Doctorjohn Classical Music and Arts Page

Concert Review: Vienna Symphony - Luisi - de la Salle

2012-01-08T19:52:00.003-05:00

Concert Review: Vienna Symphony - Luisi - de la Salle

NY Times review of the two concerts

November 13, Avery Fisher Hall
Lise de la Salle, piano
Rachmaninov-Beethoven

Much as I admire Fabio Luisi, I almost decided not to attend this concert due to over-exposed material, especially during this Beethoven year. I am glad I went.

I have heard a few CDs of Lise de la Salle from the library, but nothing prepared me for how fresh/willful the electrifying interpretation of the Rachmaninov Piano Concerto No. 2 was. She has a big solid technique and I could hear her clearly even when the orchestra played quite loudly. It was not a "traditional" interpretation, but a fresh and spontaneous one. Luisi was a marvelous accompanist, with her all the way, and the interplay between soloist and orchestra was palpable. The crowd went frenzy with applause.

The Beethoven Symphony No. 7, like Andreas Delfs recent performance with the HKPO, received a tightly driven reading, but Luisi found more poetry in the allegretto. The central European sonority of the orchestra was simply a delight for this listener. What characterful winds and brass!

November 14, Avery Fisher Hall
Eroica Trio
Beethoven-Brahms

Due to personal engagement, I missed the first half, but enjoyed the Brahms Symphony No. 2 immensely. the interpretation was perhaps idiosyncratic, but it was passionately delivered, a refreshing change from some of the bland Brahms we get these days. Remember Karl Bohm? No one was more authentically Austrian than him, or had direct ties to Brahms, yet his recordings are idiosyncratic to say the least. The meaty texture, with a heroic bass line, was opulent, the playing full of memorable moments. Passionate, yes, that is how Brahms should sound like!

The last time I heard the VSO was in the eighties, in a concert at the Musikverein conducted by then-director Rafael Fruhbeck de Burgos, a solid musician, yet I think this current incarnation is better, and has a prominent future with this exciting conductor at the helms.

Johann Strauss Jr, Unter Donner und Blitz

This is one of my favorite polkas, which Luisi offered as a rousing encore. Here are youtubes of the earthy Carlos Kleiber (Bavarian SO 1986) and more suave Karajan (Vienna PO 1987). I could not make up my mind which I prefer. Luisi's interpretation was closer to Kleiber's in temperament.

Concert Review: NYPO-Haitink

2012-01-08T18:48:00.003-05:00

pic from NY Times

Concert Review: NYPO-Haitink

Ever since I first heard Bernard Haitink with his Concertgebouw Orchestra more than three decades ago, I have loyally followed him. Here is a musician who balances the orchestral sonority meticulously, even in odd works like Berlioz' Symphonie Fantastique, to let you hear through the transparency and discover things you have never heard before. In concert he often proved more exciting than on records. The Mahler 6th played in Carnegie Hall when he led the Berlin PO on a New York tour in June 1991 (the concert calender of New York Magazine of that week is amazingly archived on the internet) has remained central to my concert going experience, on par with the unforgettable Karajan performance in the same hall in 1984 (coincidentally cited in this 2009 review of Haitink's Mahler 9th with the LSO).

So I was happy I finally caught up with him in NYC. His appearance with the NYPO was unusual to say the least. The NYT articles said his last appearance was in 1978 but did not mention why he had not returned till now. In the program book, there was a candid interview in which Haitink basically said things did not click then. Although regrettably no Mahler was offered, compensation came in the form of Bruckner 7th.

November 10, Avery Fisher Hall
Strauss-Beethoven (NY Times review)

In Strauss' Don Quixote, a score I love dearly, I particularly enjoyed the playing of cellist principal Carter Brey, who delivered a beautifully full tone, and I feel he is a much stronger soloist than his predecessor, Lorne Munroe. However, I do feel the playing by the orchestra in general lacked Straussian swagger and opulence; perhaps the Philadelphia or Chicago would be more interesting in this work.

Beethoven's Pastorale was beautifully balanced, permeated by a firm pulse, and Haitink coaxed an almost European sound out of the NYPO. Very satisfying. The audience gave him a great ovation, as he deserved.

November 18, Avery Fisher Hall
Haydn-Bruckner (NY Times review)

Like the NY Times reviewer, I much enjoyed the Haydn Miracle, but did have the same thoughts about period practice, and recalled the wonderful performance by McGegan in HK.

The towering Bruckner Symphony No. 7 triumphantly rounded out my Haitink re-encounter. It sounded closer to his earlier studio recordings than some of the more recent and more spontaneous live accounts. The reading flowed inevitably and the NYPO have always been a good Bruckner orchestra. I hope to catch up with Haitink again soon.

Concert Review: HKPO-Watkins-Wigglesworth

2012-01-07T20:43:00.003-05:00

Concert Review: HKPO-Watkins-Wigglesworth

22 October, 2011, CCCH
HKPO-Paul Watkins-Mark Wigglesworth
Beethoven-Elgar-Wagner

Excellent music-making by these two musicians from the UK. The program bears an uncanny resemblance to the HKPO's program for January 2006, conducted by Osmo Vanska, but played in reverse order.

Beethoven's Pastoral received an enjoyably muscular and straightforward reading by Mark Wigglesworth, who became known to the record collector because of his Shostakovich cycle on BIS (12 years in the making; recently concluded). Playing of the HKPO was very good, and Wigglesworth's conducting was notable for his firm pulse and good rthymic control. In comparison, the reading by Vanska in 2006 was more elastic and consciously shaped.

Paul Watkins may be more familiar to us as cellist of the Nash Ensemble rather than as soloist. For a consummate chamber musician, his tone was surprisingly big and full. Wigglesworth proved equally adept as accompanist, and the collaboration resulted in the best Elgar Cello Concerto we have heard from HKPO. The interpretation heaved and sighed, wistful and exciting at turns, and was well knit. It all sounded quite familiar - we were certain it was closely modeled on the immortal du Pre/Barbirolli recording, but who cares! In 2006, the Elgar was unsatisfactory due to the weak soloist, Trey Lee.

The concert concluded with Wagner's Tannhauser overture. The HKPO tried hard but could not quite convey the lustiness of the score.

Happy New Year

2012-01-07T20:37:00.003-05:00

Happy New Year 2012

Here I belatedly wish readers a happy new year and thank you for your support during the past year. I have been kept quite busy for the last months, and have delayed writing up several concerts that I have attended both in HK and NYC. That was quite uncharacteristic of me, and I hope this kind of delay shall be kept to a minimum this year.

Concert Review: Hong Kong Sinfonietta - Tharaud - Liebreich

2011-12-02T23:08:00.003-05:00

Concert Review: Hong Kong Sinfonietta - Tharaud - Liebreich

October 14, City Hall
Hong Kong Sinfonietta - Alexandre Tharaud - Alexander Liebreich
Bach-Mozart-Schubert

This concert of the two Alexander's opened with Bach's Keyboard Concerto No. 5, BWV1056, accompanied by a much reduced orchestra who played standing. Tharaud played without much color and, together with the very lean sound of the small ensemble, the result was not at all genial. In my opinion, a larger ensemble and lusher playing would have better served the piece if indeed a piano is the chosen medium.

Mozart's Piano Concerto No. 9, K271, fared much better. Tharaud's playing was more varied and expressive, if just a little too precious at times. The larger orchestra accompanied stylishly under Liebreich's guidance, and there was indeed a sense of dialogue, which made it enjoyable.

After the first half, it was apparent the German conductor, well regarded in Munich and elsewhere, is a star. But that doesn't prepare one for what followed, a superbly crafted Schubert's Symphony No 9. The long work was well laid out, tightly argued and surprisingly very well played. Perhaps it did not plumb the ultimate depth (as few performances does) but it kept us enchanted and eager, with glimpses into all kinds of emotion along the way. An unqualified success.

p.s. There is an interesting review at this site, and I concurred with almost everything the author said.

Concert Review: Hong Kong Philharmonic-Ning Feng-Andreas Delfs-HKPO

2011-10-07T20:47:00.005-04:00

Concert Review: Hong Kong Philharmonic - Ning Feng - Andreas Delfs - HKPO

October 7, CCCH
HKPO-Ning Feng-Andrea Delfs
Sierra-Paganini-Beethoven

Miracle of miracles! Not a dull moment! If you did not attend last night, do so tonight! Although the raison d'etre for the concert is purportedly Ning Feng's Paganini, for this conductor watcher, the conductor is just as much the star!

Andreas Delfs has appeared with the HKPO before. He is widely acknowledged to have built up the Milwaukee Symphony Orchestra during his ten-year reign (guess who succeeded him there? EdW!) Under Delfs' firm guidance, HKPO last night was like an orchestra transformed. Perhaps they finally got out of their summer holiday mood and realized they had to pay to earn their living, or perhaps it was the telecast! In truth, the chemistry between conductor and orchestra was unmistakable.

The substantial opener was Fandangos by the Puerto Rican composer Roberto Sierra, and what a champion he got in Delfs! The typical pin-point turns, crescendos and decrescendos of the fandango (you may recall Boccherini's quintets) were interlaced with passages of more modern writing. It is a thrilling piece, well rendered by the team, and I want a recording! Below I have embedded a youtube clip of this piece. Enjoy!

Everything I wrote previously about Ning Feng in his recital last year can be used to describe his performance of Paganini Violin Concerto No. 1:

"...here is a virtuoso who uses everything to empower the music, and there's no higher accolade...Ning Feng's beautiful and fulsome tone stood out from the start. Under his fingers, every note retains its full value, a quality rare as hen's teeth today. Add to this phrasing as natural as breathing and a wonderful evening was guaranteed. I fact I had rarely felt so relaxed and satisfied at a concert...In my book, the unassuming Ning Feng catapults to the top of the heap, and needs to yield to none. Other favorites that I like to watch are Augustin Hadelich, Ryu Goto and Hilary Hahn..."

"...粒粒皆清楚...這次終於趕上了, 洗耳之餘當是恨晚。他的琴音每一粒都異常飽滿, 不像一般小提琴家在琴絃上下之間會有意無意地突出，減弱，甚至僅僅帶過某些音符。加上有非凡連貫性的造句，這晚令人一路匯神聆聽，且聼得無比舒服。琴是 2007 年德國的 Stefan-Peter Greiner，音色不及意大利名琴華麗，但表現極爲乾淨，平均...他的造詣，我覺得不在任何一位現代小提琴家之下。既然他是 Mr Paganini, 就跟先前聼過最好的 Paganini 詮譯者 Ryu Goto 一比。我覺得 Goto 更炫目醒神，但寧峰更耐聼，更具潛力..好一個音樂家！以他的造詣，本應大紅大紫，可惜他樸素的造型可能不太適合這個浮華的世界。以他的毅力，我堅信默默地耕耘也能“成功”。我只是覺得他的髮型，還有那套有紅裏子的衣服，都應該更新了。話説回來，他以後無論穿什麽，拉什麽我都會趕去捧場的..."

Aside from a tendency to slow down in the cadenzas' passages of lower register, the awesome pyrotechnics served the music well. Here the conductor must also be given full credit for the remarkably nimble accompaniment. Delfs urged and honed the reduced orchestra to breathe in sync with Ning Feng, displaying a technicolor give-and-take that gave the music stature. Compared to the somewhat clumsy Ning Feng, the energetic and slim Delfs, with his grimace and occasional podium antics, seemed to resemble more Paganini!

Truth to tell, despite all the brilliance, this command performance does not completely erase memories of the 2008 performance by Ryo Goto. How lucky we are, to have heard them both!

A pungent Beethoven's Symphony No. 7, more Apollonian than Dionysian, concluded the marvelous evening. The concert is titled "Apotheosis of the Dance", but for those who preferred their 7th lithe and more stately, this Seventh may not comply. For myself, I found the interpretation fresh, shedding light on its relationship with the dramatic elements of the Pastorale as well as the earthy Eighth that followed. The muscular reading, with strong accents and finely graded dynamics, was built on a solid sense of rhythm, and their were moments of great tenderness, such as the opening of the second movement. A less antiquated kind of dance, if you will. The reading easily surpassed EdW's reading with the HKPO when he first came on board.

Except for the fact that I find Michael Wilson's oboe often stolid, the orchestra played very well. Maybe Delfs is the kind of "orchestral builder" we should have! Someone who extracts discipline, but, instead of just delivering the notes, also makes the concert fun!

Concert Review: Shenzhen SO - Ehwald - Ning Kam

2011-10-02T20:06:00.003-04:00

Concert Review: Shenzhen SO - Ehwald - Ning Kam

23 September, 2011, Shenzhen Concert Hall
Shenzhen Symphony-Christian Ehwald-Ning Kam
All Shostakovich

For some reason, the Shenzhen Symphony loves to program the Shostakovich Violin Concerto No. 1. Just three months after the forgettable performance by child prodigy Gao Tianyang came this much better performance by Singaporean Ning Kam.

The press release touted the tone of her 1793 Storioni. Indeed, her tone was surprisingly beautiful and supple. More importantly, commitment and temperament were evident from the first note. In the rapid passages, I felt she short-changed the notes a little too much in exchange for a lighter dancing-on-the-strings feeling, and the fully macabre nature of the work was again not brought out in full, but it was a winning performance. The audience loved her and her Gershwin encore.

This was the second all-Shostakovitch concert I heard under Ehwald. The previous one in 2009 featured the same concerto, given a stunning performance by Antje Weithaas, still the benchmark! This time the Symphony No. 8 was played with some of the same quality as the previous No. 10, and I quote myself:

"...A similar Germanic resilience pervaded the symphony...The complete grip of architecture and non-sentimental approach reminds me of performances of the several Shostakovich 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 performances by the likes of Jaap Van Zweden and Mark Elder and I now add Lazarev)..."

In Ehwald's hands, the inner movements fared better than the outer ones. In fact, in those movements the playing had quite a bit more bite than the previous No. 10. In contrast, the outer movements seemed a little plain. The SZSO could do better in Shostakovich, as evidenced by the brilliance of Zhang Guoyong's No. 15 and Fred Buttkewicz's No. 11.

I must cite the astonishingly virtuosic playing of the percussion section. That lady bass-drummer was perfectly in sync with the tympanist. Thrilling!

Concert Review: HKPO-Ainars Rubikis-Hong Kong Philharmonic

2011-10-01T20:17:00.006-04:00

Concert Review: Hong Kong Philharmonic-Ainars Rubikis

September 17, 2011, CCCH
Hong Kong Philharmonic-Ainars Rubikis-HKPO
Honegger-Haydn-Dvorak

Whether Edo de Waart is a great conductor is controversial. If you ask me, he is a good conductor, but over-hyped (only in HK) and not at all a great one. He has been promoted as an "orchestral trainer", but judging from the performance of HKPO in this concert (the playing of the Renes concert was not great either, mind you), that is an even greater fallacy. Would an "improved and trained" orchestra struggle so hard technically in the Honegger Pacific 231? The piece lost all of its brilliance.

Despite the lacklustre strings, Haydn Symphony 103, the Drum Roll, fared much better, better in fact than the Jupiter a week ago. Young, and very boyish looking, Ainars Rubikis has the full measure of this symphony, gave it good shape and managed some good pin-point turns, but overall this was not as much fun as the work Ton Koopman, not to mention Nicholas McGegan, did in similar repertoire.

Dvorak Symphony 7 was given a most "symphonic" reading, tight and at times exciting, but the reading lacked the genial and natural feeling, as well as perfect playing that Lu Jia achieved previously.

CD Recommendation: Vocal

2011-09-30T04:00:00.006-04:00

CD Recommendation

Last week I heard at a friend's place L'Arpeggiata's Via Crucis (Virgin) album, and was immediately taken by it.

Today I was happy to find the ensemble's Monteverdi recording Teatro d'Amore (Virgin) in the public library. It is every bit as inviting, indeed the best Monteverdi disc I have heard. Sample the stunning singing in the youtube below of Lamento della Ninfa and you shall be converted.

These are some of the most beguiling sonorities and singing on disc.

Concert Review: HKPO-Renes-DeYoung-Skelton

2011-09-16T18:33:00.007-04:00

Concert Review: HKPO-Renes-DeYoung-Skelton

September 2, CCCH
HKPO-Lawrence Renes-Michelle DeYoung-Stuart Skelton
Mozart-Mahler

I have always liked watching upcoming conductors more than tired "maestros", but my first encounter with Lawrence Renes, former protege of indisposed Edo de Waart and contender for the HKPO job, was a mixed bag. Renes had appeared with the HKPO before in Bruckner, which unfortunately I missed. Coming from the Dutch tradition, he is allegedly well schooled in Mahler and Bruckner.

I was surprised how the first half dragged. It was apparent Renes has good technique and clear direction, but the Mozart Jupiter sagged under an imposed weight that would more befit its immediate predecessor, the tragic G minor. The pedestrian performance was a curious blend of modern practice (little vibrato) and old sentiment (including slow tempo) that never took flight. Early on in his tenure with the HKPO, EdW had conducted this piece much more effectively (one of his best efforts).

The Mahler Das Lied von der Erde fared better but was not a complete success. Many of the orchestra's principals were on sabbaticals and their replacements had not quite gelled with the orchestra. The winds remained the perennial Achilles' heel, but overall the orchestral playing was good, loud enough when needed but too cool in temper. Best was Stuart Skelton, whose heldentenor quality was immediately apparent. I found Michelle DeYoung curiously lacking. On the surface, she produced some beautiful tones, but her interpretation was perhaps too considered and did not flow. The final movement, Der Abschied, was fragmentary and failed to resolve the piece.

