rozhdestvensky is very well known in the UK since early days, as chronicled in his bio and evidenced by the many BBC Legends issues of his live recordings (many available in the library). His appearances in the US was and is more sporadic. A wikipedia entry revealed some unfortunate unpleasantries with the BSO.
From the orchestral introduction to the Beethoven Violin Concerto, it was immediately apparent we're listening to a true master and not an also-run. A fragile figure, doing without the podium (apparently customary), with minimal but clear motions, and slow tempi that would have been deadly in lesser hands, Gennadi Rozhestvensky drew noble sonorities and superbly concentrated playing from the orchestra. The sound was golden, full and supple, yet louder and more powerful when released. Crescendos had a natural quality and pianissmos palpable.Unlike over-rated lesser conductors who only know to drive hard and push the orchestra to frantic and edgy delivery, the master achieved precision and delivered power effortlessly.
That said, the slow tempi were not for everyone. Clocking in a shade under an hour, one had to listen hard, particularly after dinner. Son Alexander (Sasha) is a fine violinist who has a beautiful tone, but his true and rare gift is a supple sense of the long line. One did not feel the bars, as one phrase just imperceptibly flowed into the next. At this tempo, one missed a little passion, but, occasional intonation problems notwithstanding, this was excellent playing.The Schinttke cadenzas (which involve the tympani) were played wonderfully and I wished they were playing one of Schnittke's violin works instead (Gennadi was and is the greatest champion of this composer; have you ever heard his recordings with Kremer and Tatiana Gridenko? Wow!)). I did not like the Bach encore.
The Shostakovich Symphony No. 10 was also quite slow. No detail was slighted and the performance was precise and atmospheric. In the first three movements the slow tempi did not bother me, as it allowed for much fine and insightful playing that stressed the phantasmagorical rather than the gritty, sarcastic and acidic. However, I did feel the finale could have used more force and attack. But then this Shostakovich symphony is a paradox open to interpretation, is it not? The reception at the end was tumultuous. I must mention again the very fine playing of the orchestral members. To cite just two, I have never heard Kam Shui play so loud and full, and the bassoon is an important figure here; and Mark Vines was absolutely splendid and confident in his delivery.
Hoi had also gone to the Thursday concert, which he said was even slower. He also mentioned the soloist was better last night. The Saturday concert was broadcast live by RTHK, but the program shall be repeated on 29 October at 2 pm. Make sure you tune-in (the slow tempi likely works less well on the air relay) and catch this rare moment. It is unlikely we shall get to hear him again in HK.
When the choir and orchestra came onstage I was rather excited by their unusually well-designed costumes. While the men in the choir donned Bavarian jackets (similar to Austria's loden jacket, or our Zhongshan, or India's Nehru), the ladies wore subtly patterned dresses. The orchestral ladies were even more spectacular. While their male counterparts wore the usual suits and tails, many of the women wore clothing with unusual cuts and complex non-primary colors that embrace the range from near-orange to near-purple. As in the photo in their promo material, they project a suave image.The designer behind the package should be credited!
The somewhat HIP (historically informed) orchestra used largely modern instruments and was of reduced string size (strings 10, 8, 7, 5, 3) compared to the full woodwinds. The trumpets and trombones were smaller horns than what we usually see. The continuo is unusually a painoforte.
Part I opened with a nice flourish, the vibrato-less string sound and bold tympani eerily evocative. However, as things progressed I became less engaged. The orchestral members played in a highly individual manner but did not quite gel into an ensemble that could deliver forcefully when asked to. This was partly due to the limited size of the strings (in this large venue) and partly due to the approach of the conductor (who bears some resemblance to Tennstedt), who conducted in a somewhat choppy manner, frequently clipping things, even fortissimi, in the wings. While there was much beauty in the tone-painting of the creation of light, water and animals, there was a lack of organic flow and hence, lack of momentum.
The chorus was apparently well-grilled. They sang with unison (even sounding one-voiced sometimes) and wonderful diction. But they were unfortunately placed on the stage rather then in the surrounding balcony. The sound was not as projected as I'd have liked. I say this for a reason. In 04/2004, the London Philharmonic Chorus gave a thrilling Creation with the HKPO under Samuel Wong, and the choral sound then was phenomenally full.
The soloists were excellent. The singing of bass-baritone Klaus Mertens (Raphael) was partician, beautifully projected and just about perfect. Soprano Miriam Meyer (Gabriel; and she was like an angel) has a beautiful voice, sang passionately and ravishingly and was positively beaming in her fortissimos. The Uriel of tenor Colin Blazer was slightly below their level, but still had good command of the style. In Part III, I liked the solid Adam of baritone Thosmas Scharr more than the smokily operatic Eve of soprano Elisabetta Lombardi, who also had the least clear diction.
During the intermission the performers were seen puffing away hard outside. True Europeans! And when they returned, they turned the throttle one notch up. The ensemble improved and the climaxes were more thrilling. The audience was enthusiastic.
Overall, this was a performance that shone light on many details, with meticulous attention to balance and the meaning of the words. However, in terms of coherence and overall excitement it was quite a bit behind the more traditional LPO chorus/HKPO performance mentioned earlier. That performance gave unbirdled passion and joy, and is that not more appropriate for an oratorio that glorifies God?
This is return engagement for both pianist Pascal Roge and the London Chamber Orchestra chamber group. Previously I had heard and greatly admired their playing, and so I attended with high expectations. Attendance was rather abysmal, though the small audience was enthusiastic and informed.
The excellent cellist Pierre Doumenge was the only member left of this LCO quartet that had appeared here before. This incarnation was led by the Andrew Haveron, no sophomore given his leadership of the Brodsky Quartet! The viola Joel Hunter too was notable for his passion and big tone. Only second violin Magnus Johnston was comparatively reticent and served mostly as a subdued inner voice, sometimes difficult to hear behind the bright tone of Haveron.
The highlight of the concert was Faure's rarely heard Piano Quartet No. 2. The playing of the LCO group astonished me yet again (see below for 2007). With ensemble that was superior to many a more famous quartet (like the Emerson, Hagen etc), the threesome plumbed great depth in this piece which they likely had never played before. The ebb and flow of Faure's music were better conveyed through their kind of incisive playing than performances that are softer. Haveron was positively virile in his playing, which is appropriate in Faure's music that is imbued with (sexual) undertones. From my sixth-row-center seat the piano sound was not quite completely released but, an odd moment here and there notwithstanding, pianist Pascal Roge was caught up by the passion of the strings and delivered playing that was a little soft in volume but idiomatic. Given the difficulties in balancing a piano quartet I was very pleased by this performance. there was plenty of contrast between troubled, stormy episodes and tender moments; between drama and quiet passages of reflection.
The Shostakovich Quartet No. 1 was given another fine performance that lacked only a little in quicksilver about-turns and that sense of the macabre that Shosty's music almost always harbors. In other words, though aggresively played, it was not really gritty.
The ensuing Brahms Clarinet Trio benefitted from the excellent clarinet playing of LCO member Timothy Orpen. Although emotionally slightly cool, his tone and control left little to be desired. Here, Roge's piano playing was more troubling, almost never coming to the fore (except near the end). The ensemble hence lacked a give-and-take quality that prevented Brahms' music to be completely unfolded.
Concert opened with Two Waltzes from Dvorak's Op 54, given a slightly polite delivery.
I re-read my old notes, appended below. Despite personnel changes, much about the LCO chamber playing hold true, though I heard from 2 different sources Gary Graffman was electrifying this year.
Many audiophiles showed up, and I had a good time chatting with ken1967, icefox, jules, whlee, Hoi, sokps, Wesley (sans elegant wife this time), mansanwai, 一休大师, Robin etc. Afterwards, four of us went to have some German beer in Lan Kwai Fong. Wonderful evening!
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15/12/07
Chopin Society/Joy of Music Festival
LCO Quartet/Graffman
Scriabin/Reinecke/Schnittke/Schubert
CH
Like last year, this was a week-long festival, featuring the London Chamber Orchestra String Quartet, Pascal Roge and many others. I had really wanted to attend the Wednesday recital of Anna Vinnitskaya (First Prize, 2007 Queen Elizabeth), and the Thursday concert that featured Roge playing Faure’s piano quintet #1 and Brahms piano quartet #3. Alas, previous commitments precluded my attendance. But I was lucky to have attended the final concert.
Gary Graffman must be around 70 years old now. He opened the concert with a Scriabin etude andan obscure Reineke sonata, both left-hand pieces. His accounts were troubled. While there were some nice tonal shadings, technical failings were difficult to ignore, and the Reinecke was further hampered by a lack of flow. Quite disappointing.
Things got a lot better with the London Chamber Orchestra String Quartet. The Schnittke Piano Quintet was very well played by all parties, atmospheric, by turn funereal and nostalgic. Graffman played with both hands and had some nice sonorities.