Bach, Musica Antiqua Koln and Tadao Ando

2011-09-14T03:11:00.008-04:00

Bach, Musica Antiqua Koln and Tadao Ando
I recently chanced upon this 2007 Berlin Classics DVD of Bach's Art of the Fugue. Two things caught my attention:

-it was played by my favorite Musica Antiqua Koln, who disbanded immediately after.

-the playing took place in a building (museum) in Germany designed by Tadao Ando.

I watched it on 中秋節 and was riveted by the musical performance. After a while, the (minimalist) architectural lines under the camera's obsessive scrutiny became tedious, even narcissistic, but the magnificent music carried the day.

The director of the film speaks here.

Someone has loaded most of the video on youtube. As you know, piecing things together this way is not at all easy. At the bottom is my feeble attempt. For completeness, I urge you to buy the video.

Contrapunctus 1:

Continued:

Contrapunctus 4:

Canon a la ottava:

Contrapunctus 5:

Canon a la decima:

Contrapunctus 8 (click here; cannot embed)

Contrapunctus 9:

Contrapunctus 12:

Fuga a 2 Clavier:

Canon per augmentationem:

Contrapunctus 14:

Movie: Tree of Life

2011-08-11T22:24:00.001-04:00

Movie: Tree of Life

General Info:
imdb
wikipedia

Tree of Life, the latest film of Terrence Malick, was many years in the making, garnered much attention, and won the 2011 Palme D'Or. There is little need for me to describe the film. There is much great writing on the film by various critics, and I urge you to read the following:

New Yorker film review
New york Times film review (also articles behind the scenes; also here)

Image and Classical Music that Speak
For this viewer, considered as a movie, this one is an instant classic. But it is more than that, as the film can be savored on many levels.

I watched it in Broadway Cinemateque. The quality of the print and photography are simply stunning, and I'd reckon the best I have watched on the silver screen, inviting comparisons with the IMAX shorts offered in museums. Who needs 3D?

But for people who listen to classical music, the movie is a must-watch. Although there is an original score, classical music permeates the film, and it would not be an overstatement to say the role it plays is no less than any actor. The way "Die Moldau" and Mahler's First Symphony (more than once) are used are simply stunning, and reveal a deep understanding of the music. If you would, those fragments can be considered among the greatest classical music MTV I have ever watched (think Hans Jurgen Syberberg's Parsifal).

For those curious about the music used, New Yorker music critic Alex Ross provided a comprehensive guide. There is more, in this Blog the music is not only listed, but samples are provided for you to savor! Thanks to people who care!

Concert Review: Shenzhen SO - Ehwald - Ma Vlast

2011-08-11T21:25:00.002-04:00

Concert Review: Shenzhen SO - Ehwald - Ma Vlast

July 29, 2011, Shenzhen Concert Hall
Shenzhen Symphony Orchestra - Christian Ehwald Smetana Ma Vlast

Christian Ehwald returned to conduct the last concert of the SSO season. The program consisted of only one work, a rare treat of the complete Ma Vlast, though regrettably there was an intermission.

I cannot have enough praise for Ehwald's fluent conducting of this mammoth work. Smetana composed this work over a long time, and the individual tone poems in lesser hands do not always feel like part of the same fabric. Despite the intermission, Ehwald most skillfully knitted the work into an organic whole, no mean feat.

Ehwald natural phrasing was always evident, and as usual was mindful of structural integrity. Under his steady but gentle leadership, the orchestra warmed up quickly, blossomed and went from strength to strength. The beautiful playing of the harpist (not the Russian leading lady) set the mood, but it was the woodwind section that really shined above everything. The "pictorial" depictions demand the utmost of the woodwinds and they delivered in spades. The winds had to play almost non-stop, and up and down the scale. Take one example, the opening of Vlatva, when I watched the recent movie "Tree of Life", which uses this music, I instantly recalled the woodwinds in this performance, of the utmost coherence and beauty, really as good as the soundtrack (supposedly from the incomparable Czech Philharmonic)! Of such integrity was the performance that the closing pair, Tabor and Blanik, truly brought the piece to a resounding conclusion.

CD Recommendations: Concierto de Aranjuez

2011-07-22T20:10:00.001-04:00

CD Recommendations: Concierto de Aranjuez

The blind composer Rodrigo wrote one masterpiece, the Concierto de Aranjuez for guitar and orchestra. For more info on this piece, read the wikipedia entry, which is lively and informative, though far from complete. I am sure you already know much of the music. If you think you don't, listen to the youtube clips supplied below and you shall realize you do.

There are literally hundreds of recordings available (click here), and it is hard to make a bad recording of this transcendentally beautiful music. Personally I'd opt for a Spanish guitarist accompanied by a Spanish orchestra if possible. Narcisco Yepes recorded it several times, but some versions seem to be out of print (for available ones, see here). All of them are delightful, so I'd go for the budget one shown (Universal/DG).

Yang Xuefei's version (EMI) is easily available, and has interesting fillers. I am not sure how "Spanish" she is, but she as always plays with character (to me much more interesting than those Japanese female guitarists). The Spanish orchestra and conductor are good too.

The wiki entry neglected to mention that the composer himself arranged his work for harp (for the great Zabaleta) and this version is performed to perfection in a new Sony/RCA issue (info in German; artist's website), which I recently found in the library! Xavier de Maistre, harpist of the VPO, is magnificent, strong, fleet, nuanced, indeed better than some guitarists! And the fuller sonority of the harp is a great pleasure. This may not be easy to source but is worth it.

Jazzed Up
Over the years there have been numerous arrangements of this syblime music. Most famous is Miles Davis' version (arranged by Gil Evans), which Miles delivers in his sparse style (Columbia).

But last year I chanced on the Jim Hall version and fell in love with it (CTI; info here). The Hall version stays quite close to the original and I prefer it because of its use of guitar, which is still best in delivering that certain sultry feeling.

You can listen to Miles and Hall in the youtube clips below. Many other arrangements veer too much towards pop and should be avoided if you have heard or love the originals.

Youtubes
There are tons of videos on this music. I have selected a few, mostly of the slow movement, for your enjoyment/comparison. First, classical guitarist Xuefei Yang's Proms performance is not for the full classical orchestra, but it is atmospherically shot. I particularly like Yang's rather individual, even somewhat masculine, way. The EMI promo for her CD is great to watch too.

The Miles Davis version is great, but I still like the guitar better:

It's too bad Miles' version is the one every jazz lover thinks of, but I think Jazz guitarist Jim Hall's version (with a great band) is actually better, more atmospheric and closer to the original. You get the best of all worlds here, guitar and trumpet!

Concert Review: Shenzhen SO - Fred Buttkewitz - Shostakovich

2011-07-16T01:02:00.005-04:00

Concert Review: Shenzhen SO - Fred Buttkewitz - Shostakovich

8 July, 2011, Shenzhen Concert Hall
Fred Buttkewitz - Bai Ming 白明
Shostakovich-Hindemith-Borodin

White birds flying against a terrible black sky
Before I went into this concert, I tried to dig up info on the rather anonymous German conductor Fred Buttkewitz. The only detailed info was available in German, on the website of the National Youth Orchestra of Hamburg, of which he is Chief Conductor (Google translation of bio). It would appear he is yet another of those German kappellmeisters who came up through the ranks of their substantial network of radio orchestras (which is good training, no doubt). I did not have much expectation, but I was surprised from the start.

Borodin's In the Steppes of Central Asia is nothing if not atmosphere, and the marvelous winds delivered it right from the start, and beautiful strings followed. It was also clear Buttkewitz was not into micro-management and focused on the long line. The next piece for viola and small orchestra (no upper strings), Hindemith's Der Schwanendreher, proved more problematic. This is difficult music that takes more than good playing to come off. Although the orchestra and soloist (section leader) Bai Ming 白明 played safe, and Buttkewitz showed good control, the performance was too soft to display the neoclassical flavor and the jagged rhythmic patterns so essential to this composer's works. Nonetheless, a good try at a piece of difficult music that is certainly not a crowd-pleaser. A bonus came in the form of the contribution by the Russian lady harpist, of subtle and great beauty; and she in the encore of Chinese transcription outshone the violist!

The second half of the substantial program was a magnificent, and magnanimous, account of the Shostakovich Symphony No. 11. Compared with the 6th, this symphony perhaps is not as difficult to bring off, but with last year's seemingly definitive (I'd say immortal) June 4 performance by HKPO under Alexander Lazarev still fresh in the mind, before the performance I had thought I might be disappointed.

Quite the opposite happened: the performance in this sonically resplendent hall was a "symphonic" revelation that taught me much about the music and to look beyond the graphic episodes. For insight on this symphony, I'd refer to to the excellent CSO program notes.

The first movement was a little slower than usual, a little plain even, but it unfolded steadily and inexorably under Buttkewitz' steady baton, with hardly any rubato, building up quite powerfully to the second movement. The musical jostling before the massacre was well conveyed. The events of January 9th, 1905, were depicted with great power. I had thought it would not happen, but slowly and surely tears rolled down my cheeks. The SSO was perhaps not as vehement and graphic as the HKPO under Lazarev, but the playing was precise and superlative, with the weightiest sonority I have heard yet from this orchestra.

After the brilliance of the first two movements, many performances (both live and recorded) lose ground in the next two movements, which in lesser hands become anti-climatic. Emphatically not so here. As a matter of fact, under the steady direction of Buttkewitz I became intensely aware for the first time of what Shostakovich was trying to convey in the second-half of the symphony. Reminiscence, remembrance, yes; but to overcome is the riding goal. The music may sometimes collapse or lurch forward awkwardly but it is always forward, no matter the cost. The past (in musical quotation) comes back to haunt us, but is always beaten back by heroic calls of change (in musical quotation). There is always something new in the horizon, but never just exchanging one form of brutality for another, instead something more magnanimous and forgiving of the unspeakable past. In this performance, the symbolism of the kaleidoscopic shift of material became clear as day. In this respect, the second half even surpassed the HKPO-Lazarev performance in elucidating Shostakovich the enigma.

Attendance was abysmal, but the crowd was speechless and enthusiastic at the end. For once, in SZ, I was not at all the only person yelling "Bravo!" My hats off to the conductor and orchestra.

The great Anna Akhmatova said of Shostakovich's use of old songs (from CSO notes) in this symphony: “Those songs were like white birds flying against a terrible black sky.” And so I understood at the time of performance.

The greatest music are unfathomable, and it takes a lifetime to plumb the depths. Reckonings during a live performance are moments of magic and uncommon. For this, I am grateful for this wonderful performance.

去年的六四，Alexander Lazarev 指揮的港樂給了我們一個永遠難忘的蕭氏第十一號 (點擊這裡)。我以爲這次深交的演出一定會給比了下去，但令人雀躍地，事實並不是這樣。在默默無名的 Fred Buttkewitz 領導下，深交的演出面面俱全，感人之餘極具深度，再次證明好的音樂是無窮盡的，只待有心人去演繹。

指揮很有耐性，把曲子處理得有條不紊，非凡地一氣呵成。用畫面點的語言來形容的話，在漫長的第一樂章乃至第二樂章大屠殺高潮前，指揮緩而有力地營造了各種躍動，不安，恐懼與威脅的氣氛。大屠殺的刻畫理性，毫不揭斯底理，但仍然異常震撼，令人愕然淚下。最難得的卻是下來的兩個樂章，結構性強的處理令我聽到了蕭氏各主題裏的主導性和相互關係: 各主題互相的鬥爭，在巨大犧牲後，時代的巨輪下擠出了艱苦的勝利。

是場觀衆稀少，但幸好較多知音者叫好，不負演出者的苦心。曲目該是耳熟能詳，我卻有驚艷甚至於受啓蒙的感覺。聼音樂能有這樣感受並不尋常，知足感恩。

上半場先是 Borodin 《中亞細亞草原》，可喜地奏出了氣氛。下來的 Hindemith《烤天鵝的人》中提琴協奏曲，曲目艱深，中提琴首席白明演出穩健，但缺神采；樂隊也一樣，沒能奏出曲子應有的節奏感。

Concert Review: Shenzhen SO -Zhang Guoyong - Shostakovich

2011-07-08T18:41:00.009-04:00

Concert Review: Shenzhen SO - Zhang Guoyong - Shostakovich

17 June, 2011, Shenzhen Concert Hall
Zhang Guoyong 張囯勇 -Gao Tianyang 高天陽
All Shostakovich

For the world, I wouldn't miss most Shostakovich concerts, not to say one conducted by the wonderful Zhang Guoyong 张国勇, whom I wrote about in great length after hearing his magnificent performance last year of Shostakovich Symphony No. 15.

That valedictory performance of an enigmatic work still resounds in my mind as if freshly minted. For this concert, I applaud Zhang for choosing yet another enigmatic work from the composer's cannon. Shostakovich symphony No. 6 seems to be gaining in status, and I refer you to this plainspoken but excellent program note for more info.

This symphony is difficult to bring off in concert or on records. Despite my profound admiration for Zhang, I regret to say I found the performance not entirely successful. Needless to say, Zhang shaped the piece well, and the orchestra played very well for him, but the work needs more management than usual, more color, more sarcasm, and less politeness when called for. Ultimately, the performance lacked the magic brought by the wonderful Mark Elder in a 2008 performance with the HKPO.

A similar plainness marred the performance of the Violin Concerto No. 1. I felt the 19 year-old soloist Gao Tiangyang 高天阳 was technically secure but he not surprisingly skimmed over the surface of the score. The opening Festival Overture fared better.

在蕭氏的交响樂裏，有些 (像第 5，7-12 號) 比較容易定位及找到演出方向；另一些卻比較困難，而可嘉的是張囯勇這兩年在深交演的都屬於後者。去年的第 15 號令我大爲震撼，但今年的蕭氏交響樂第 6 號卻沒能再次替我帶來同一程度的驚喜。說老實話，我是認爲這曲子是更難更深的。樂隊表現雖然不錯，而張囯勇的演繹也平穩明確，但整體缺乏了必需的神來之筆，效果遠不及 2008 Mark Elder 港交的演出。

上半場的小提琴協奏曲第一號有點乏味。小提琴獨奏高天陽才十九嵗, 技術沒有問題，但沒能演繹出曲子應有的風格及變化；同樣深交，比起 2009 年 Antje Weithaas 的演出相差甚遠。開場的節日序曲平穩之餘也嫌喜慶不足。

附錄：小提琴独奏高天阳生于1992年，5岁习琴，曾获得2001年上海“索乐杯”少儿小提琴比赛第一名，2005年罗马尼亚国际小提琴比赛少儿组第一名，2006年第八届中国小提琴演奏比赛少年组第二名及少年组“中国作品演奏奖”，2008年在梅纽因国际小提琴大赛中也取得了好成绩。

2011-06-24T19:01:00.001-04:00

Recommendation: Classical
CDs from the Library

New Issues
Since I already have more CDs than I can consume in more than a life time, I don't buy many new CDs, but every year I buy the newest set of EMI Lugano. Martha Argerich plays some of the pieces but mostly the performances are from her motivated friends, and what a trove of treasury! This year's offerings are among the strongest ever.

Lola Bobesco is much under-rated and neglected. Grab this Bach concerti LP or CD (Talent) while you can. Sound and playing all first-class.

Along with his violin works, the Brandenburg Concertos are are my favorite Bach works. This version with Orchestra Mozart (DG) is not perfect but still very good. I have never quite taken to Abbado before, but his work now with Lucerne and Orchestra Mozart are wonderful. Available in CD or DVD.

Piano Recordings
This being Chopin's Centennial, the library is flooded by various Chopin recordings. Some of the most classy ones are by the under-rated Bella Davidovich, now re-issued by Brilliant Classics. No "spontaneous" or "impulsive" pulling and pushing for no reason, but well structured and everything sound inevitable. Great Chopin.

Not to be forgotten is the immaculate Orfeo recording of some of Beethoven's variations by Bruno Leonardo Gelber, a pianist whom I have always admired.

BBC Legend is highly reliable as a source of historic live performances. Two Gilels issues are of course wonderful. Gilels' Beethoven recordings rank among the greatest ever made. This live account of the Waldstein attains lofty heights. The other lesser known pieces are gems too. The 1984 Scarlatti and Debussy are even in marvelous sound.

Orchestral
I have not heard a better recorded or played version of Shostakovich's Fifth Symphony than Haitink's (Decca). The instruments are virtually 3 dimensional. Recorded by Colin Morfoot. Now available mid-priced coupled with the 9th.
Ashkenazy is a warm Sibelian, and this earlier account of Finlandia with the PO (later version with BSO) is a strong performance worthy of putting along side Barbirolli. Perfectly recorded by Kenneth Wilkinson. Now available only in budget 2CD sets.

Wonderful Prokofiev playing from the Russian duo. Krainev has previously appeared in HK under the auspices of the Chopin Society. What a marvelous musician! As usual, the Teldec recording is clear as day. Now available only in budget 2fers (Apex).

I actually prefer Shchedrin's arrangement of Carmen suite to Bizet's own. The Rozdhestventsky version is now on Melodiya, ugly cover and somewhat brittle sound, both inferior to the original LP! But the performance of the Bloshoi is wonderful and the coupling is a gem!

The spirited period instrument style suits Handel's music to a T. Wonderfully natural recording from Naxos. Top recommendation for this repertoire.

More Violin and Chamber
For me, the Smetana trio is the perfect ensemble for a difficult genre. Their perfect balance is at turns intimate and symphonic. A version of the great Tchaikovsky that offers more than any other version (Supraphon).

The Reger is is THE find of the year. I have heard some of these solo Reger violin works (Dorian) before, but none captured my heart like this one. Thanks to the HK library! I wish there are more recordings by this young violinist.