The second half featured Schubert’s “Death and the Maiden”, played urgently. The blend of the four strings, while not perfect, was decidedly superior to many a more famous ensemble. Vasko Vassilev, first violin, stood out for his incisive, even vehement playing.He phrasing was sharp, his tone often declamatory, yet his iron grip proved the perfect foil for his softer sounding colleagues. If the playing sometimes lack a lyrical side, it was always engaging.
Attendance was not too good. Andrew Freris’ customary address at the start of the concert took almost 10 minutes. Given that now there are program notes (pretty good) I see no good reason why the audience is obliged to listen to his pedestrian delivery.
Alex Ross is currently classical music critic for The New Yorker. For those not acquainted with this wonderful magazine, it's highly geared towards the arts, and has always had top writers on their staff. Ross' illustrious predecessors include the famous classical music critic Andrew Porter (referred to by Norman Lebrecht here) .
Taking advantage of the internet's audiovisual ability, author Ross has created on his Blog an AUDIO GUIDE to his book. It's quite entertaining and can stand on it's own. Some of the musical examples are quite familiar to me, but I also learnt a lot of new things. It shall take you quite a while to finish, but the effort shall be amply rewarded. Highly recommended.
Incidentally, the book is available from the library. And if you don't know the man with the gramophone, he's Klaus Kinski in Werner Herzog's masterpiece Fitzcarraldo, one of my desert island films. And if you don't know this Kinski you may want to recall his ravishingly beautiful daughter, the actress Natasha Kinski (photos), the one on the CD cover of the Paris, Texas soundtrack.
September 17, SZ Concert Hall Shenzhen Symphony Orchestra-All Shostakovich
I had come across Antje Weithaas (impressive biography here) several times previously in various chamber music compilations from Lars Vogt's excellent Heimbach "Spannungen" Music Festival (EMI, some available from the library; also AVI). I also admire her perfection in leading the magnificent Arcantro Quartet, whose Bartok cycle sets new standards.
I was curious how Weithaas would fare in a big concerto. And was I surprised! She gave possibly the most accurate rendition of the Shostakovich Concerto No. 1 I have ever heard live or on records. With perfect intonation and beautiful tone (playing on a modern violin), she seemed to have played more notes than I have ever heard. More importantly, she has a natural inclination for phrasing and architectural integrity. Dynamics were also perfectly graded. I think all these reflect her considerable chamber music expertise. More surprising, unlike some chamber musicians she had enough volume for this big piece, and one can see her bio above shows appearances with many prestigious orchestras. The orchestra was with her all the way. If I have any reservation about the performance, it was that in this tightly argued performance, perhaps German reserve prevented full display of the macabre. Still, what a find, and I count myself lucky to have heard her!
A similar Germanic resilience pervaded the Shostakovich Symphony No. 10, conducted masterly and symphonically by Christian Ehwald. The complete grip of architecture and non-sentimental approach reminds me of performances of the several Shoatakovich symphonies that I have heard conducted by the excellent Gunther Herbig on record (Berlin Classics; available in the library) . As in the concerto, I'd prefer a little more abandon and sardonic wit. The orchestra tried very hard, but their grasp of Shostakovich, in contrast to Brahms, was not quite that of the HKPO (in performanecs by the likes of Jaap Van Zweden and mark Elder). I eagerly look forward to the same symphony conducted by the legendary Rozdhestventsky.
The crowd was impressively quiet, and applause warm and sustained. The vista is changing fast up North.
Many people like me secretly love the Liszt concerti (particularly No. 1) and were honed on Richter/Kondrashin's legendary accounts (I also love Tamas Vasary). Not the "highest brow", but exciting they are when given a good performance. Which was exactly what we got in the lesser heard Concerto No. 2. Thibaudet, a surprising Lisztian, proved a strong and straightforward soloist who have the chops when demanded, much more exciting than his last appearance with the HKPO. The important orchestral contribution was disciplined, fierce and tightly integrated, quite the best EdW concerto performance I've heard. So this year we have been blessed by unusually satisfying concerti performances, which include Steuermann's AYO performances. let's hope the coming Rozdhestventsky concert shall deliver the same.
The Elgar Symphony No. 2 was more or less as expected. The orchestra was pushed to its limits and coped valiantly, but it was just not an idiomatic performance. The straightforward last movement fared the best. Elsewhere, the "ebbs and flows" of the music (this is quoting the program book, and if you know Elgar you know what the annotator is talking about) felt rather mannered. There was neither "Edwardian" splendor nor a particular breathing quality that good English conductors and orchestras convey (like Mark Elder in his excellent HKPO performance of Bach/Elgar of recent memory). Instead the music hovered closer to a kind of Wagnerian world. It has to be said this masterpiece to me is one of the most difficult to bring off even on records (replete with unidiomatic performances), and I am glad to have had a chance to hear it live.
Concert opened with a well played Dvorak Carnival overture that missed the fizz in the music.
Sometimes you have to make difficult choices. For this concert I had to forgo a dinner of rack of lamb! I was amply rewarded at the end.
Concert opened with a subtly inflected and atmospheric Lohengrin overture; the beautiful strings immediately conjured up the grail!
Sibyll Mahni, Solo Horn of the Frankfurt Opera, played the Strauss Horn Concerto No. 1 with great confidence and her sound just filled the hall. Laudable was the detailed and fluid accompaniment, no easy task given the conglomeration of style in this early Strauss.
I need not spend more words to praise the Brahms Symphony No. 1 given by Christian Ehwald. A rock-solid performance of great beauty, and every word said about the strengths of his accounts of No. 4 and No. 3 (click for my previous reviews) still holds true. Only one thing alrmed me, that the strings seemed diminished in number, 14, 11, 8, 9. 8 in this performance., and this is fewer in number than previously, something I hope is not permanent nor reflective of the orchestra's financial or recruitment deficiencies.
I am not sure whether Ehwald had done the Second Symphony before, but I sure would love to hear it to complete MY cycle!
These two excellent artists richly deserved all the applause they received from the nearly full-house (including the balcony).
Concert opened with Arvo Part's elegiac Cantus In Memory of Benjamin Britten. The combination of strings and chime was hauntingly beautiful, marred only by unquenced noise from the audience.
James Tuggle, an experienced opera and ballet conductor, proved his mettle in a gripping performance of the Beethoven Seventh Symphony. Although the winds were struggling a bit at the start, it was clear Tuggle had full command and he steadily negotiated his way. Despite the small size of the Sinfonietta, the performance was big-boned and dramatic, yet mindful of details and counterpoint. Dynamics were well graded and climaxes blazing, even acerbic at times (as good Beethoven should be). The allegretto was elegant and hushed, hinting at tragedy but with emotions reined-in. I like it that way, but some may prefer a more expansive treatment. The scherzo was delivered at quite a fast tempo, yet the players did not seem pressed as things unfolded naturally. Tuggle did not overtly emphasize the dance elements but one could feel the spring in his steps. The concluding Allegro was certainly con brio, bringly the symphony to a triumphant conclusion, and to wild applause. Here I remember the urgent Beethoven conducted by the excellent Li Xin Cao some years ago, though this performance is likely even better.
The Sinfonietta is as usual in a state of flux. In this economic downturn, it seems corporate sponsorship is down, and alarmingly one of the major sponsors this season is an individual from the board. The roster shows many changes since I last heard them (quite a while ago). The concertmaster post is vacant and the guest William Pu, from the Atlanta SO, performed steadily. More than usual, the concert had twelve "free-lance" musicians (including two from HKPO) which means fewer musicians are on full-time pay. The post of Principal Oboe is vacant, and the guest was Michael Wilson from the HKPO. As usual I am not enamored of his tone (I like Ruth Bull more), but in fast passages I could appreciate his steadiness. There were two big surprises. Although First Flute Weng Si-bei's tone is not the most mellifluous, she obviously is an excellent player who (more than Wilson) displayed great leadership during shaky ensembles (as Andrew Simon recently did for HKPO in French works) . Surprisingly confident too was the Principal Clarinet Johnny Fong Hiu-Kai. a good find. I only wish the horns and bassoons could be a little better. Again, one has to praise the strings, expressive and surprisingly penetrating in big moments, lending a feeling of the Elysian to the climaxes in the Beethoven.
Unusually, the Dvorak Cello Concerto came after intermission. From the start it was clear Tatjiana Vassiljeva is a real diva. With impeccable technique, she delivered a refined, richly nuanced and fastidiously detailed account. I was sitting in the balcony and she had enough volume for this big concerto. As usual the lower notes were somewhat lean in the balcony. Tuggle accompanied sensitively, though the orchestra's playing was below the excellent level they achieved in the last three movements of the Beethoven. Not particularly earthy ("masculine") and more "symphonic" in concept, the interpretation remained enticing . There were two encores, both movements from Bach's solo suites. These were broad in conception and played sensitively and immaculately.
This concert will be (1) broadcast on RTHK4 on Saturday, September 12th at 8:00 pm and; simulcast on RTHK4 and TVB Pearl on Saturday, September 19th, at 2:35 pm.