Concert Review: HKPO-Carolyn Kuan-Zhang Haochen

2011-06-12T22:11:00.012-04:00

Concert Review: HKPO-Carolyn Kuan-Zhang Haochen

June 11, CCCH
HKPO-Carolyn Kuan-Zhang Haochen
Tchaikovsky-Prokofiev-Mussorgsky

After hearing Zhang's recital in SZ some months ago, I was eagerly waiting for this concert. The young female conductor (maestra) Carolyn Kuan, was unfamiliar to me, and she proved a sensation. Kuan, a native of Taiwan, went to the US when she was 14, studied and excelled at various things before becoming a conductor, after being a protege of Marin Alsop. Make sure you read the links I provide below; what an interesting character!

The hushed atmosphere of the opening of Tchaikovsky's Romeo and Juliet immediately grabbed my attention. Kuan conducted from memory; her simple gestures were matter-of-fact, but precise and effective. Despite occasional moments of orchestral unsteadiness, the piece unfolded naturally and revealed all its glory all the way to the very end. Perhaps the violent aspect of the score impressed more than the love music, which was not at all milked. As it is harder to make a meal of a concert overture than to impress with a full symphony, Kuan's performance was remarkable in its complete grasp of the architecture and proper release of sentiment while avoiding excess. Yet she imparted atmosphere to this piece, which has eluded many a conductor in concert or on records, no mean feat. I'd love to hear her in the even more enigmatic Francesca da Rimimi.

Kuan also conducted Mussorgsky's Pictures at an Exhibition from memory, and it was a fine performance. The orchestra sounded relaxed and having fun. Not all of the many solo's were quite memorable, but the whole was organic and satisfying. I enjoyed the many details Kuan revealed along the way but a little more mystery when appropriate and grandeur at the end would not have been wanting. The audience apparently loved her and gave her and the orchestra extended applause. Yes, I yelled my "Bravo!"

In between came what most of the audience came for (indeed many left after the first half), Prokofiev's Piano Concerto No. 2 with Zhang Haochen. I had admired Zhang since I last heard him in a Shenzhen recital (my report here), and on this night he did not disappoint. His steadfast playing was well controlled, his tone smooth and clear, and he rose to the big moments. Personally, I'd have welcomed a little more rhythmic inflection and percussive quality when called for in this masterpiece. For me, Zhang's smooth playing let Carolyn Kuan stole the show with her fastidious and rhythmically alert accompaniment. Zhang's encores were a little too smooth for my tastes.

What an exciting and accomplished conductor! I'd think someone like her would be ideal for a HKPO directorship. I hope she comes back soon.

Broadcast
The June 10th concert was broadcast live on RTHK. It shall be repeated on Wednesday, June 15th, at 2 pm.

Appendix: More on Carolyn Kuan:
Hartford Symphony official website introduction, with interview , Concert Review
Seattle Times Portrait
Northwest Asian weekly Interview

-----------------------------------------------
誰說古典音樂沒有未來？江山代有人才出，但只有少數能領風騷。我衷心希望是晚的兩位新人，能有機會全面發展，因爲他們是極具潛力的。

上次在深圳聼了張昊辰很棒的肖邦獨奏 (按這裡) 後，就開始留意他。這次他彈 Prokofiev 第二鋼琴協奏曲，當然報到。張昊辰沒有辜負了我對他的期望，琴音自然透澈，作風平穩。要嫌的話，就是這曲子的鋼琴部，尤其快板，可以奔放許多，多點敲擊的元素，少點修飾 (兩個 encore 也是太内斂了點)。故此，對我來說，指揮關琦安完美的伴奏徹底掩蓋了張昊辰的光芒。Prokofiev 的節奏不規則更變化多，然而對小妮子來講卻是駕輕就熟，由頭到尾保持了樂隊的鮮明，刹而輕快向前，刹而大吼盡興，沒有半點拖泥帶水。這是難度極高的，許多所謂的大師 (尤其香港人愛捧的那些) 都沒法辦到，她卻輕鬆地完成了，令人激賞。

女指揮的實力一開場就能瞻到。Tchaikovsky 的 Romeo and Juliet 序曲是不容易保持完整的，然而一開始關琦安就能營造出說故事的氣氛，跟著下來表演一氣呵成，最難得的是連趨於安詳的尾聲都保持著張力而沒淪爲反高潮。音樂激昂的時候火花四濺，唯一能嫌的就是愛情的描述平淡了點。下半場 Mussorgsky 的 Pictures at an Exhibition 生動有餘，卻有些地方欠缺了一點詭秘的氣氛，結尾的氣勢也稍欠，然而還是一個完整的演出。

好一個指揮！我說，港樂需要的是這種華人總監，而不是不停用錢請外援。當然，崇洋的香港人是不會這樣做的，那只能希望她快快回來，再替我們表演。

香港電臺現場錄音
十號的音樂會在港台現場播放，將會在十五號，下午兩點重播。

附錄: 關於關琦安:
亞洲週刊 Oliver Chou's review in Asian Weekly
中國時報
臺灣 Muzik
中國博克

Concert Review: Jupiter String Quartet

2011-05-15T10:17:00.005-04:00

Concert Review: Jupiter String Quartet

May 14, 2011, Washington Irving High School
Jupiter String Quartet-Menahem Pressler
Beethoven-Kurtag-Schumann

We seem to be living in an age with an endless supply of accomplished young chamber ensembles. Personally I think on the average today's string quartet is better than yesteryear's. After hearing the wonderful Parker String Quartet, I was eager to hear the slightly more senior Jupiter String Quartet, and I was not disappointed.

In this somewhat larger hall and sitting further away, the Jupiter had a very different sonority from the Parker. A less dominant first violin, a greater sheen and perhaps more sophisticated ensemble marked this winsome quartet. The first two movements of Beethoven's Op 59/1, played with unanimity and astonishing dynamic turns, showcased their finest quality. No matter whether it was a whisper or a big fortissimo, the sound remained seamlessly integrated, nuanced and unforced, remarkable indeed. The playing in the slow movement was unusually finely detailed, bringing it closer to Beethoven's late works, but a little more episodic. Here, as in the last movement, the first violinist Nelson Lee was less than steady and I was distracted.

Then came Kurtag's 12 Microludes, the same work played by the Parker Quartet. Where else but in NYC do you get to hear a modern work like this twice in one month? And it was interesting because the Jupiter's more finely spun sound and gentler treatment brought a more sophisticated dimension to the work. Wonderful!

The quartet was joined by Menahem Pressler in the second half for the Schumann Piano Quintet, one of my favorite works. The string playing was well nigh perfect but I have to confess that I did not manage to enjoy the pianist. Despite accolades galore, on records I have never taken to the smoothness of the Beaux Arts Trio. Here, the playing of Pressler was quite generalized and devoid of detail and attack. The piano sound was also strangely muted. Well, Pressler is in his eighties now...

Jupiter String Quartet official page

Dance Review: NYC Ballet - Balanchine

2011-05-14T13:32:00.005-04:00

pic from City Ballet: Agon

Dance Review: NYC Ballet - Balanchine

May 10, 2011, NY State Theater
NYC Ballet-Balanchine

Aside from my fondness of the particular blend of classicism and modernism of Balanchine, I am attracted to his ballets because they use quality music, many of them collaborations with contemporary composers at the time of inception of both the ballet and the music. In terms of understanding of classical music as applied to dance, I feel Balanchine shall never be surpassed.

This program, as others in the series, focuses on the so-called "Black-and White" ballets of the master. First up was the comforting Square Dance, an infusion of classic modernism into American folk dance, danced to the archaic music of Vivaldi and Corelli. The orchestra was excellent; concertmaster is Arturo Delmoni, long familiar to hifi fans, who presumably was the capable soloist in the many solo passages. The conducting by Ryan McAdams seemed more safe than inspired, but perhaps there was little to do in this music.

Both the dance and the music-making reached a very much higher level with Stravinsky's Agon. The orchestra was beautiful in timber and precise in ensemble under the baton of music director Faycal Karoui. The dances were breathtakingly sophisticated (which made the previous program seemed plain), and one felt the dancers' arms and legs breathed together with the music and all became one. Here, the music enhanced the dance, and vice versa.

I was a little less taken with the last piece, Episodes, based on the music of Webern. It was not as beautiful, as inspired and as coherent as Agon, but the music-making was first rate under the baton of the diminutive female conductor Clotilde Otranto, who apparently is a fave with the audience.

What can be better than listening to first-rate music while watching sublime dancing?

NY Times review

Concert Review: St Matthew's Passion-Suzuki

2011-05-10T07:19:00.005-04:00

Concert Review: St Matthew's Passion-Suzuki

May 7, 2011, Park Ave Christian Church
Yale Schola Cantorum-Juilliard 415-Masaaki Suzuki
Bach St Matthew's Passion

What a fine spring day that positively sings "Das Lied von der Erde"! Suddenly, after the waves of cherry blossom, all the barren trees have become green. Pollens saturate the air and cause New Yorkers much trouble this year. I could barely open my itchy eyes outdoors. It's better indoors and one doesn't need eyes open to enjoy music.

Coming out of the MET, the beautiful weather mandated a long walk towards downtown. Before heading uptown again for the evening concert there was a BBQ dinner. Although cheap eat and the huge restaurant was packed due to impending mother's day, the baby back rib was smoky and full of flavor.

The small and modest church venue was well nigh perfect for the Bach masterpiece. Although a free concert, program notes and libretto were provided. The performance was excellent but missed greatness. For me I would prefer the orchestra to dig in just a little more. The choir was excellent though some of the soloists were just serviceable. Well, some would argue anyway that the Passion's greatest music lie in the chorales, and that proved the case here. Masaaki Suzuki conducted with long lines and tone-painted effectively with the small orchestra at hand. His reading was more animated than his recorded version with the Bach Collegium Japan (BIS), which I do not like.

NY Times review

Concert Review: MET-Ariadne auf Naxos

2011-05-09T08:22:00.007-04:00

Ariadne and the 3 nymphs (pic from NY Times)

Concert Review: MET-Ariadne auf Naxos

May 7, 2011, matinee, Metropolitan Opera
Richard Strauss-Ariadne auf Naxos-Fabio Luisi

While I love the voice, I am not an inveterate opera fan and often find myself listening to the orchestra more than the singers. My favorite operas are mostly in tortured German, Mozart's Zauberflote, Weber's Die Freishutz, Wagner and Strauss.

This time in NYC, I could not get tickets for the new Robert LePage production of the Ring (getting standing room, sold only on day of performance, is rather impractical for me) , and opted for this Strauss opera. I don't really like the duo tragic-comic nature of this opera, but I always found listening to Strauss' music highly rewarding. Another reason is the conductor Fabio Luisi, who has been making a name for himself in Strauss. There must be some reason why he was picked for a Strauss series with the Dresden orchestra, though I have never heard the recordings (on Sony).

What a splendid and elegant production this was! The island/cave in the opera and the three nymphs were just an eye opener; the busy prologue was also effectively staged. As a production, this one, dating from the 90's, is handily superior to the previous one, which I watched in the 80's. And this opera needs all the help it can get in staging!

My seat was just above the orchestra and it was a marvel to see the unusual reduced orchestra of 37 players; a bit like chamber opera but with keyboard and percussion emphasis. From wikipedia entry on this opera:

Instrumentation

Woodwind: 2 flutes (alternating on piccolos), 2 oboes, 2 clarinets, 2 bassoons
Brass:: 2 horns, trumpet, trombone
Percussion: timpani, glockenspiel, tambourine, triangle, snare drum, cymbals, bass drum
Strings: 6 violins, 4 violas, 4 cellos, 2 contrabasses
Other: harmonium, celesta, piano, 2 harp

Luisi elicited a warm and clean sound from the orchestra, at turns tender or powerful as the music required. Yes, this conductor's reputation is the real thing!

As for the singing, I would refer you to the NYT review below. Gratifyingly, all singers sang with warm expression. For myself, I particularly liked Joyce DiDonato (the Octavian-like composer), who showed great promise in this trouser role. I also liked the crystalline quality of the voice of Kathleen Kim (Zerbinetta). The Ariadne, the huge Violeta Urmana, sang well in a smoky voice, though I would have welcome more tenderness and less gloom. Overall, the singing was not quite up to the level of past MET Strauss singers that I have heard (like Hildegard Behrens, Tatiana Troyanos, Jesse Norman, Maria Ewing, Reri Grist etc) but it was still very much an afternoon well spent.

NY Times review

Concert Review: New York Philharmonic-Gilbert

2011-04-30T08:47:00.004-04:00

Concert Review: New York Philharmonic-Gilbert

29 April, 2011, Avery Fisher Hall
New York Philharmonic-Alan Gilbert-Emanuel Ax
Debussy-Messiaen-Mahler

After the great experience of the Mahler 9th with the Juilliard Orchestra under Gilbert, I was really looking forward to this concert, and my faith was not misplaced. Another reason for attending this concert was for the rare chance of hearing something by Messiaen, one of my favorite modern composers.

Emanuel Ax played first just the Pagodes from Debussy's Estampes, and this was immediately and purposefully followed by Messiaen's Couleurs de la Cite Celeste, a wonderful piece scored for a small orchestra without strings, in which Ax was the pianist. The Messiaen received an arduous and nuanced performance, the brass and percussion forces playing with stunning unanimity; the pedal points were grand and the bird songs took flight. Ax played well, but in both the Messiaen and Debussy I would have preferred a lighter sonority and more biting edge instead of his customary fat tone.

The Mahler Symphony No. 5 once again showed that Gilbert is already a great Mahlerian, and very much his own man. With a firm grasp of architecture, Gilbert delivered a cogent and granitic performance all the way through, with many fresh details illuminated along the way to thundering climaxes. As in his performance of the 9th, Gilbert stayed away from vulgarity and de-emphasized the "dance" elements, focusing on the "symphonic" aspects. At times the music felt relentless and one wished for just a little more swagger, though any lingering doubt would soon be swept away by the tightly woven proceedings. Unusually, in the adagietto Gilbert milked the violins a little more than usual, imparting almost a "Tristan und Isolde" feel to the proceedings.

In this big piece I did not care for the divided violins. While occasionally one could hear the counterpoints more clearly, more often the upper strings, though playing in a refined manner, did not have the critical mass to counter the heavy brass, which Gilbert might have encouraged too much. Nonetheless, a magnificent performance.

NY Times review

Concert Review: Chicago Symphony - Muti

2011-04-22T07:43:00.006-04:00

Concert Review: Chicago Symphony Orchestra - Ricardo Muti

17 April, 2011, Carnegie Hall
Chicago Symphony Orchestra - Ricardo Muti
Cherubini-Liszt-Shostakovich

It's been an unduly long time since I last heard the CSO. I used to hear this orchestra a lot during the Solti era. The orchestra was incredibly brilliant and perfect, though just a bit too stern under the always driven Solti. I have never heard them since under Barenboim or Boulez. Either I missed them on my trips back to NYC in recent years or found the programs or guest conductors not suitable for my taste. It's too bad as they are a great orchestra for Mahler and Bruckner.

And it has been even longer since I heard Ricardo Muti. I still remember his mind-boggling performance of Alexander Nevsky with the Philadelphia Orchestra during my student days. One of the reasons why I stayed away from him is his narrow musical taste, which centered on operas and mostly classics, with almost nothing by Mahler and Bruckner in his repertoire.

From the opening of Cherubini's Overture in G one knew one was in for a treat. The woodwinds were refined and in complete harmony with the orchestra. The reading demonstrated perfect classicism, and one can see why Beethoven admired him. Although the work is not quite memorable, one could see why Muti would champion it (almost the lone one). As an opener it was well nigh perfect and whetted the appetite for the ensuing Liszt Les preludes, which received a noble reading. Here, the perfectly balanced reading of the performance successfully joined high drama with classical discipline. In both works Muti showed off his mettle as opera conductor: it was not necessary to resort to empty force for drama, and everything just sang.

As the Shostakovich Symphony No. 5 went along, a feeling of familiarity came upon me. Why, it was uncannily like listening to Haitink's RCO version (Decca), except this was live, in sonically resplendent Carnegie Hall! Aside from fractionally slower tempo, the readings cannot really be distinguished. The same rather objective demeanor, smooth and perfect playing and perfect balance; in other words a rather "objective" reading, or a "literal" one if you wish, likely to please some and questioned by others. For myself, I enjoyed it immensely because under the perfection, the musicians played incredibly in ensemble, with great attention to details and expression, never in danger of sounding bland. The strings, led by the excellent concertmaster Robert Chen (whom you might remember was soloist with the HK Sinfonietta sometime back), played with a sonorous precision that was disarming. One could hear every little scoop with uncanny clarity, superhuman indeed! Everything was as perfectly played as I have ever heard any orchestra play any piece, but one still has to single out the tympanist, whose magnificently strong and shaded playing punctuated the glorious moments of climax.

The CSO seems to be as perfect as ever, but with an added human touch, under the new director.

NY Times review
Chicago Triburne review
Chicago Sun Times review

Concert Review: Juilliard Orchestra - Alan Gilbert

2011-04-20T09:46:00.004-04:00

Concert Review: Juilliard Orchestra - Alan Gilbert

15 April, 2011, Avery Fisher Hall
Juilliard Orchestra - Alan Gilbert
Mahler Symphony No. 9

Let me get right to the point: this concert conducted by Alan Gilbert, whom I have never heard before, marked the most electrifying Mahler I have heard in years. At this early stage his directorship of the NYPO has not been without controversy but, judging from this concert, he is certainly a major talent. Gilbert has also been appointed director of the conducting department at Juilliard, in place of James DePreist. That too had its share of controversy.