As usual, the Asian Youth Orchestra music-making acquired much more depth with the guest conductor on the podium. Matthias Bamerthad previously appeared successfully with the HKPO, long before EdW, in an era replete with excellent guest conductors who communicated the music's passion.
The concert unusually opened with the Brahms Symphony No. 4. Bamert has always had a very clear beat, which he further strengthened for the youth orchestra. The orchestra responded in no uncertain terms to his direction, sometimes even a little too determined. Under Bamert, climaxes were more assured and the strings sweeter. The performance caught all the ebb and flow of the music and was well proportioned. Although the winds cast setup (particularly oboes and clarinets) for this piece was weaker than in the second half, the big sound and passion (missing in many HKPO Brahms performances) carried the day. After the intermission came a miraculous performance of Mozart's Piano Concerto No. 20 in D, surpassing even the excellent Ravel the previous night. Jean Louis Steuemann's tone was slightly more chiseled and less bronzen than the previous night. Perfectly natural phrasing and breathing informed his playing. Blissfully, the orchestra was urgent and tightly knit, a model of Mozartian style under Bamert. This was a true dialogue, a conversation between two parties, very rare in concert. Despite a very slight drop in temperature in the last movement, where Steuermann obviously relished the interplay with the (excellent) oboes, and a somewhat uncertain re-entry of the winds after the cadenza, the performance was well-nigh perfect and easily the best concerto performance of the year for both soloist and orchestra.
Tchaikovsky's Francesca da Rimini is a piece that can easily bore with all its repetitions, but Bamert had full grasp of the tone poem and, aided by a stronger winds cast, delivered a gripping performance. Only in the biggest tutti did the orchestra lack the last bit of power, only just.
The encore was a Brahms Hungarian Dance of swelling passion, which left the recent HKPO performance under Zhang Xian buried in the dust.
I thought I had seen everything with all the microphones in HKPO performances, so I was shocked to see a 4-ft tall robotic camera right in front of the conductor. Remotely controlled, it swung and swerved its head constantly. One time it even shot straight up into the ceiling! I wonder how Bamert and the orchestra put up with this. Over-miking and cameras are obtrusive to the audience and I cannot imagine that they would bring us closer to the performance.
Note: the concert shall be simulcast on RTHK4 and TVB Pearl at 2:10 pm on Saturday, August 29.
The Asian Youth Orchestra give a pair of concerts annually. Program A is conducted by co-founder Richard Pontzious and program B by the principal conductor (or substitute).
Although I am not at all fond of Pontzious, to say the least, I end up attending both concerts each year for various reasons, not least to support AYO, and because of steep discount if tickets for both concerts are purchased together, an irresistible offer.
In the context of the program, Barber's Adagio for Strings was rather incongruent as opener. It started beautifully; the violas were simply ravishing. Ponztious ruined the nice build-up by edging onto the climax rather precipitously, and the piece never really tugged at the heart. A missed chance.
Anchored by a steady snare-drum, Ravel's Bolero was nicely played. Despite occasional fluffs, the winds and brass were characterful. Again, Ponztious rather impatiently edged onto the climax, which paradoxically deprived the piece of some aplomb, kind of premature ejaculation for this piece that is often described in sexual terms.
Soloist Jean Louis Steuermann was the big surprise of the evening in Ravel's Concerto in G. Although Ponztious drove the orchestra rather roughly during climaxes in the outer movements in his best attempts to drown the soloist, Steuermann was rather unfazed and more than survived. Playing with full keyboard command, rounded tone across the octaves and seamless phrasing, he delivered a reading of great posture. Never going for surface effects nor trivial sentiments, he was elegance personified. This concerto had been played in HK many times before. IMHO, this is best performance.
The best cast was evidently saved for Stravinsky's Firebird suite. The performance was beautifully colored by the various soloists and orchestral unity was very good. Even Pontzious became steady, allowing the climaxes to unfold better than before. A resounding success and truly enjoyable.
Overall, I think this year's AYO is better than the last. There were many moments of great beauty. Most laudably, the wind and brass players played with warmth and color. With so many Asian talents, it's inexcusable the HKPO is hiring only more expat players.
Note: The concert shall be broadcast on RTHK4 at 8 pm on Friday, August 21st, and repeated at 2 pm on Wednesday, August 26th.
Concert Review: Shenzhen SO/Ehwald/Bohorquez July 24, Shenzhen Concert Hall Wagner/Schumann/Brahms
I attended the middle of 3 consecutive SZSO Friday concerts in July by their wonderful director Christian Ehwald (Biography). Last year I heard him conduct one of the best Brahms 4th symphony I have ever heard (review of that concert), and so I eagerly looked forward to the Brahms 3rd this time. Again, Ehwald did not disappoint.