Gilbert, a big man, conducted with volcanic energy and big gestures, a completely different approach from DePreist whom we heard in Mahler 5th just earlier. Boy, did the orchestra respond differently, playing with fervent ardor and complete concentration!

Yet the big gestures happily went in tandem with much precision and insight. The reading was brisk and propulsive in general, but aside from a few moments of convulsive abandon, dynamics were mostly well graded. Gilbert illuminated many fresh details along the way but kept things moving. Considering the force of conducting, there was an admirable lack of vulgarity. The inner movements particularly illustrated this. Gilbert's reading of the second movement literally had a sense of Mahler's marking, somewhat clumsy and very coarse; there was refreshingly little sense of the waltz, which many conductors love to exaggerate and distort. The Rondo though was more brute than Burleske. To nitpick, the two inner movements did not quite have their own characters, the closing adagio was a little fast and the ending felt a bit too abrupt.

The orchestra played wonderfully and most importantly conveyed to us, indeed held us captive by the titanic inner struggle that is Mahler. One would not exaggerate if one invoked heaven and earth, such was the force. I am glad somebody still conducts Mahler that way (certainly cannot be found in bland "critically praised" performances in HK), and look forward to hearing him in Mahler 5th with the NYPO soon.

Review at Blog classicalsource

Concert Review: St Petersburg PO/Temirkanov

2011-04-17T10:12:00.006-04:00

Concert Review: St Petersburg PO/Temirkanov

14 April, 2011, Carnegie Hall
St. Petersburg Philharmonic Orchestra-Yuri Temirkanov-Alisa Weilerstein
Rimsky-Korsakov-Shostakovich-Brahms

The St Petersburg is one of my favorite orchestras and I think Yuri Temirkanov is under-rated (as his predecessor Mravinsky is probably over-rated overall). Fortunately, they tour extensively (a reality for Russian orchestras, to earn hard cash), and it is not inoften that I get to enjoy them. NYC sees them often offering multiple concerts, and I attended the second of a pair.

The opener, Rimsky-Korsakov's Prelude to Legend of the Invisible City of Kitezh, received a wonderfully atmospheric reading, the gentle rumbling in the strings and pliant woodwind solos balanced in perfection. This is the kind of thing only Russians bring off, and much more enjoyable in the concert hall than on records, an illustration of the fact that, no matter how good your hifi is, a live atmosphere is most difficult to reproduce.

I have previously sung the praise of cellist Alisa Weilerstein. She proved a more than capable soloist in Shostakovich's Cello Concerto No. 1. Neither her playing nor the accompaniment were the most razor-sharp: contours were a bit softened rather than (over) etched, phrases more flowing than emphatically punctuated. In her solo moments Weilerstein was more than a bit indulgent sometimes, but one admired her big temperament. Although one missed a little the sardonic wit of Shostakovich, the reading was eminently satisfying for the beautiful playing and emotional delivery.

Brahms has been previously featured by Temirkanov. His Fourth Symphony received a fresh reading from the Russian forces. One hesitates to say they brought a unique Russian quality to the reading. Instead, I think their innate musicianship and spontaneity stand them apart from the crowd. No risk of cliche's nor routine here. Even more than the previous pieces, the musicians gave a lesson on how to listen to and play with each other, while being utterly colorful in their solo's. Esnemble was not always immaculate, but the freshness of approach carried the day.

The encore was a magnificently noble rendition of Nimrod from Elgar's Enigma Variations. It felt like an elegy.

Concert Review: Parker Quartet

2011-04-14T08:04:00.006-04:00

Concert Review: Parker Quartet

3 April, 2011, Flushing Town Hall
Parker Quartet
Haydn/Kurtag/Brahms
(Carnegie Hall presents)

Parker Quartet Official Site

No matter your inclinations, New Yorkers are spoilt for choices. On this day, I had to choose between this concert and the Ebene Quartet at Manhattan's Town Hall. Since subway maintenance made a trip into town more difficult, I chose to stay within my neighborhood, and it marked the first time I was inside the charming and historic Flushing Town Hall.

The Parker Quartet, one of those upcoming ensembles that play both classics as well as modern music, have garnered excellent reviews wherever they go. The ensemble also reflect the trend in chamber music of an increasing number of musicians with Asian roots, one of the reasons why I went also.

The opening Haydn Op 74/1 immediately struck me as masterly playing. As someone said in one of their video clips, if you can play Haydn you can play anything. Daniel Chong led well with determined but supple phrasing. It is a tribute to him, and the ensemble, that nothing stuck out as in lesser Haydn playing, which happens more than often even to famous ensembles. The limelight was at times stolen by the wonderfully soulful playing of violist Jessica Bodner. The steady second violinist Karen Kim and the vigorous playing of cellist Kee-Hyun Kim filled out the wonderful ensemble sound.

Then came Kurtag's 12Microludes, which were miniatures that can perhaps be enjoyed only in the concert hall. I feel these do not quite measure up to Webern's efforts, but they were enjoyable.

Without intermission, the quartet gave a fluent reading of Brahms Op 51/2. The often dense textures of Brahms were rendered with utter lucidity, the playing crisp but refined and unhurried. If these young players did not linger on the romantic or "autumnal" aspects, they managed to avoid heaviness and never risked sounding portentous.

Judged by their Haydn and Brahms, whose quartets are most difficult to bring off, the players are mature beyond their years, surely an ensemble to watch, and savor.

Concert Review: Juilliard Orchestra - DePreist

2011-04-09T07:47:00.005-04:00

Concert Review: Juilliard Orchestra - DePreist

March 25, Avery Fisher Hall
Juilliard Orchestra - James DePreist
Mahler Symphony No. 5

With serious jet lag I attended this concert. This was not the first time I had heard the Juilliard Orchestra play Mahler 5th, but was the first time I heard conductor James DePreist.

Paralysed by polio from the waist down in his twenties, this incredible hulk, nephew of alto Marian Anderson and chairman of Juilliard's Conducting Department, graciously conducted the school orchestra. His right hand gave long, fluid beats, but his left hand employed a large number to jittery and flickering gestures, highly unusual to say the least.

Overall, this account of M5 was a fine one, superior to the 2008 one I heard conducted by James Conlon. While still an objective rather than emotive reading, it was fluent and flowing, with good ensemble and attack. Although not the last word in heaven-storming Mahlerian angst, the symphonic treatment satisfied but did not quite deliver the full emotional wallop, not quite up to the level of yet another previous JO Mahler performance, the 2008 Mahler 1st conducted by Roberto Abbado.

Curiously, in another 2 weeks there will be yet another Mahler performance by the JO, this time the 9th, conducted by alumnus Alan Gilbert, now director of NYPO. I cannot wait!

Added April 14, 2011:
NY Times review

Concert Review: Shenzhen Symphony Orchestra Mahler Symphony No.3 深圳交響樂團馬勒第三交響曲

2011-04-08T07:14:00.010-04:00

Concert Review: Shenzhen Symphony Orchestra Mahler Symphony No.3 深圳交響樂團馬勒第三交響曲

March 11, 2011, Shenzhen Concert Hall
Shenzhen Symphony Orchestra - Christian Ehwald - Bhawani Modennsad
Mahler Symphony No.3
深圳交響樂團 - 深圳高级中学百合少年合唱团 - 深交女生合唱团
馬勒第三交響曲

Given that SSO often make changes at the last minute and that the website is woefully lagging behind in information, I was skeptical that the inaugural concert would feature the gargantuan Mahler Third. A call to SSO a week before the performance confirmed that indeed that was to take place. I told them that they really should list the names of the soloist and the choirs on the website. Well, they did for the soloist but not the choirs.

Imagine my excitement that the concert did materialize! The choirs were listed in the program book, but the contralto had changed from Carolyn Masur listed on the website to Bhawani Moennsad. Considering this was the Spring inaugural concert, attendance was a little low.

The first movement went well technically after the secure start by the brass. The orchestra sounded empowered but a little cautious. The proceedings became more fluent after this when the woodwinds started to gel together. Indeed, one of the most impressive aspect of this performance was how well the instruments, particularly the woodwinds, played to each other with great character, indeed evocative of flowers and animals if one were to invoke Mahler's own words. The dialogues felt like chamber music and were precious. In these inner movements the SSO/Ehwald got to the heart of the music much better than the HKPO/EdW did, and I greatly enjoyed it. In passages of more overt brilliance the SSO sounded more together than their previous Mahler outings, less powerful than HKPO perhaps but no less enjoyable due to the fluid conducting of Ehwald. The choirs sang well and were not obviously embarrased by diction, no mean achievement! One only wished there were more boys in the student choir; less than a handful is not quite enough! The soloist is probably more a mezzo than alto, so although she sang beautifully, the lower registers lacked power and color.

This was the best Mahler I have heard from this orchestra and I truly enjoyed it. It is the mark of a good conductor to focus the listener on the music. It is too bad that all too often with over-rated "maestro's" everyone, including the conductor, critics, sympathizers at el all point out the inadequacies of the orchestra and the hall as an excuse for why the music failed to move. This performance moved me, and that is more important than anything else.

The performance received scant coverage from the press. Some I was able to dig up:
博客報道
深圳特區報報道

Christian Ehwald Interview 专访指挥家爱华德

2011-04-07T08:30:00.004-04:00

Christian Ehwald Interview 专访指挥家爱华德

Note: I am a fan of conductor Chritian Ehwald, who's has done great work with the Shenzhen Symphony Orchestra. Under Ehwald, the orchestra has already performed the first six Mahler symphonies. If this were HK, he would have been touted as a godsend, a great Mahlerian. I just hope his good work continues and was happy to find an interview of him in the local newspaper. Shenzhen is not an international city and sorely lacks good English media, which makes me admire the work of Ehwald even more. 默默耕耘，that is silently doing good deeds, would be an apt and noble accolade in Chinese for this wonderful conductor.

专访指挥家爱华德：让乐队成员学会彼此聆听

来源: 深圳特区报　作者: 王俊

爱德华指挥乐队演奏

指挥家克里斯蒂安-爱华德

　　“小提琴，请让你们的音色更饱满一点！”，“铜管乐请把握好进入旋律的时机！”3月22日下午，罗湖区黄贝路一角的深圳交响乐团排练厅内，满头银发的克里斯蒂安-爱华德操着一口流利的英语，用清晰明了的指挥将整个乐队带入了普罗科菲耶夫《第五交响曲》的音乐世界。

　　从2008年3月来到深交任音乐总监至今，爱华德的异国执棒生涯正好度过了三个年头。这三年，这位在台上不苟言笑、台下却和蔼可亲的德国老头令深交的演奏水平焕发出了别样的光彩。这支乐团的进步让所有关心它的人有目共睹。

　　三年约满之际，爱华德毫不犹豫地与深交再次续约。他对本报记者说：“我眼看着音乐让深圳美好起来。我有信心让交响乐成为深圳的城市之光。”

　　1、调教乐团犹如调制鸡尾酒

　　2011年的深交首场音乐季演出，演奏的是马勒《第三交响曲》，场面恢弘，效果震撼。颇具意味的是，三年前，爱华德作为中国首位外籍音乐总监入主深交时举行的首场演出，演奏的同样是马勒的作品，当时是《第五交响曲》。在自己与深交的两段合同期伊始，爱华德都选择公认为演奏难度之王的马勒作品，是不是有什么寓意呢？

　　听到记者的问题，爱华德神秘地笑笑说：“也许吧。马勒确实是我最钟爱的作曲家之一，也是交响乐团演奏水平的试金石。我确实想让大家听一听，深交在这三年中发生了多么显著的不同。”

　　如果观众在音乐会上正巧坐在乐团的后方，那么，除了聆听音乐之外，欣赏爱华德的指挥也是一种享受。他手中的指挥棒划出一条又一条美丽的弧线，辅之以丰富的面部表情和形体动作，将不同音色的乐器“归拢”到音乐主题下，时而如丝绒般柔滑，时而如洪钟般响亮，将听者的耳朵“伺候”得非常舒坦。

　　三年时光，深交在爱华德的调教下一点一滴地发生变化。他说：“在我刚刚来到深圳的时候，乐团虽然也可以演奏马勒，但是音乐的感觉表现得还不够充分。而现在乐团犹如一个倾诉者，已经能够传递出音乐更多的意义和内涵，呈现原汁原味的声音。”

　　俗话说：“外来的和尚会念经”。让这支成长中的城市乐团发生脱胎换骨的变化，爱华德究竟施展了什么样的魔法？他透露道，秘诀就是让乐队的每一位演奏员学会互相聆听，用拉室内乐的感觉感受他人的声音，协调彼此的音量与音色，而不是你拉你的、我拉我的。这样，乐队才能成为一个整体，传达出的音乐才能打动人。

　　“调教乐团就像调制一杯鸡尾酒一样，急不得，只有用心配制各种元素，音乐才能像酒一样醉人”，爱华德比喻说。

　　2、“乐章间鼓掌”不必太介意

　　几乎每场交响乐音乐会上，同一首乐曲的乐章之间，总会响起观众不合时宜的掌声。此时，爱华德总是轻轻地放下指挥棒，静静地站在指挥台上，等观众安静下来之后，再让下一个段落的音乐响起。

　　从交响乐基础深厚的德国来到交响乐文化并不普及的深圳，屡屡碰到这种现象，爱华德会不会感到失望？令记者意外的是，爱华德对此并不以为意。他说：“其实乐章之间鼓掌在欧洲也会有的，问题不是很大。我只考虑能否把音乐内涵传达给观众，观众能够感受到我们表达的意思和音乐传达的东西，在观众与乐队之间引起共鸣就可以了。音乐应该成为轻松的东西。只要观众喜欢，乐章间鼓掌没什么关系的。”

　　由于身兼德国柏林音乐学院指挥系主任和深交音乐总监双职，爱华德每年都在柏林和深圳之间飞行穿梭——四个月在深圳，八个月在柏林。许多观众疑惑的是，深交音乐总监的责任应该不仅是指挥几场音乐会那么简单。爱华德不在深圳的那八个月中，如何“遥控”乐团的音乐业务呢？

　　爱华德解释说，作为音乐总监，他的主要责任是带给乐团表达音乐、感受音乐内涵的方法。他不在深圳的八个月间，亲自出面邀请了不少指挥家为深交担任客座指挥。这些指挥家每个人都有自己的长处，能够为乐团带来更丰富的理念，从而让乐团发展得更快、更全面。他自己在柏林也随时关注着乐团的排练和演出。

　　在深三年间，爱华德眼看着深圳的古典音乐氛围愈发浓厚。音乐会越来越频密，走进音乐厅的观众也越来越多，人们对深交演奏的音乐表达了由衷的喜爱，让他格外欣慰。爱华德说：“交响乐犹如城市上空的一束光，能够让这里的文化风景呈现出亮色。”

　　3、爱深圳就像爱音乐

　　记者注意到，与三年前相比，如今的爱华德发间又添不少银丝。每次排练完后，他总喜欢一个人坐在办公室里，点上一支烟斗，静静地品味属于自己的时光。而演出完后的周末，爱华德总是和自己的妻子一起，到附近的东湖公园去走一走感受那份绿色，在离家乡有万里之遥的深圳，爱华德的生活过得挺惬意。

　　“我喜欢中国，喜欢深圳！”爱华德毫不掩饰自己对这里的喜爱之情。虽然在深圳，他的德国“老乡”们并不多，然而，爱华德并不感到寂寞。每次来深，他相濡以沫的妻子都会陪着他来到这里。音乐会上，细心人总能发现那位恬静的德国女子坐在观众席的某个角落，静静地注视着台上丈夫的背影。

　　爱华德从小就迷恋中国文化。早在上世纪五十年代，他的父亲的一位助手便是中国人。通过这位助手，爱华德很早就接触并迷上了中国文化，对中国传统音乐与建筑艺术尤其感兴趣。这也是他决定不远万里来中国执棒的原因之一。

　　在排练演出之余，爱华德常常带着妻子到北京、上海、桂林去感受中国的神奇。为了表示自己对中国的了解，爱华德举例说：“从吃东西这件事情上，我可以感受中国的风土人情。比如四川人、湖南人喜欢吃辣，说明他们是‘不好惹’的；江苏人、浙江人喜欢吃甜，表示他们的性格比较温顺。”

　　爱华德究竟有多么喜欢深圳？他打了个比方：“就像爱音乐一样”。因此，当与深交的上一份合约到期时，爱华德主动提出再续前缘。他说：“我希望和深圳人一起，分享音乐带来的无限美好。”

　　深圳音乐未来大有可为

　　——对话爱华德

　　记者：从诞生了贝多芬的国度不远万里来到深圳，执棒一支新兴的城市乐团，而且一呆就是三年，什么动力驱使您有这样的举动？

　　爱华德：中国交响乐虽然起步稍晚，但这里的人对音乐有澎湃的热情。这种热情就意味着巨大的机会，形成了良好的艺术气氛。这是吸引我来到中国、来到深圳的主要原因。我希望能通过自己的努力让这里的人享受到更加纯正的古典音乐。

　　记者：但中国的交响音乐与欧洲还是有较大的差距，在你看来应当如何弥补？

　　爱华德：其实深交有很多优秀的演奏家，但他们需要把声音更加密切地融合在一起，注重音乐的整体表现。一支乐团要通过精心的打磨，形成比较稳定的团队合作气氛，创造出属于自己的艺术传统。我的目的正在于此。我相信这座城市的音乐未来仍然大有可为。

　　记者：三年来，你为这支乐团带来了怎样的变化？

　　爱华德：最重要的是音乐的表达，乐团开始表现出自己的音乐色彩，大家的演奏融合为一个声音的整体，另外你能够听到这支乐队的演奏会更富有情感，更清晰地体现出音乐的质感。

　　记者：你仍然担任着柏林音乐学院指挥系主任，奔波于两个相隔遥远的国家之间完成两份工作看起来很艰难，你如何协调工作时间？

　　爱华德：我会把自己教学之余的休假时间全部投入到深圳，每年1月、3月、7月和9月都会在深圳专注于乐团业务。

　　记者：你个人喜欢哪些作曲家的作品？会不会影响到乐团的风格走向？

　　爱华德：马勒就是我喜爱的作曲家之一，舒伯特、贝多芬都对我有较大影响。我比较倾向于浪漫派的音乐，不过作为音乐总监，我还是希望乐团能够兼顾不同的风格，比如现代派的音乐应当有所涉猎。(深圳特区报记者王俊／文齐洁爽／图)

CD (DVD) Recommendations: Paavo Jarvi's Beethoven cycle

2011-01-31T23:46:00.007-05:00

CD (DVD) Recommendations: Paavo Jarvi's Beethoven cycle

I cannot begin to tell you how this set has shaken me and instantly superseding all other versions to become my favorite. All I can say is grab them!