For this more lyrical and equally difficult symphony to bring off, Ehwald took a middle-of-the-road approach. With the well chosen tempi, the symphony unfolded in a relaxed manner and in patiently sculpted long lines that rarely buckled (no easy task in this symphony, and great strength of this conductor). Although not heart-on-sleeve, the performance did not lack in sweep when called for. Most impressive was Ehwald's patient but firm grip, allowing only true climaxes to ring out in full power, unlike many a lesser conductor (some we hear too often) who consistently over-drive music. Vitally, there was a rare refinement in the probing inner movements, reflective, serene and wistful by turns. Of course this could only be achieved with harmonious playing of the winds in solos and in unison. The remarkably beautiful blend achieved by the young wind players here is truly impressive. I am particularly captivated by the bold clarinet of 左丞 (studied in Germany), although the lead horn and 黃錚 are very good too.
The concert opened with Wagner's Meistersinger Overture, which also showcased Ehwald's ability to build a true climax. This was followed by Schumann's cello concerto played by Claudio Bohorquez. The young German cellist has previously won the Casals Prize and even played on his cello for some years. I wonder why, as his playing was not at all emulative of the old master. Technically competent and with a moderately big tone, he could have made a bolder projection than he did, partly due to his vibrato control and preference for short and quick attacks. Sometimes I heard more notes than I usually do with this piece, which is to the good, but this came at the expense of ardor and momentum. The orchestra was reduced but played with great style and textural transparency. Ehwald maintained the momentum by carefully shaping dynamics. For once, the repeated string surges big and small sounded perfectly integrated. Again, the winds really shone in concertante passages and dialogue in the slow movement was simply breath-taking. Overall, only the deliberate nature of the cellist limited the scale of the performance. Still, it was no small achievement for this piece, which can sound episodic in lesser hands. Here, just the slow movement alone should have convinced one that this is a veritable masterpiece. Bohorquez played a slow movement of solo Bach for encore. His bowing seemed rather exaggerated and I found his concept really strange, distorted and almost vulgar. No, I did not enjoy it.
Along the Roaring River - My Wild Ride from Mao to the Met (Wiley 2008) Book by Tian Hao Jiang (田浩江)
Thanks to the recommendation of RC in the newsgroup 3music.classical, I picked up this book from the library. Aside from the time I had to put it aside to read another, more in-demand library book (中文解毒) , basically I read it straight through. As RC said, it's difficult to put it down.
Tian 田浩江needs little introduction. I have heard him on the Met stage and he's professional. The website says very little but the first half of the book is filled to the brim with details of life in China, during the Cultural Revolution. Although Tian now visits and teaches in China regularly, it'd be difficult to foresee this book (2008) being translated into Chinese soon, given all its damning accounts of life in those troubled times. The second half details his odyssey in the West, filled with colorful vignettes of fellow singers (like Domingo, Plishka etc) and producers. For all Tian's perseverance and courage, I'd like to mention that the occasional assertion of being a (bass) trailblazer is not absolutely true. Before Tian, there was 斯義桂， who preceded him by many decades and who had achieved a certain renown. That was a different age (much less dissemination of information), and a different China.
Although the library copy is sure nicer, you can read the whole book at Google Books. Click on the Wiley and Amazon links for some description and review of the book.
Highly recommended and a great read for the summer.
Listening Log 11/07/09: Treasures from the Library
Top Choice Many people have asked me why I borrow from the library, when I have thousands of CDs. The reason I think is the library affords us an opportunity to go out of our own confines, to sample things we may not otherwise sample, for reason of cost, fear of duplication, or simply bias.
With so many Mahler CDs, these days I have to listen to one first before I even think about buying. Well, this DGMahler Symphony No. 2 got me. It is simply the most detailed rendition I have heard. It breathes right and somehow does does not slight the spiritual dimension, as Boulez sometimes might. Needless to say the VPO's playing is a spiritual dimension in itself. With this Boulez has finished his cycle. I wonder when a bargain boxset shall be issued. I listened to this CD twice and could not get enough.
The Vegh Quartet has always been my favorite. In this live (1961 Salzburg) recording from Orfeo, you are bathed in a glow for the entire duration. Whether in Haydn, Beethoven or Debussy, the lead of Vegh is seamless in its phrasing and the ensemble creates the most beautiful soundworld. You can just leave this spinning on the tray (or on hard disc) forever. There's no more rewarding quartet playing than this.