Paavo Jarvi, son of the wonderful Neeme Jarvi, is a conductor that I admire greatly. Very much his own man, and of the modern age. Here, his Beethoven cycle with the Deutsche Kammerphilharmonie Bremen out-HIPs any of the period specialists. Interpretively fresh as daisy, the performances are fast, rhythmically propulsive, texturally lean, very much sturm und drang, and shed light on every symphony. On the way were countless rhythmic felicities and unusual sonorities, bringing Beethoven much closer to Haydn. The playing was excellent throughout.

The sound on my set of DVD (Sony) is first-class, but you could also collect them on CD/SACD (Sony/BMG). This is a set I'd not do without.

Concert Review: Yevgeny Sudbin recital

2011-01-31T23:02:00.003-05:00

Concert Review: Yevgeny Sudbin recital

19 Jan, 2011
Concert Hall, Academy of Performing Arts
Scarlatti-Shostakovich-Chopin-Liszt-Ravel

Sudbin first caught my attention on the BIS CDs available in the HKPL. Hearing his 2009 recital in NYC affirmed my belief he is destined for greatness.

The HK recital is part of a series organized by Premiere Performances. I'd urge you to pay attention to this organization's offerings, all artists of the highest caliber (last Ning Feng recital too). There is a discount for subscription. The staff is small, and executive assistant Sharon Lam mans the telephone herself and was very helpful to our needs. Many thanks.

Sharon told us that booking a venue was difficult, but I was glad they ended up in the APA concert hall, an acoustically wondrous small venue, packed on this night.

Like the NYC recital, program opened with 3 Scarlatti sonatas. I think this time he allowed a little more play and humor to come across. It also struck me by his clean playing he tried to emulate the harpsichord, more successfully than some.

Following with 4 classically based Shostakovich Preludes was logical. His complete understanding of the quirkiness of the music and rhythmically masterful playing was a sheer delight. I think that was the best of the evening.

Despite the virtuosity, Chopin's Ballades 3 and 4 were objective and symphonic, finely held together but lacking just a little in poetry and heroism (brought out more successfully in the SZ recital of Zhang Haocheng in recent memory) .

The second half began with a beautifully atmospheric Liszt Transcendental etude, "Harmonies du Soir". Ravel's Gaspard de la Nuit followed, played with staggering technique and aplomb.

The program notes by Sudbin himself were uncommonly fine, pointing out many relationships, not least between Chopin's Ballade No. 3 and Ravel's Ondine.

CDs from the Hong Kong Public Library: Listening Log (4)

2011-01-10T19:45:00.008-05:00

CDs from the Hong Kong Public Library: Listening Log (4)

It's been frustrating that due to family affairs (renovation and moving in NYC) I have not attended even a single concert in almost 3 months (and thank you RC for your concern). Hopefully that should be rectified soon.

Fortunately there is still home listening. And some CDs I recently borrowed from the library have been exceptional.

Foremost have been 2 Mahler recordings issued by the superb RCO Live label. These Dutch recordings are always superbly recorded in DSD, by the same Polyhymnia team responsible for Pentatone etc. Even if you cannot play the SACD layer, the CD layer sounds superbly natural. Jansons' Mahler 5 is absolutely splendidly controlled, yet exciting, that is, until the last movement, which seemed willful and anti-climatic. Nonetheless, it's better than his Mahler 1 on the same label, a much blander reading. Spontaneity also characterized Haitink's Mahler 4. People who have heard this great conductor live knows his studio recordings are much more cautious. On both, the playing of the RCO is beyond imagination, I think unparalleled (even taking the VPO into account).

We all criticize record companies, yet sometimes they surprise us. Ravel cannot possibly sell very well, yet EMI recently recorded some familiar staples with their new artist, Yannick Nezet-Segun, a rising star familiar from other labels such as Pentatone. The playing of the Rotterdam PO, of which he is now music director, is exemplary. The interpretation is fresh and the sound is excellent. If you don't have much Ravel, grab this one. Bravo, EMI, for showing support for their artists (other examples include Argerich's Lugano series and their popular budget Debut series).

On a lighter note, I think current baroque music playing overall is simply divine. Even HIP, gone are the austerity, replaced by warmth and flair. This is much evident in Vivaldi playing, of which this Naive CD (part of their generally excellent Vivaldi edition) of "Il Ballo" is a superb example. Sonically spectacular too.

I have never encountered Nicolai Kapustin, a Russian composer known for his difficult "jazzy" compositions, which he himself played magnificently. Thanks to the library I was able to sample some of his unusual and worthwhile output on the rare Japanese Triton label. These works are definitely "jazzy" and should turn anyone's head.

Concert Review: HKPO-Yang Tianwa-楊天媧

2010-10-24T20:55:00.005-04:00

Concert Review: HKPO-Yang Tianwa-楊天媧

October 23, 2010, CH
HKPO-Yang Tianwa-Perry So
Janacek-Dvorak-Sibelius

Official English website
楊天媧 2006

This was a concert I most wanted to hear. Usually I prefer to attend HKPO concerts on Fridays, as the orchestra are usually more committed for the first of the concert pair. But I could not this time. So, on Friday 10:30 pm I received a phone call that was ecstatic in praise of the concert. Perhaps that first-hand report raised my hopes too much, as the concert on Saturday did not entirely live up to promise.

A Real Find
My first encounter of Yang Tianwa was from her first 2 Naxos Sarasate CDs (eventually there will be 7 CDs) which I borrowed from the library. All it took were a few notes to make me jump up from my seat and read everything in the booklet about the amazing violinist whom I had never heard of (the pianist is fantastic too). For here is the best Sarasate I have heard in a long time. The duo couldn't possibly have known all the obscure works when they recorded them, yet they played like they have lived with these pieces for years! Her fluid and utterly natural phrasing gave the pieces unusual breath. Her grasp of the Sarasate style is superior to most current violinist I can think of.

The Dvorak Violin Concerto is not often played in Hong Kong. Despite a little unsteadiness at the beginning, all the qualities that distinguished her Sarasate were gratifyingly present live. I was most impressed by her steady, singing tone, sure attack and sustain. Her natural phrasing revealed a maturity beyond her years. However, the wistful aspect of this concerto hides its difficulties, which are not in the notes but in expression and balance. Although she could be tender and delicate, the reading as a whole lacked a lyrical quality that should be inherent in the music. Part of this may be due to the accompaniment which, though tidy, emphasized drama rather than the dance elements. It should be noted that the orchestra was moderately reduced in the strings (only 22 violins, 8 violas, 6 celli and 4 basses), making the winds and brass more prominent in a "Germanic" style.

For encore she played a Ysaye piece, which more than the concerto showcased what this wonderful young violinist is all about: superb technique wedded to musical insight. All the Bachian counterpoints were clearly laid out but did not detract from the long lines and sumptuous tone. Marvelous!

The orchestra reverted to full-size for the Sibelius Symphony No. 2. This is a HKPO staple but this reading still managed to surprise me initially for the excellent playing and eloquent chording. Despite some unnecessary tempo manipulations, the first three movements had their shining moments, particularly felt in the almost sculptural brass chords. However, my worst fears about the inexperience of Perry So materialized in the last movements, where the various climaxes should gradually build up in power and intensity. Instead, Perry So could not manage the admittedly difficult task of tying the various episodes together and the movement as a whole was wildly incoherent. The quieter passages felt directionless, and the finale did not provide at all a sense of catharsis; a big deflation indeed. A cautious Janacek's Jealousy overture opened the concert.

There are a surprising number of personnel changes. Newcomers Colin Oldberg and Benjamin Moermond are now the trumpet and bassoon principals. Cor Anglais is now Sarah Turner. And Lisa Rogers is gone, so soon! there are now only 3 Chinese faces among the winds and brass. Sigh...

我第一次發現楊天媧是在圖書館。兩張 Naxos 的 Sarasate 小品吸引了我，不知道楊天媧是誰就借了回去。一聼之下就驚為天人。這些曲目極爲冷門，但二人的演繹卻令我有耳熟能詳的感覺；這是一流的 Sarasate 演繹，非時下所謂名家輕易能及！這兩張 CD 也燃燒了起來我對中國新星的希望。但這期待已久的音樂會卻因種種原因沒能盡興。

楊天媧技術上現場和錄音大致一樣，琴音飽滿，技巧扎實。減了弦樂手的樂隊突出了木管和銅管, 也沒掩蓋楊天媧，但整體上 Dvorak 缺乏了抒情，餘韻不足。其實 Dvorak 音樂好像不難，但要奏出活力，有舞曲自然彈跳的感覺卻非易事。在這層次上，獨奏，指揮和樂隊都沒有達標，可惜了。

Encore 的 Ysaye 就大大不一樣了。沒了樂隊的牽挂，楊天媧的演繹自然流暢，技巧和音樂的表達兩者結合得天衣無縫。還是，《天媧無縫》？僅此一曲，已是補償的甘露，值囘票價。

下半場的 Sibelius 第二交響曲開始得不錯，但沒能彌補終樂章渙散無章的演繹。本是一浪推一浪的高潮，變了沒能連接上的幾個強聲片斷，方向感的缺乏令到結尾變了反高潮，煞是掃興。

Addendum: Interview by HKPO

很美好但很苦的音樂家生涯—小提琴家楊天媧(朱振威)(摘自HKPO)

先說一段小插曲：一開始想著在港樂辦公室與楊天媧用長途電話作訪問，結果花了很多時間預約
一個方便雙方的日子，到訪問時又遇著酒店電話線路繁忙。再次跟楊天媧用電郵聯絡，看著她的
電郵結尾那句「Sent from my iPhone」，靈機一動問道：「你有Skype嗎？」結果二十四小時內
我安坐家中完成訪問。

可是，你別因此想像楊天媧是Facebook上有過千「朋友」，一有空就在msn聊天的一般「八十
後」– 與她閒聊過後，才發現這在音樂家生涯中很難發生的。

那麼音樂家的生涯是怎樣？廿三歲的楊天媧說「很美好，但很苦！」

我的爸爸
我四歲開始拉琴，父親對我非常嚴格，每天都要我練琴。他這樣做很對的，否則我不能有今天的成就。

小時候，我不算很刻苦，很多練習曲目拉兩次，行了就算。我那時明白我有天賦，人家試十次才成功，我三次就行。人家五歲時坐上鋼琴不下來，我不是，我也想做其他事情。小時候看著人家放學去玩耍，爸爸卻來接我回去練琴。很多時候想看書，想跟其他人玩，但卻因為練琴而放棄，回想那段日子其實挺苦的。

當音樂家很苦的，但我現在很開心。如果我沒有當音樂家，可能現在會當白領吧，不過生活可能就不開心了。說到底，生活是由每個人自己決定的。

將來要是有孩子，我不會像我爸爸這樣嚴格把她訓練成音樂家。我可能會堅持，幫她到十三、四歲，然後就讓她選擇。天賦不是決定一切，性格來得更重要。

我的假期
音樂家的生涯很美好，但很苦。要能承受很大壓力，也要有嚴格生活規律。經常在不同國家往還，時時要克服時差，但只能睡至「我要起床」的時候，到放假時終於可以睡到「我想起床」，放假最好之處就是不用想時間。

不用演出的時候我通常留在家渡假。假期第一天我會整日躺在床上讀書喝茶，這樣做對我來說就是終於放假的訊號。我最喜歡閱讀，我還記得小時候我練琴時都在譜架上放著一本小說。一邊拉一邊讀，因為音樂我拉幾次就背下來了。但後來爸爸發現了，就把我的書都綁起來。

我甚麼類型的書都愛讀，小說、經典、犯罪故事、古代現代的統統都愛讀。現在讀著一本挪威小說家Lars Saabye Christensen的《The Half Brother》，男主角在二戰後長大，他的家庭表面上很普通，可是他的哥哥卻是母親在戰時被人強姦後所生的，是很曲折的故事。

我的工作讓我每天有四、五個小時都在「聽」音樂，空閒的時候就想靜下來。就算真的聽音樂也是工作需要，例如聽一些其他人演奏我將要演出的曲目。反而，我常常會聽有聲書。

我想音樂跟其他藝術如繪畫、電影、寫作都有共同目的，就是藝術家要向別人傳達訊息。對我來說，演奏時我就像一個導演在執導一齣戲，只是我在講述一個沒有文字沒有畫面的故事。
我的encore
我覺得如果這世界沒有了易沙意與巴赫，我實在不知道可以拉甚麼作encore！我不贊同拉完一首協奏曲之後又拉巴格尼尼或是韋尼奧斯基的炫技作品，之前已經有整首協奏曲給你表現自己，你已不需要再顯示你的實力了。我會想應該借encore的時候讓觀眾感受別的東西，而不只是一味的炫耀。

至於獨奏會，我就很愛拉奏馬思聰的《思鄉曲》作 encore，我就是愛其簡單的民間元素。其實大部份好的音樂都是來自民間，你看布拉姆斯與莫扎特一樣從民間音樂找尋音樂元素。因為這些民間音樂已是精華，也是來自生活。

德伏扎克的小提琴協奏曲給我最深印象是慢板樂章，就是因為充滿了民間音樂元素。憂鬱的風格就像一首民歌。而終樂章更似是一節民間舞蹈。以民間音樂為素材的話，意味著這首作品更貼近觀眾。我認為他的小提琴協奏曲比大提琴更具民族色彩，也更高貴細膩。

這首小提琴協奏曲在歐洲舞台其實很常出現，不過我發現在亞洲及北美似乎更流行他的大提琴協奏曲及交響曲，讓這首協奏曲好像在陰影之中。或許是這首協奏曲生不逢時，同年代有太多傑出的小提琴協奏曲了。
我的決心
「今天在倫敦，明天在巴黎，晚上八時才工作......」當音樂家聽起來很自由，可是一點也不自由。背後都是排得很滿的行程，而且不是你自己決定，演出可是責任。演奏工作只是不斷換地方，事實上看不到別的東西。

我也有用F a c e b o o k ，用化名的，但只有廿四個朋友，都是真正的朋友。以前晚上還會用msn，現在也不怎麼用了。我很少找朋友的，住的地方周圍也是很少人居住的。平日也不出門，跟人聯絡也多靠電郵。的確，工作上不斷會認識到新朋友，可是很多時雖然合作愉快，演出完了連繫就斷— 剛開始認識就要走，很可惜。有時去到一個地方演出，打電話給當地的朋友，可是最後因為工作沒有時間約出來見面。事業正在往上走，是要吃點苦。

所以，當音樂家一定要有決心。
楊天媧最愛的小提琴家
我喜愛Adolf Busch與他的弦樂四重奏，還有Joseph Szigeti。我最喜歡Busch的貝多芬，他演奏出樂曲的最高境界。而Szigeti的布拉姆斯我認為是不可超越的！

之前為了演奏孟德爾遜協奏曲，聽了Jascha Heifetz，令我很驚奇，他的慢板樂章原來是我聽過最美的！不過他的首尾樂章卻不是我杯茶了。

楊天媧最難忘的演出
有一次很可怕的，那是在德國的演出。我還記得很清楚是2007年3月26日星期天，我那次幾乎忘了去演出！

話說那一次場音樂會是早上十一時舉行的，於是我八時起床。到了九時四十五左右我的經理人打電話給我，問我在哪兒，說演出快要開始，我才猛然醒起那時已經行夏令時間！換言之經理人打電話給我時是十時四十五分。但我還未吃早餐，還未更衣。我立即帶著小提琴與演出服飛奔到街上乘車到音樂廳。到我站在台上時我幾乎暈倒呢。

A Wonderful Struggle-Yang Tianwa’s life as a musician (Leon Chu)(from HKPO, with edits of some typos)

A brief Prelude. Originally, the idea was to conduct along-distance interview with Yang Tianwa by phone from the HKPO offi ce, but after the lengthy process of finding a convenient time, a problem with the hotel phone line prevented the interview from taking place. Email correspondence followed and it was then that I noticed a “sent from my iPhone” suffix. Hold on a minute; “Do you have Skype?” 24 hours later the interview was finished from the comfort of home.

Yet don’t let this lead you into thinking that she is a typical “post-80’s generation” young woman with over a thousand “friends” on Facebook and spending all her spare time chatting away on msn. I quickly realised that this doesn’t happen in a musician’s life.

So, what is a musician’s life like? According to 23-years- old Yang Tianwa; “It’s really wonderful, but it’s really tough!”