Of current quartets I cannot think of any that is superior to the Leipziger Streichquartett, who records exclusively for MD+G. Here, members team up with pianist Christian Zacharias (another uner-rated pianist) and double bassist Ockert to deliver an account of Schubert's Trout Quintet that is truly different. At first listen rather detached, close listening reveals a rock-solid rhythmic line (helped by the recording; you shall never hear the double-bass so clearly) and a symphonic treatment. This is not a version that screams gemuchlichkeit, but rather a telling version that reveals the myriad beauty of the score, the details that one tends to not notice besides the boldness of the themes. Zacharias's playing is at once refined and unerring. This oblique review is enlightening. You can also hear some of this recording in the youtube embedded below.
Excellent: I have always liked the passionate Natalia Gutman, who with Abbado/Mahler Chamber Orchestra delivers a version of the Schumann Cello Concerto that outstrips her teacher Rostropovich, also on DG.
July 3, 2009, CCCHHKPO/Zhang Xian/Viktoria MullovaBrahms/Bartok
Star power + Brahms violin concerto = Good attendance. That never fails.
The 3 Hungarian Dances that opened the program were rather brute and driven for my taste. These are dances, not marches!
The Brahms violin concerto was a curious affair. Viktoria Mullova, always the cool soloist and whose face and body betray little inner emotion, had appeared in HK many times and needs little intorduction. Taken for granted is her superb, almost super-human technique (a few fluffs notwithstanding). What assurance and control of her instrument even in the most difficult passages; effortless attack right on the note and what double-stops! As expected though, she delivered a rather "objective" rendition. The first movement cadenza was really neat but almost deliberately shorn of display, making it much less of a rallying force. The slow movement was perhaps the finest of the three, with Mullova sounding smaller in the last movement's faster passages. Although Zhang accompanied dutifully and the orchestra played well, somehow as a whole the heaves and sighs of Brahms did not come through. Mullova played a little bit of solo Bach as encore, and splendidly. From one so attuned to period practice, I was surprised that she delivered the movement in a rather free and vocal style. Behind the impeccable line the contrapuntal elements were superbly telling, the dialogues pregnant with meaning. It was spellbinding. One wonders what strings and bows she were using. It's known on her recordings she uses gut strings.
The orchestra transformed itself in Bartok's Concerto for Orchestra, which was played for all its worth. The solo's were very good, and Zhang held a tight rein. There was plenty of color and verve on the way to a rousing finale. Although a little more tenderness and gravitas here and there would not have been amiss, I was quite satisfied.
After the concert, several of us had a long discussion on Mullova and Brahms. Most illuminating.
It was only when I arrived in CH that I found out Isabelle Faust had a family emergency and had flown back to Germany in the morning. A bummer, as I had wanted to hear Lutoslawski's Partita, which along with the Mozart violin concerto no. 4 were ditched. This was curious, as in the morning I had listened to Isabelle Faust's nice interview on RTHK! Did I miss an announcement?
The program was re-invented. Haydn's overture L'isola disabitata opened the program. It was immediately apparent conductor Nicholas McGegan is a real stylist, who got drama aplenty out of the much reduced orchestra. Andrew Simon stepped in last minute and delivered on the bassett clarinet a nice rendition of Mozart's clarinet concerto. As in Haydn, the conducting of McGegan was stylish, brimming with verve, yet mindful of the work's lyricism.
I was surprised to see the orchestra expanded to nearly full string compliment for the 2 Haydn symphonies. This showed McGegan is no dogmatist. The sound gained some body yet remained transparent and stylish under the masetro. Symphony No. 59 Fire and No. 85 La Reinewere both impeccably delivered. There were breath and drama in the alternating slow and fast moments and in the execution of hairpin dynamics. Subtle too were plenty of contrasts between the various dance movements. A sense of wistfulness sneaks in once in a while to round out the spectra that is Haydn.
What a master in this repertorie! I gave him a standing applause. The program cited the Cleveland Plain Dealer's description of McGegan: "a welcome Energizer Bunny, bringing rhythmic zest to all things baroque." Very apt; he literally rolled out onto the stage and looked the part. How lovely!
After the excellent concert the week before, I was looking forward to this second concert of Lu Jia with a Spanish theme. Alas, my expectations were not fulfilled.
The opener, Falla's La vida breve: interlude and dance, was nicely turned and atmospheric. Chabrier's Espana followed, and it's great to have a chance to hear it live. The performance was excellent, showcasing the orchestra; only a little bit of cautiousness on the part of the orchestra prevented this from being a romp with complete abandon, which is the way it should be. So far so good.
Falla's Nights in the Gardens of Spain was a major disappointment. The pianist Javier Perianes turned out to be just another of those over-promoted new artists (based on recordings) of dubious substance. His playing was pallid and small-scaled, with a monochromatic tone. Where are all those tonal colors touted in CD reviews? The orchestra did not seem responsive to him either, producing a tidy but dispassionate performance. I did not really want an encore, and the little bit of Debussy we got was just as pale as what went before. Duh!
Debussy's Images: Iberia never recovered from astonishingly discordant wind playing in the first section. The clarinets fared the best and Andrew Simon seemed to be trying hard to whip the section into shape. Even the ensuing Ravel Bolero could not re-infuse what was drained out of the audience.
Thanks to a post by RC in the always informative usenet newsgroup 3music.classical, I learned about this book and its availability from the library.
Although it's well researched, it is quite an easy read that is immeasurably enlivened by many anecdotes from the start to the finish. I shall not detail what the book is all about, instead directing you to:
Paul Robeson recorded our 國歌 (as Arise) in 1941 and donated all proceeds to help China in war （page 129). I had known several of Robeson's Chinese songs (sung in Chinese, like 康定情歌) but not this one.
Under Japanese occupation, Asahina had conducted the Shanghai orchestra (page 149).
Arrigo Foa conducted the HKPO for many years and died in HK in 1981 (page 195).
Nikolai Anosov, the famous conductor (page 201)
Oistrakh appeared with and made recordings (Beethoven Concerto and a Mozart sonata) with the Central PO under 李德伦 (page 215). If anyone knows more about its availability, let me know.
In 1978, when BPO visited, violinist Helmut Stern, who had spent time in Harbin after fleeing Hitler's Germany, was re-united with some of his friends (page 289). This was also mentioned in Stern's own book 弦裂, which is another book I highly recommend. Some of the anecdotes, like the rehearsal of Brahms, differ a bit in the two accounts. This book is another amazing thing: the original in German (Seitensprunge) had not been translated to English, but here it is in Chinese! This book is also available from the library.
So, 2 great books available from the library! No long queues line for these and no need to hurt your eyes reading Google Books.
June 13, 2009, CCCH Debussy/Saint Saens/Stravinsky
This is a the first of a pair of HKPO concerts of mostly French music conducted by Lu Jia 吕嘉, who is one of my favorite guest conductors and director now of the Macao Orchestra.
Debussy's Prelude a L'Apres-midi d'un faun received a lush, but not particularly languid treatment. The orchestra played well, though I was a little surprised that there were momentary lapses in the winds here and there in passages that don't "seem" particularly difficult.
I was surpised by the performance of young violinist Zhu Dan朱丹 in Saint Saens' violin concerto no. 3. Playing on a loaned 1763 Testore violin, Zhu's tone was firm and chiselled, if not particularly beautiful, and he had generally good intonation. Only in occasional transitional passages, like some that go up-and-down the sclaes, did he sound tentative, but aren't these "little" things precisely what plague even many a more famous violinists?
The most amazing thing about Zhu was his sure hand, which arose not from just technique or determination, but from a thorough grasp of the musical structure. In openings and key moments he was not averse to sacrificing some tonal beauty for a sure attack. His accents were well placed and together with his strong but fluid phrasing served only to propell the music forward. The orchestral accompaniment was well-nigh perfect, the winds here achieving marvellous dialogue with the soloist, playing that was even better than in the opener. This was, for once, a concerto that breathed as a whole. Zhu Dan played a Schubert Erlkonig transcription for an encore. It was just too coarse for me, and Zhu broke a string and had to borrow the violin of guest concertmaster Wang Bing. As a whole, Zhu is one of the most musical Chinese violinist I have heard in a great while.
Although Stravinsky was Russian to his core, Paris/France certainly nurtured him and his music. Petroushka was premiered in Paris by Diaghilev's Ballets Russes. Here it was given a most vivid performance by Lu Jia who, evidently enjoying himself, was to say the least as graceful as any dancer on the podium. The performance was thoughtfully mindful of the dance, yet held together firmly. One episode just merged seamlessly into the next. The orchestra responded by playing with great relaxation and flair. The result was far from the generic, white, metronomic and brutal Stravinsky we often encounter, instead program music with great character and color. The piece had never sounded more Russian to me than in this live performance. Sad to say, the program notes did not do a commensurate job of illuminating the complicated proceedings.
For those who missed the live broadcast, the repeat shall be on 20 June (Saturday) TVB Pearl (and RTHK4) 2:20 pm
Opera Review: Janacek and Salonen