My Dad
I started playing the violin when I was four. My father was very strict, and made sure I practised every day. He was right to do that, otherwise I would not have achieved what I have. I was not an especially diligent child. Many of my exercises I just played a couple of times and stopped as soon as I could play them. Already by that time I realised I had some gifts; some people needed to try things 10 times, while I often succeeded after three. Other children managed to sit in front of the piano all day, I couldn’t. I wanted to do other things. When I was little, I had to watch other children going to play after school, while my dad would pick me up from school to practise. I often wanted to read books, to play with friends, but I had to give these all up because of the violin. Looking back, it was quite a tough time.

It is generally tough to be a musician, although I am really happy right now. If I hadn’t been a musician, I guess I might be working in an office, and I don’t think would be as happy, but at the end of the day, every one determines their own life choices.

If I was to have children I would not make the demands on them my dad made on me. But if they wanted to be musicians, I might insist on helping them until they are in their mid-teens and then leave them to choose. Talent does not dictate everything; personality is more important.
My Holidays
A musician’s life is tough but really wonderful. You have to manage a great deal of stress and lead a disciplined life. Travelling from country to country means constant adjustment of time zones. You can only sleep until you “need to get up”. When holidays come, you can finally sleep until you “want to get up”. The best thing about holidays is not having to think about time.

When I don’t need to perform, I tend to stay home. On holidays, the first day I would lie in bed all day, reading and drinking tea; to me that tells my brain that I am finally on holiday. I love reading. I remember when I was little, I would put a novel on the music stand and read while I played, as I was able to commit music to memory fairly quickly. Later my dad discovered me doing this and locked all my books away!

I like reading all sorts of books: novels, classics, crime fiction, ancient, modern…I love them all. At the moment, I’m reading The Half Brother by Norwegian novelist Lars Saabye Christensen. The male protagonist grew up after the Second World War. His family seemed ordinary on the surface, but his older brother was born as a result of his mother having being raped during the war. It’s a story full of turmoil.

I listen to music four, five hours a day because of my work. When I have some free time, I prefer to enjoy a quiet moment. If I do listen to music, it would be part of work, probably one that I have been asked to perform. I do often listen to audio books.

My encore
If there were no Ysaÿe or Bach in this world I really wouldn’t know what to play for encores. I disagree with playing another showpiece such as Paganini or Wieniawski after performing an entire concerto. The concerto has offered plenty of opportunities to express yourself, you don’t need another chance to show off your skills. I would like to take the encore as an opportunity to give the audience something different, something to feel rather than something merely flashy.

As for recitals, I love playing Ma Sicong’s Nostalgia as the encore. I am really attracted to its simple, folk elements. In fact, most great music comes from the people. Brahms and Mozart also used elements from folk music. These are the essence of music, drawn from real life.

In Dvořák’s Violin Concerto, I am most impressed by the slow movement because of its rich folk elements. Its melancholic style is just like a folk song, while the final movement is like a folk dance. These elements really bring the work closer to people. In my opinion, this Concerto is more folk-like than his Cello Concerto and also more elegant and delicate. It’s played quite often in Europe, but audiences in Asia and North America seem to favour the Cello Concerto and symphonies; as if the Violin Concerto lives under its shadow. Perhaps it was written at the wrong time – there were too many great violin works written in the same period.
My resolution
“Today in London, tomorrow in Paris, work starts at 8pm…” The lifestyle seems free and glamorous, but that is not the case in reality. Behind the limelight is a full itinerary, dictated not by personal choice but by one's responsibilities as a performer. The difference in performing in different countries is just the name of the place, you rarely get a chance to see the rest of it.”

I do use Facebook under a pseudonym, but I only have 24 friends there, all of them are friends I already know. I used to use msn in the evenings, but not much anymore. I rarely contact my friends, the place I live in is quiet with few people living around. I don’t go out much, email is my main communication method. It is true that I keep meeting new friends from work, but often after a wonderful collaboration we lose touch – it’s a pity that I often have to leave as soon as I meet new friends. Sometimes I go to a place to perform having called my friends there, but work doesn’t always allow time for us to meet. When you are launching a career, inevitably things will be tough.

To be a musician, you need to have much determination.

Yang Tianwa’s favourite violinists
I love Adolf Busch and his string quartet, and also Joseph Szigeti. My favourite is Busch’s Beethoven – his version is unsurpassable. Szigeti on the other hand has the best version of the Brahms.

To play Mendelssohn’s Concerto, I listened to the recording of Jascha Heifetz. I was surprised…his slow movement was the most beautiful interpretation I’ve heard! But his first and final movements were not especially close to my heart.

Yang Tianwa’s most memorable performance
It was a frightening experience! I once performed in Germany and remember clearly the date; 26th March 2007. That was the day I almost missed the performance!

The concert was to begin at 11 in the morning, so I got up at 8. Around 9:45 my manager phoned me to ask me where I was; the concert was about to begin. And then I remembered! Daylight saving had already started so it was actually 10:45am when my manager called. Without eating breakfast or getting changed, I ran out the door with my violin and performance gown. I nearly fainted when I stood on stage!

Concert Review: Peter Frankl (Chopin Society)

2010-10-15T19:57:00.003-04:00

Concert Review: Peter Frankl (Chopin Society)

October 15, CH
Joy of Music Festival
Chopin and Schumann

Biography
Peter Frankl made his name on the international circuit as a young pianist in the 1960s and, since that time, he has appeared with the conductors Abbado, Ashkenazy, Barbirolli, Blomstedt, Boulez, Chailly, Davis, Doráti, Fischer, Haitink, Kempe, Kertész, Leinsdorf, Maazel, Masur, Muti, Sanderling, Solti, Szell, among others.

Following his London debut in 1962 and his New York debut with the Cleveland Orchestra, he has been performing with many orchestras in the USA (Chicago, Philadelphia, Boston, Washington, Los Angeles, San Francisco, Pittsburg etc), the Berlin Philharmonic, Leipzig Gewandhaus, Amsterdam Concertgebouw, Orchestre de Paris, Israel Philharmonic, all London orchestras and many others in Europe. He has also toured Japan, Korea, Australia, New Zealand and South Africa, playing with orchestras, in recitals and also in chamber music concerts. He has appeared over twenty times at London’s BBC Promenade Concerts and has been a regular participant at the Edinburgh, Cheltenham, Aldeburgh, Verbier and Kuhmo Festivals. Among the highlights of his many Edinburgh Festival appearances were his performance of the Britten Concerto under the baton of the composer and the opening televised concert with the Philharmonia Orchestra conducted by Muti. He was the soloist at the Enescu Festival in Bucharest with the Budapest Festival Orchestra at one of the last concerts Yehudi Menuhin ever conducted.

In the USA, Peter Frankl has been regular guest–artist at the summer festivals in Aspen, Chautauqua, Hollywood Bowl, Marlboro, Norfolk, Ravinia and Santa Fé and he often performs with well-known artists, such as Kyung Wha Chung, Ralph Kirshbaum, András Schiff, Tamás Vásáry and many string quartets like the Amadeus, Bartók, Borodin, Fine Arts, Guarneri, Lindsay, Panocha, Takács, Tokyo and Vermeer. He has given master classes all over the world, including the Royal Academy and Royal College in London, Liszt Academy in Budapest and the Van Cliburn Institute in Texas.

Peter Frankl’s discography is very wide-ranging: in addition to his recordings of the complete piano works by Schumann and Debussy, he has also recorded solo works by Chopin, Schubert, Beethoven, Bartok and other Hungarian composers, piano concerti by Mozart, Brahms, Mendelssohn, Schumann and Chopin and chamber works by Mozart, Brahms, Schubert, Schumann, Dvorak, Dohnanyi, Martinu and Bartok.

Peter Frankl studied at the Franz Liszt Academy in Budapest with Professors Hernádi, Kodály, Weiner and won first prizes at several international competitions. He lives in London and is visiting professor at Yale University in the USA.

His 70th birthday this year was marked with special concerts in the USA and in Europe and in Hungary he was given one of the highest civilian awards by the Hungarian Republic for his lifetime artistic achievement in the world of music.

Frankl and Vox
When I started collecting records in the 70's, I bought quite a few budget records, Odyssey (Columbia), Seraphim (EMI), Stereo Treasury (London) and, of course, Vox. Like what Naxos is doing now, Vox was the first budget label that aimed to record complete works of major composers as well as little known pieces of obscure composers, all performed by promising but then unknown young musicians. Alfred Brendel, Wlater Klien and Peter Frankl were three concentrating on the Austro-Germanic repertoire. Upon the recommendation of music magazines I bought a couple of volumes of Peter Frankl's complete Schumann on Vox, now unfortunately available only in (MP3) downloads (also his Debussy). Despite many alternate versions later, I had lived with Frankl's versions for years and they remain among favorites.

The Concert
When I saw the combination of Peter Frankl and Schumann I knew I had to attend. Apparently he had appeared before with the Society but I had missed it. A juror in Chopin Society's piano competition, on Friday night he played the same program in Shanghai. Peter Frankl has always been low-keyed; his under-stated style can be glimpsed from his sparsely populated website.

And what exceptional Schumann! In his mid-seventies, Frankl still possesses excellent technique and control over the keyboard. Not one to play to the gallery even in his youth, Frankl honed his technique on producing utterly refined pianism in the Fantasiestucke and Faschingswank aus Wien. In his subtle amalgamation of rhythmic felicities and a colorful palette, one can hear decades spent with this music. Many younger pianists eager to show off their virtuosity often hit harder and bend the music out of proportion; in doing so they also impart impatience and awkwardness in the frequent gear changes. Frankl has long surmounted these considerable difficulties. The smoothness of his playing belies hard work and profound understanding of the music. Beneath all this burned an inner glow that kept the opposing elements in fine balance.

Frankl played Chopin with much the same sophistication. Rhythmic figures, as in the Polonaise in C sharp minor, Op26/1, were not stamped out, but articulated. Two Nocturnes of Op 55 were much less dreamy than we usually encounter. Best of all of were a finely differentiated set of Four Impromptus and a staggeringly evocative Scherzo No. 1, which closed each half.

The joy of music!

Concert Review: Hong Kong Sinfonietta - Christopher Hogwood

2010-10-10T00:40:00.002-04:00

Concert Review: HK Sinfonietta-Christopher Hogwood

October 8, 2010, CH
Hong Kong Sinfonietta-Christopher Hogwood
新篇巴洛克

Christopher Hogwood the baroque specialist needs little introduction. But a Martinu specialist who has been conferred honors by the Czechs? His modest website biography is a must-read, but make sure you read also the CV section, where he lists all his medals and honors!

So it's wonderful to have had the opportunity to hear him with the Sinfonietta, in a craftily designed program that entertained and educated, not less for the lights shed on some of the works when he took the time for stage work to explain to the audience salient points behind some of the pieces.

Handel of course featured prominently, Hogwood being a specialist and scholar on the great composer. Two movements from Handel's Concerto Grosso Op3/5 opened the program. A marvelously executed Music for the Royal Fireworks closed the program triumphantly. The string playing was lean, HIP and vibrant, the brass punctuating and acerbic at times, the percussion rattling, all highly exciting and well articulated.

In between came two neoclassical works. Stravinsky's Concerto in D for Strings received a perfectly judged rendition. The other, Martinu's Sinfonia Concertante No. 2, inspired by a Haydn work of the same combination, is much more difficult to bring off. The small concertante group (violin, cello, oboe and bassoon) and the orchestra were cautious at first, but things got better and better as the piece got along, revealing much of the work's myriad characters. If you are interested in this composer's work, I'd advise you to check out the Public Library, where a large number of Martinu recordings are available, including many in Hogwood's acclaimed series with the Czech PO on Supraphon and Hyperion.

Most revealing, and highly worthy of hearing, were two Bach orchestral transcriptions. The jewel-like Bach/Webern Ricercare from Musical Offering sounded pristine when heard live, much more fun than when heard at home. Must be awkward to conduct when individual notes are tossed around almost note-by-note among the instruments (the so-called Klangfarbenmelodie technique). Much more traditional and surprising in its craftsmanship and impact was the Bach/Raff Chaconne from Partita for solo violin No. 2. The work sounded truly Brahmsian and the orchestration is quite superior to what we hear from Stowkowski. In fact, I'd prefer to hear it more than some of Brahms' smaller orchestral pieces and overtures. Here is link to the Chandos recording, and you can hear an excerpt.

A wonderful program and wonderfully played. The Hogwood and the HK Sinfonietta must have worked hard on the disparate styles. Most worthy of mention was the concermaster, James Cuddeford, who led in an unfailingly assertive manner and played with style.

The exact program is to be played by the Guangzhou SO, in Guangzhou and in Beijing! What a wonderful idea and salute, Christopher Hogwood!

Concert Review: Ning Feng 寧峰 Recital

2010-10-07T23:41:00.011-04:00

Concert Review: Ning Feng 寧峰 Recital

October 5, 2010, CH
Ning Feng/Zhang Weicong 寧峰/張薇聰

粒粒皆清楚
三月的時候不幸地錯過了寧峰與小交的 Brahms, 這次終於趕上了, 洗耳之餘當是恨晚。他的琴音每一粒都異常飽滿, 不像一般小提琴家在琴絃上下之間會有意無意地突出，減弱，甚至僅僅帶過某些音符。加上有非凡連貫性的造句，這晚令人一路匯神聆聽，且聼得無比舒服。琴是 2007 年德國的 Stefan-Peter Greiner，音色不及意大利名琴華麗，但表現極爲乾淨，平均。

開場的 Mozart K454 雖然拘緊，仍然顯示了寧峰的内涵。張薇聰的鋼琴不過不失，低音過分收斂；最大的問題是二人之間欠缺默契，沒能營造一種來囘對話的感覺。

下來的 Grieg Op 8 大家都放鬆了點，張力大增, 而寧峰精湛的技藝也有了更大的發揮空間，強音的爆發力與精凖度令人折服。這首曲子不容易掌握，容易流於平面，二人的演繹雖然還是過於工整，欠缺了點溫馨，卻沒有冷場，不容易了。整體來講，上半場是寧峰一個反炫耀的嘗試，不能說完全成功，卻是個好的開始。

下半場的三首 Kreisler (Liebesfreud, Liebersleid, Tambourin Chinois) 跟我以往聼的都不太一樣。超細膩的演繹遠離煽情，幽幽地滲出一種回憶，極具品味。

下來兩首中國作品，沙漢昆之牧歌與李自立之豐收漁歌當然是手到拿來，友人說, 到這裡琴音才完全釋放出來，我也贊成。最後是耳熟能詳的 Sarasate Zigeunerweisen。技驚全場不在話下，像之前的 Kreisler 一樣，其中的音樂表達更能為我帶來一些新的體會。

他的造詣，我覺得不在任何一位現代小提琴家之下。既然他是 Mr Paganini, 就跟先前聼過最好的 Paganini 詮譯者 Ryu Goto 一比。我覺得 Goto 更炫目醒神，但寧峰更耐聼，更具潛力。

好一個音樂家！以他的造詣，本應大紅大紫，可惜他樸素的造型可能不太適合這個浮華的世界。以他的毅力，我堅信默默地耕耘也能“成功”。我只是覺得他的髮型，還有那套有紅裏子的衣服，都應該更新了。話説回來，他以後無論穿什麽，拉什麽我都會趕去捧場的。

寧峰百度百科資料
Ning Feng Biography at Maxima (Agent)
西安音樂會（曲目同）

這裡要謝謝主辦單位 “飛越演奏香港”。他們還有好幾場好的音樂會，值得大力支持。

Attending this recital made me regret all the more having missed Ning Feng's performance of the Brahms Violin Concerto in March, for here is a virtuoso who uses everything to empower the music, and there's no higher accolade.

Ning Feng's beautiful and fulsome tone stood out from the start. Under his fingers, every note retains its full value, a quality rare as hen's teeth today. Add to this phrasing as natural as breathing and a wonderful evening was garanteed. I fact I had rarely felt so relaxed and satisfied at a concert.

The partnership with pianist Zhang Weicong in Mozart K454 was nice but too restrained and failed to convey a sense of dialogue. The Grieg Op 8 fared better. IMHO this sonata is difficult to bring off. Ning Feng really dug hard into the big moments though the duo again was a little too cautious in the more cantabile passages. However, the overall flow and sense of structure was first-rate.

The second half yielded to virtuosic or violinistic pieces. The Kreisler (Liebesfreud, Liebersleid, Tambourin Chinois) pieces were superbly refined. Ning Feng did not milk these for their juices; instead he presented them as moments of inner reflection, which they do represent. Consequently, he found more in these miniatures than most violinists. With the two Chinese miniatures that followed, his tone further blossomed, culminating in a superbly musical Sarasate Zigeunerweisen, where his technical wizardry was given full reign.

In my book, the unassuming Ning Feng catapults to the top of the heap, and needs to yield to none. Other favorites that I like to watch are Augustin Hadelich, Ryu Goto and Hilary Hahn.

Thanks are due to the presenter, Premiere Performances, who has a few more wonderful young artists in an upcoming series. I urge you to attend.

Concert Review: Vienna Classical String Quartet

2010-09-07T19:08:00.004-04:00

Concert Review: Vienna Classical String Quartet

September 3, 2010, Shenzhen Concert Hall
"Vienna Classical String Quartet"
Haydn-beethoven-Shostakovich-Dvorak

The quartet (info here) is formed of members of the VPO, and the concert is part of a 3-part series at the SZ Concert Hall, the rest of the two featuring the concertmaster and celli. The name of this string quartet is surely improvised. They did not call themselves the VPO string quartet (like the old Decca recording ensemble). Interestingly, there's a Vienna String Quartet from South Africa! A search on the internet came up with nothing, except confirming Daniel Forschauer, Marian Lesko, Wolf-Dieter Rath and Gerhard Kaufmann are surely bona fide members of the VPO.

Immediately, in the opening Haydn "Serenade Quartet", a famous but spurious work likely by Hofstetter that still carries the catalog number Op3/5, the foursome showed its mettle as bearers of the Viennese tradition. The ensemble sound was sweetness incarnated; lines were fluent and elegant; inner details finely illuminated and impeccably balanced. I have never heard better Haydn. While the perfect ensemble continued to bring pleasure in the less often played Beethoven Op18/4, one did feel a little more sturm und drang would have been welcome.

The second-half opened with a finely judged Shostakovich morsel, Adagio-Allegro, and culminated in an incomparably elegant performance of Dvorak's "American" Op, 96. As in the Beethoven, the quartet did not wear their heart on their sleeves, but thier finely chiselled performance was monumental on its own terms. For encores, they brought down the house with an inimitable Sperl Polka (Johann Strauss) and a Chinese song transcription.

Hearing this perfect ensemble of incomparable sweetness left one in no doubt as to why the VPO are as great as they are.

Concert Review: 張昊辰 Zhang haocheng Chopin

2010-09-01T20:24:00.006-04:00

Concert Review: 張昊辰 Zhang Haocheng All-Chopin

August 28, 2010, 深圳音樂廳
All Chopin

張昊辰為李雲迪師弟，在 2009 年 Van Cliburn 大賽奪冠:

張昊辰百度資料
BBC Magazine Interview
Wikipedia entry

從音樂會不便宜的票價看得出他是當紅人物。票房的票所剩無幾，但是晚的觀衆卻不見得太多 (深圳常見的現象)。沒想到的是，聼衆群跟聼交響樂的不同，更時髦，但素質更差，吵得很，唉！

曲目很重，上半場是全套 24首前奏曲 preludes, 除了稍停兩次抹汗外，一氣呵成，自然細膩。這殊不簡單，因爲 24 首裏變化萬千，連大師都未必能完全掌握每一首 (想想，有多少個錄音是完美的？)。下半場更是驚人，全套 4首敍事曲 Ballades, 挑戰性只有更高，一樣是順理成章，完成度極高。我當時在想，我聼過的全套錄音不下二三十個，可說沒有一個能令我完全滿意。就算現場較容易討好，還是令人佩服。Encore 的一段 Stravinsky Petroushka 有非常多細微的變化，表現的技巧更是令人咋舌。

我不是說他完美無瑕，但過程是流暢的，沒有任何造作的感覺。演出結構性極強，偏向中性，乾淨利落，有時令我想起 Pollini；也時而感覺到有點 Zimmerman 那種特殊的集中力。當然比起前輩還是稍有不足，陽剛之處有時可以加強。但我已覺得他前途無量！

2009 Van Cliburn gold medalist Zhang Haocheng gave a captivating recital in Shenzhen. The heavy all-Chopin program comprised the 24 preludes and the 4 ballades. Aside from his beautiful touch and singing tone, he impressed me greatly with his structural grasp, which gave the sets a feeling of inevitability that only a master can impart. While his playing was warm, it was not overly so and veered towards the neutral. At time he had something of the detachment of Pollini, at others the concentration and intensity of Zimmerman. The movement from Petroushka he gave as an encore was his calling card and magnificently rendered. I'd like to hear him again, soon.

Concert Review: Asian Youth Orchestra 2010

2010-08-16T21:32:00.007-04:00

Concert Review: Asian Youth Orchestra 2010

As usual, there were 2 concerts in succession.

August 11, CCCH
Conductor: Richard Pontzious; Cello Soloist: Alban Gerhardt
All Strauss

Although I am not enamored of the conducting of Pontzious, I went for the Don Quixote. The orchestra played very well, and I think this incarnation is better than last year's in the winds and brass departments. For my taste, the big moments were too controlled and underplayed; youngsters should have fun with the cacophony! This made the piece a little too introspective and serious. Soloist Alban Gerhardt (he has an interesting website and a nice blog) was marvelous, coaxing a beautiful and refined tone from his cello. Most notable also was the lady viola soloist, who played sinuously, with phrasing that much belied her age. That was some of the best viola playing I have ever heard. During applause, Gerhardt nicely and generously gave her credit several times, outnumbering his token appreciation of the concertmaster and others. She deserved it. There was no encore.

I skipped the second half, as I am not fond of the Rosenkavalier waltzes (though I love the opera). And Don Juan needs a really great conductor to make it shine.

August 12, CCCH
Conductor: James Judd; Cello Soloist: Alban Gerhardt
Schumann-Mahler

This concert was better attended than the last. The Schumann cello concerto was beautifully played by Gerhardt, but the accompaniment was a little subdued; the reduced orchestra was probably not a great idea. Applause was plentiful and a sublime Bach encore was offered. Gerhardt's phrasing was totally natural and his variation of timber masterly, all the while maintaining the tempo. "Better than Rostropovich!", my friend said.

I had high expectations of James Judd, and he immediately showed his colors with the Mahler Symphony No. 5. The opening Funeral March and the ensuing movement were beautifully balanced and unfolded inexorably, with a momentum lacking in recent HKPO performances. The Adagietto was beautifully judged, never at the risk of lapsing into soap. The fly in the ointment was that the Scherzo and Rondo Finale that flanked it were a little too studied by half. A little more earthiness and wildness rather than refinement would have been welcome. Nonetheless, the finale was rousing. Overall the playing was marvelous and more even than last year. Gerhardt was playing in this piece in the cello section, sitting all the way back. What a thoughtful musician!

Appendix:

Here is what Gerhardt wrote about his experience with the AYO on his Blog:
"...Almost 25 years ago I joined the Federal Youth Orchestra of Germany (BJO) in which I played altogether for three years every summer, Easter and winter (and one extra session I don’t remember when). This absolutely changed my life as a musician because it brought me together with young people like me, talented and dedicated to music, different to the other kids in school, sometimes outsiders, but never really geeks or nerds. Playing music together in an orchestra after practising all these years on my own was mind-blowing, an experience so elevating that after the first session I just knew that I would not want to have any other profession than playing music, for the rest of my life. When I was asked to play five concerts with the Asian Youth Orchestra I agreed, first a bit half-heartedly because I wanted to provide real good summer holidays for my son János, but then nostalgia took over and I wanted to relive the time in a youth orchestra.

Two weeks ago we arrived in Hong Kong, Janos and me. The AYO had gracefully accepted inviting him along myself, and in these two weeks we absolutely had a blast together, playing concerts, travelling from Hong Kong to Shenzhen and Seoul for these five concerts, but also doing fun stuff like wind surfing in Cheung Chau, visiting the fun Ocean Park, beautifull located on the other side of Hong Kong island, shopping, playing games and in the pool, reading and just enjoying the wonderful food and restaurants in these Asian cities. But for me even more fulfilling was the artistic experience. With conductor (and friend) James Judd I performed three times the Schumann Concerto, participating twice in my fery first Mahler Symphony ever (No.5) in the second half, and with the founding conductor Richard Pontzious we did Richard Strauss’ Don Quixote, one of my all-time favorite orchestral works - always glad to play it, even though I find it harder than a “proper” cello concerto.

From the first rehearsal on I was amazed by the abiltiy of these youngsters from ten Asian countries to really listen to what I was doing, especially in the Schumann. At yesterdays last performance in Seoul I felt inspired to take as much freedom as I hardly ever do, because I knew they would be with me. For me the amount of freedom depends on the willingness and abilty of the people collaborating, because for me the most important goal is the over-all performance, not just my little part. I am play so freely that nobody can actually be (and feel) with me, it just feels (and sounds) wrong to me, and yesterday I felt I could do anything coming through my mind and the AYO and James would be there already! The Don Quixotte is obviously much less of a concerto, but even there we had some wonderful interaction and at certain passages we all were very spontaneous. I felt really sad leaving the orchestra last night, not because I did sooo much bonding with them (as I said, I was being mainly father and soloist, not too much time to share time with the other musicians, and much as I would have loved to), but because I enjoyed making music with them.

They will continue the tour to China and Japan with wonderful cellist Jian Wang taking over, and I am sure it will be a great experience for them doing the same pieces with another soloist who will bring his view and different ideas onto the stage. Janos and me are sitting at Hong Kong airport on our way to a five-day-escape to Phuket, Thailand, before school starts next week. Hopefully some more windsurfing there…."

p.s. The August 12 concert shall be broadcast on RTHK4 on August 20, at 8:00 pm, and repeated on August 25, at 2:00 pm. Catch it!

Dance: 雲門舞集花語 Cloud Gate Whisper of Flowers

2010-08-13T19:55:00.004-04:00

Dance: 雲門舞集花語 Cloud Gate Whisper of Flowers

August 4, CCGT
雲門舞集花語

lcsd 網頁，官方網頁

關於這舞的背景，除了上面兩個官方網站外，網上有些值得看的資料，我不用多寫。先請看排練的情況（還有這個和這個 Blog)。至於這舞的評論，奇怪地卻不是很多，可看看這一個較有詳細描述的 Blog.

我一向認定，大部分表演藝術，原創者用越多的文字去形容他的構思和靈感的泉源，就是越牽強，甚至於造作的。其實很多的文字都是後話，源於創作之後。

這舞說的是一種傷逝或壞死吧，但下半場的蛻變來得未免突然了點。上半場花中的歡愉，雖然有飃來的頭髮前來警示，仍是單純的，全體舞者青春自然，刹是好看。下半場就那麽搖身一變，複雜了，花也全沒有了，舞者或在浮游，或在掙扎，在有自戀之嫌的大鏡裏自憐。這裡我要挑明，我不是一般的臺灣人，對林懷民-雲門沒有特殊的感情，但看過一些。一向對他的編舞有保留，最不喜歡的是那種強說原始強說生命力的東西（如九歌），最喜歡的是單純的表達，如書法系列（裏面也最多舞者的創作和奉獻）。

Concert Review: SZSO-Ehwald-Laloum

2010-07-25T20:23:00.003-04:00

Concert Review: SZSO-Ehwald-Laloum

July 23, 2010, 深圳大劇院
深圳交響樂團-Christian Ehwald-Adam laloum
Brahms-Tchaikovsky

是日並沒暴雨，也沒大塞車，但觀衆仍然慢條斯理地遲到，令人厭煩。上半場是 Brahms 鋼琴協奏曲第二號，到了尾樂章時仍有人入席。

Adam Laloum 駝著背，看來弱不禁風，真的有點像 Francois-Frederic Guy。他 2009 年獲得 Clara Haskil 國際鋼琴大赛第一名(也看看這個 Blog)，技術故然不差，但論力度卻不在強手之列。第一樂章大家比較謹慎。聼得出 Laloum 細膩之處，但 Brahms 的激情就差了點。樂隊也只是不過不失，缺點流暢。第二樂章開始漸入佳境，有點火花；第三樂章的大提琴獨奏異常吸引 (代理首席吳臻，留意他很久了，是一個很好的樂手)。整體上，是一個好演繹，但欠缺了生動的舞曲感，沒臻先前 Brahms 的最高水準，也再一次印證鋼琴協奏曲第二號是難度特高的曲子，對獨奏和樂隊都是最高的挑戰。Encore 是 Brahms 的 Intermezzo Op 117 之一，彈的很慢，但很有味道。這個鋼琴家值得留意。

下半場本是 Brahms 第二號交響曲，調到上星期了，取代的是 Tchaikovsky 第五號交響曲。我問了團長，原來這一切的調動都是因爲應付 30 號在上海慶世博的音樂會。果然嚴陣以待之下，表現就是不一樣, 精確得來更是流暢，感情表達奔放但不濫情，難得一聼，尤勝港樂同曲幾次味如嚼蠟的演繹，這令我對 Ehwald 演奏俄國音樂刮目相看。

Concert Review: SZSO-Ehwald

2010-07-18T20:33:00.003-04:00

Concert Review: SZSO-Ehwald-Drost

July 16, 2010, 深圳大劇院
深圳交響樂團-Christian Ehwald-David Drost
Prokofiev-Brahms

是日颱風效應，深圳大塞車，快八點入場時，場内空空如也。團長陳川松出來説遲十分鐘開場，大家包涵。

上半場開始了，觀衆還是不停地陸續入場。Prokofiev Symphony Concerto for Cello and Orchestra 是首很長的曲子，居然到了第二樂章尾那些門還是在開開關關，非常擾人。無論什麽原因，叫準時的人去將就不準時的人，是不對的，也不公平。

David Drost 是新秀，把一把新琴拉得很好，只是低音稍嫌薄弱。兩個德國人的演出很是工整，節奏上可以更鮮明些。這曲子比有些交響曲還長，變化多，不容易處理，能聽到就很滿足了。

下半場由原本的 Prokofiev Symphony No. 5 改爲 Brahms Symphony No. 2。 Ehwald 的演繹雄風斗斗，一氣呵成，可惜的是這晚木管和銅管稍微失色，銅管首席更是不穩定，令音樂婉轉之處未能達意。整體沒有以前 No. 3 和 No.4 出色。

話劇：金鎖記

2010-07-15T23:46:00.004-04:00

話劇：金鎖記

July 10, 元朗劇院
焦媛實驗劇團:
主演: 焦媛, 尹子維
編劇: 王安憶
導演: 許鞍華

詳細資料

張愛玲我肯定喜歡，但不能說我是張迷。去看戯前把金鎖記看了一遍，可能因爲題材的關係，沒有特別的共鳴。

元朗不是上環
這次重演地點之一居然是元朗劇院，不去看也説不過去。元朗劇院其實是個一流的場地，比上環更好，可那觀衆就不一樣了。西鐡並沒有把更多的觀衆帶到元朗，卻把最劣的觀衆帶進了劇場。

賣座並不理想，報載："...焦媛、高志森及李潤祺...(七月四日)去到元朗派發宣傳單張，宣傳今個月在元朗劇院演藝廳上演的舞臺劇《金鎖記》。雖然昨日氣溫高達攝氏三十度，但焦媛依然向大小巿民包括菲傭派發單張，務求為舞臺劇進行最後的宣傳..."

是晚只有幾成的入座率。人的多少不是問題，坐上也不乏專程去捧場的時尚青年男女，可是只需要幾個本土的大叔大嬸就能讓本土味徹底地掩蓋品味。一兩個脫了鞋，翹起腳的摒在視線外就可以了，可是耳朵哪？只能無奈地聽著各式的電話鈴聲四起, ”...喂喂，我係道睇緊戯呀！...“

此戯初演在國内巡迴時很是轟動，很多媒介都詳細報道過，也不乏見解 (文匯報，中國網，新浪網，南方周末 )。我這裡就不多說，只談一些感覺：

編劇我覺得王安億可以，挺忠於原著，刪去兒子的角色也沒問題。

導演除了一兩部早期的電影外，我從來都覺得許鞍華永遠都差了那一點點，更常是“差之毫釐，謬之千里”，像工匠多於藝術家。許鞍華在場刊裏說: "...金鎖記其實特別慘烈，惡毒，我希望盡量弄得有生氣些，若太低沉，悲哀，觀衆會看不下去。所以，這次處理上相對活潑，也有點喜劇色彩..."。對我來說，這就是問題。其實我看這小説，覺得曹七巧是潑辣不討好，但所謂 “角色太沉重 “ 我怕只是導演性格上的包袱，多説好少說壞的壞習慣。既是如此，何必偏偏要導這一個故事呢？焦媛這“風格化”的演出，替觀衆卸下的不只是沉重，更多的是原氣，難怪那些年輕觀衆沒任何承擔地笑個不停。不得不問，這是張愛玲嗎？再問，他們知道張愛玲是誰嗎？

演員焦媛是天生的好演員，“風格化” 的問題不在她。她全情投入，臺詞字字珠璣，擲地有聲，更有唱戲般的節奏感，實屬難得。尹子維就不行了。我覺得姜季澤這角色，雖是敗家子，卻仍是大家出來的人。尹子維熊非但沒那氣質，就差那麽一點就變得有點猥瑣了(這裏面也有導演的問題)。我在想，這角色要是由杜汶澤演就好了。其他的演員都很稱職。

佈景簡約，大致到位，只缺點靈氣。燈光沒有什麽特別，不過不失。兩者可能也沒什麽發揮的空間。

附：一個有關焦媛的 Blog

Concert Review: Sinfonietta-Schmid-Zuckermann

2010-07-10T21:22:00.005-04:00

Concert Review: Sinfonietta-Schmid-Zuckermann

July 10, 2010, CH
Hong Kong Sinfonietta - Benjamin Schmid - Ariel Zuckermann
Rossini - Beethoven - Shostakovich

I attended the concert for two reasons: to hear the always stimulating Benjamin Schmid, and to check out the conductor Ariel Zuckemann. The latter is assistant to Ivan Fischer at the wondrous Budapest Festival Orchestra, a not insignificant post. I was rewarded on both counts, it being the best Sinfonietta concert I have attended.

The opening of Rossini's William Tell overture set the mark for the wonderful evening. I don't know why Laurent Perrin is now only assistant to principal cellist 張培節, but musically it mattered little as the duo, as well as their colleagues, played rapturously in the finely spun part-writing for lower strings. Congratulations for delivering the most poetic and atmospheric orchestral lower string passage I have ever heard. Better still, the conductor molded the long overture carefully, maintained coherence and injected much color and excitement. Despite the familiarity of the theme, this sprawling overture to the sprawling opera is actually not easy to bring off. Here, one must commend the wonderful winds of the Sinfonietta.

Benjamin Schmid delivered a patrician reading of Beethoven's Violin Concerto, with able support from the orchestra and conductor. As in the second-half of the recital 2 days ago, his tone was beautiful and ample, and he played with fluidity and ease. The whole was immensely satisfying.

The cogent reading of Shostakovich's Symphony No. 9 must be counted a miracle. The all-important opening was brilliantly delivered (as few on recordings). The strings were well-articulated, yet expressive, macabre and nonchalant by turns. The winds and brass punctuated the proceedings with controlled yet spirited outbursts. The reading had an easy flow, and the hairpin dynamics sounded utterly natural under the able conductor's hands, no mean feat. If the reading did not erase memory of the 2006 VPO/Gergiev performance, which brought out more tragedy, it was a completely valid performance able to stand on its own, illustrative of the central enigma and superior in conception to many a recorded performance. Even if the energy ebbed slightly towards the end, it was still a valedictory reading to put alongside this year's Shostakovich bounty (HKPO's No. 11 and SZSO's No. 15). Congratulations are in order.

A word on the excellent Sinfonietta Musicians. It should be kept in mind the strings were small (maximum 10, 10, 8, 6, 4 for this concert) but sweet and steady. The concertmaster designate James Cuddeford was outstanding in his leadership. In the other sections it's really too bad the roster had to change so often, and I miss some of the previous players and principals. But as a whole I have to say, judged by this concert, the wind section, exposed by the small string section, are the best ever. Not only were the principals steady, so were their seconds. Even more importantly, they cohered into a whole that was more than the sum of the parts, something the HKPO winds have yet to do. The brass too were very steady. A great job!

The big question is, with this orchestra, how long can that be maintained? I wish at least until Zuckermann's returns (hopefully soon)!

Concert Review: Benjamin Schmid-Dejan Lazic

2010-07-08T23:16:00.003-04:00

Concert Review: Benjamin Schmid-Dejan Lazic

July 8, 2010, CH
Mozart-Beethoven-Bridge-Gershwin

Benjamin Schmid is certainly not a household name, but I have always liked him. On records he always comes across as thoughtful and challenging, in material as diverse as Bach, Brahms and Ysaye (many are available in the library). I heard him live with the Sinfonietta in the Brahms concerto in 2006, and I append below my brief notes written at that time. Here is an excellent Interview of Schmid.

Dejan Lazic is also no stranger to HK. However, his previous appearance with the HKPO, Rachmaninov Variations on a Theme of Paganini in 2007 had left me stone cold, and I also append my notes then below.

I have mixed feelings about the first half. Given that Schmid won both the Mozart and Beethoven prize in the Carl Flesch competition, I was puzzled by the readings, which lacked refinement. Sitting 7th row near-center, Schmid's coruscating (but not infallible) technique was very much evident, indeed often too much in-your-face. Especially in Beethoven's Op 30/2, his slashing attacks, deliberate coarse, often had me jumped out of my seat. Now, here I'd like to say that I have always preferred my Beethoven on the move and think of a little coarseness part and parcel of the music. But here together with rhythmic over-emphasis the effect was just too unrelenting. Schmid brought out many details but his dynamics were often exaggerated, even idiosyncratic. Complicating the picture was the somewhat reined-in piano. Lazic played well and ensured texture was always clear. But for me, these are Sonatas for Piano and Violin (piano labeled first), and the piano needs to come out more. Schmid has ample volume and could have withstood a stronger challenge from the piano, more pedaling. An example for me was the andante of Mozart's K376, where the violin melody, beautiful as it is, is simple and repetitious, and a more forthrightly singing piano would have been welcome. But the pairing of the sonatas had its illuminating side: it was interesting to compare the two rondo finales, not as different in these hands as it may seem! All in all, challenging music making, and not a boring moment, but I wished for more relaxation.

The second-half, in contrast, was as flawless a recital as it could be. I very much enjoyed the pair's big-boned and fluid rendition of Bridge's Sonata (1904). Here was everything lacking in the first half. Refinement, beautiful tone, passion. It was more enjoyable than the usual rendition of a Brahms sonata, which often puts me to sleep in lesser hands. Three wonderfully idiomatic Gershwin-Heifetz transcriptions rounded out the perfect half. Another Gershwin was the only encore. I must say in the Gershwin I fancied I heard the characters singing - these were renditions worthy of putting alongside Heifetz.

I eagerly look forward to Schmid's Beethoven concerto with the Sinfonietta on Saturday.

Appendix

06/12/2006 HK Sinfonietta/Beethoven/Brahms/Schmid/Yip CH

"...The second-half Brahms concerto was tightly argued. Benjamin Schmid delivered a rather refined reading. Our opinions were rather divided. His tone was interesting, penetrating and forceful in the upper registers, but to me at times quite coarse and sucked-out in the middle. The orchestra accompanied competently, and the audience was enthusiastic..."

06/04/2007 HKPO/Rachmaninov/Sibelius/Lazic/Atherton CCCH

"...This is probably one of the worst recent concerts of the HKPO...In between came Rachmaninov's Variations on a Theme by Paganini. Dejan Lazic had made a name for himself for being unpredictable. This time he was pretty bad. He sounded weak, emphasized the rhythmic but was superficial, almost devoid of tonal shadings. The orchestra played well though. The Scarlatti encore though was quite beautifully played..."

CD Recommendations (4): HMV Sale - Australian Eloquence

2010-07-06T23:04:00.007-04:00

CD Recommendations (4):
HMV Sale - Australian Eloquence

HMV Hong Kong is having a sale on Australian Eloquence, at prices that are cheaper than down Oz. In recent years, Australian Eloquence has done great service to the classical world by re-issuing for the first time many deserved recordings.

The entire catalogue is difficult to find. Here is Buywell's 2009 Catalogue of Australian Eloquence in pdf form.

For me, among the choice items:

-Ernst Ansermet. This prolific Decca "house" recording artist recorded a lot more than what was internationally issued by Universal. Australian Eloquence has rectified this by issuing previously unavailable Brahms, Prokofiev, Schumann etc. For me, there is not one unworthy. Click below for 2 excellent overviews of this conductor:

Overview 1
Overview 2

-Arthur Grumiaux. Another artist who has recorded a lot more than issued so far on CD (except for a previous Japanese edition). Among Australian Eloquence's offerings are wonderful recordings of baroque music etc.

-Ruggiero Ricci. Previously you have to find many of his best recordings (always a firebrand) on Taiwanese Decca. Now they are conveniently bundled. Some items, like Bach and Hindemeth, are new to CD.

-Other good recordings by Paul Kletzi and Walter Weller.

Two exoticas that are highly regarded in HiFi are Witches' Brew and Royal Ballet Gala (pictured above), but these 2 items may be out now, as I failed to get extra ones for friends.

Film Music: Wim Wenders

2010-07-03T21:11:00.002-04:00

Film Music: Wim Wenders

Click here.

Concert Review: Piotr Anderszewski

2010-06-29T22:07:00.005-04:00

Concert Review: Piotr Anderszewski

June 27, 2010, CH
Piotr Anderszewski recital 彼得.安德塞斯基
Bach-Schumann-Szymanowski-Beethoven

Hard on the heels of Zimerman came his compatriot Piotr Anderszewski, another serious Polish pianist who has garnered accolades everywhere.

Although Anderszewski is not as well known in HK, and ticket prices were a lot cheaper than Zimerman's, many in the know regard him as a pianist's pianist. The recital took place Sunday evening and the hall was mostly full, in an austere program typical of the pianist.

The pianist is an interesting fellow. Make sure you visit his Official website. His hero is Richter and make sure you read that link. Indeed Bruno Monsaigeon, who made a film on Richter, thought highly enough of him to have made one on Anderszewski too. The website also contains many concert reviews, where you shall find many of the same pieces played at this concert. I shall cite just two:

Carnegie Hall concert 2008 (Beethoven Op110)
London 2005 (Szymanowski Metopes)

Anderszewski took a while to settle into Bach's English Suite No. 5. Although the voicing was perfect and one could hear every strand, I missed a certain joie de vivre that others, say, Perahia, can convey. This music should dance more. Then came Schumann's Six Etudes in Canonic Form, where the pianist came to his elements, finding plenty of poetry and color even in the austerity. This rare work is a curiosity, written for the pedal piano (read more in this link) (apparently, a piano fitted with extra pedal keys like organ, to be played with the feet). I have no idea how it is adapted/transcribed to be played with just 2 hands. I found it of grave beauty, deserving to be heard more often.

The second half began with Szymanowski's Metopes. This atmospheric score by the Polish composer is one of his calling cards and needless to say it was wonderful. With this pianist, every strand is in place, and even the more lurid and perfumed episodes sounded colorful but not vulgar, more impressionistic than sensual.

Beethoven's Sonata No. 31, Op 110 received an immaculate reading. With superb composure, voicing was lucid and much detail was revealed over its span. However, I missed a sense of struggle and would have preferred more pointing in some of Beethoven's more jagged, even jazz-like, rhythms. This interpretation revealed more the ethereal elements and repose.

The first encore, Bartok's Three Hungarian Folksongs, was spectacularly energized and singing, with all the dance elements and rhythmic pointing I did not find in the concert elsewhere (let's not forget the pianist has a Hungarian parent). The second was an atmospheric piece, perhaps something from Masques?

Comparison with his compatriot Zimerman is inevitable. Anderszewski sometimes reminds me of the senior pianist for his superb concentration, tendency towards austerity and a fastidious, near-perfect balance of voices. Comparison of the two pianist was quite fascinating and not at all always to the senior pianist's flavor.

Who is Kornel Zempleni?
I have to confess that when he played the first encore, I knew I had heard it before, and not only once, but could not place it. It was when searching some of the other reviews that I found the piece. What a lovely piece that one would never guess it is from Bartok. While researching I came across this mesmerizing youtube:

Kornel Zempleni plays Bartok Three Hungarian Folksongs

I was mesmerized by Zempleni's ethereal reading, which is completely different from Anderszewski's more unexpectedly earthy account. Aside from some youtube fragments, I found little info on that pianist:

Kornel Zempleni

I shall be on the lookout for his recordings on Hungaroton. If you have more info on him, let me know.

Concert Review: HKPO-Wang Yujia-Tang Muhai

2010-06-27T00:01:00.008-04:00

Concert Review: HKPO-Wang Yuja-Tang Muhai

June 26, 2010, CCCH 香港文化中心
香港管弦樂團-湯沐海-王羽佳
Prokofiev - Rimsky-Korsakov

I was unfortunately out-of-town for Wang Yuja's last recital. My friend's words of mouth became my envy. Finally I was able to catch up with this young talent, who had seemingly come out of nowhere to shake the piano world, and she largely did not disappoint.

The Prokofiev Piano Concerto No. 3 deploys a huge orchestra and is a definite challenge for any soloist. Conductor Tang Muhai made no concession to his soloist with a blazing accompaniment. Rather than fighting against the orchestra, as a lesser soloist is wont to do, Wang Yuja was an equal partner. Her phenomenal storming ability in the percussive passages and unusually strong bass ensured that she could be heard in tutti. Even more satisfying was the sense of partnership; soloist and orchestra showed interplay, as well as integration in the many concertante moments. A mature fluidity belied her age. If there is anything that I had reservation about, it is that in the notes beneath the mezzo level her piano tone was curiously not as strong and full-bodied, even vacuous. This made her indistinctive in the softer passages. Here her sforzando's were also not pointed enough. Indeed, despite her percussive prowess, her Prokofiev was remarkably smooth, perhaps a bit too much so for me. The first encore happened to be one of Stravinsky's Three Movements from Petroushka, her CD of which we had played earlier in the afternoon at a friend's house. Her performance was much like the recording, and I agree with Andrew Clement's review in the Guardian, that it was "...lightweight and never remotely dramatic...". The second encore, Chopin, on the other hand, was quite beautiful, if just a little too manicured and short of haunting.

The conductor deserves great credit for the coherence of the concerto. Tang Muhai had a thorough grasp of the Prokofiev style. His rhythmic exactitude, precise dynamic gradation and fastidious balance of voices similarly brought forth an uncommonly involving Prokofiev Symphony No. 1. The "Haydnesque" elements were very much in evidence. There were slashing accents, a singing line and bouts of high drama, indeed sturm und drang.

The conductor's virtues were also very much in evidence in Rimsky-Korsakov's Scherherazade. He brought out much precision and fine details, and the orchestra played with great virtuosity. Yet I agree with an acquaintance that a little something was lacking. He said the four sections of the score seemed rather unrelated and an overall coherence was lacking. I personally would not dwell on that but did think a little more 陰 to balance out the 陽 would be beneficial. I also think rhythmically the percussive and stormy passages were too four-square, and despite the power too careful by half. I would prefer a little more abandon even at the cost of a little precision. But then this is a rather common failing of the HKPO (and EdW). John Harding was an interesting soloist but his portrait of the protagonist was not necessarily feminine. All in all, a very fine concert.

The HKPO played very well. The horns and brass were splendid. Andrew Simon has been away but for this and the last concert I greatly enjoyed (I always do) the tasteful clarinet playing of John Schertle. This was also one of the very few times that I liked the playing of oboist Michael Wilson (in the Scheherazade).

Hong Kong Philharmonic Orchestra

Concert Review: Krystian Zimerman

2010-06-26T21:26:00.008-04:00

Concert Review: Krystian Zimerman 齊墨曼

June 22, 2010, CCCH 香港文化中心
Krystian Zimerman Recital 齊墨曼
All Chopin

I am going to be brief here. Going to a Krystian Zimerman concert is like going to a Pollini concert. You know exactly what you are going to get and you have accepted the terms long before the first note. That said, Zimerman's return visit after 4 years left me a little cold. A feeling of deja-vu led me to dig out my notes on his 2006 concert and not surprisingly I found my feelings duplicated.

The piano sound itself, one of the best reasons to hear this pianist, seemed to me not quite as chiseled as in the 2006 concert. I remember his pristine tone on that occasion quite well. The change may possibly be related to: (1) the pianist; (2) my seat, a little different from last time, but still a good one; (3) the humidity; and (4) Zimerman's positioning of his piano, unusually deep into the stage. The program mentions Zimerman's interest in "...hall acoustics, the latest sound technology and instrument construction..." I am sure he tinkers with the position of his piano on stage.

This being the Chopin year, Zimerman naturally played nothing else. For those who had attended the 2006 concert (my notes below) this unfortunately involved duplication of the Sonata in B minor, the largo of which felt just the same. The same can be said of the funeral march of the Sonata in B flat minor, of grave beauty. As before, I liked his slow playing better. As a whole, for my taste, the most coherent piece was the Scherzo No. 2. The opening Nocturne in F sharp Op 15/2 was rather mild to me. The concluding Barcarolle just a shade detached, despite its myriad beauties and rare evocation of water. I was not bothered by the absence of encores.

Friend and fellow concertgoer cfh mentioned the same program were played on his world tour. Here are some reviews of his London "Birthday Concert" and more:

The Guardian
MusicalCriticism.com
Daily Telegraph 1
Daily Telegraph 2
A Blog

Hamburg Concert

Would I go hear Zimerman again? Yes, I would (I have stopped going to Pollini concerts).

Appendix

My Review of Zimmerman's 2006 concert

02/07/2006, CCCH
Mozart K330; Ravel Valses nobles et sentimentales; Gershwin 3 Preludes; Chopin Mazurkas, Op. 24, Sonata in B Minor
lcsd 2006 press release (I am sure "early July" for the concert is wrong)

"...Vincent Mak gave a review in the SCMP, which I mostly agree with. A few notes:

He is a known entity, a man who had very carefully built up a relatively narrow repertoire, who knows exactly what he wants at every moment. This is a musician who demands we hear him on his terms, a musician not for the literal-minded (none of those generic “the notes speak for themselves” remark). I think I’ve listened to most of his DG recordings and have liked most of them. But they also tell of an almost dangerous fastidiousness. The Chopin concerti were touted for their scholarship, and much was made of his endless study and preparation for them. Yet something was missing in them for me. That, however, did not prepare me for the stunningly affected Brahms with Rattle.

Given his fastidious weighing of notes, many slow and soft, I personally think the location of the seat is very important. I was lucky with my last minute seat, facing him directly on the balcony. The sound of his own piano outstanding though a bit soft and truncated in the bass. Overall I found him more captivating in slow music than fast.

The Mozart was affected. The outer movements did not quite move along and neither did I find his playing as clean as I imagined his should be. I did like the slow movement. I almost always like him in slow movements. He has this neither truly classical, nor romantic, certainly not sentimental quality. Gymnopedie- or Gnossienne-like?

The Ravel was nice but my more critical friend said it was missing some “haze”!

I did not quite take to the Chopin in general, as I did to Pogorelich’s many years ago. But I did find breathtaking the largo of the sonata, played with the qualities noted in the Mozart. To me it was almost like piety and felt like a prayer..."

Concert Review: HKPO-Suzuki-Kelemen

2010-06-21T22:06:00.004-04:00

Concert Review: HKPO-Suzuki-Kelemen

June 18, 201o, CH
Hong Kong Philharmonic - Masaaki Suzuki - Barnabas Kelemen
Haydn-Mozart-Mendelssohn

Masaaki Suzuki is well known for his work in the baroque repertoire, especially for Bach. He is near completion in his recordings of Bach's choral works. It is a surprise to find him here conducting Mendelssohn, but then nearly all conductors of period instrument bands ultimately gravitate to later and romantic repertoire. Norrington even dabbled in Bruckner!

For the entire concert Suzuki employed reduced strings, 11, 10, 8, 6, 4, huddled close together for critical mass. Vibrato was perhaps attenuated but certainly not completely absent, and I'd guess by the bright sonority tuning was as usual.

Haydn Symphony 44 "Trauer" received a stylish treatment. The so-called "mourning" aspect was not emphasized, yet this did not mean the interpretation lacked gravitas. I liked the long lines and sensitive phrasing which subtly illuminated the finer sentiments. This was countered by bouts of fury and drama, completing the picture of Sturm und Drang. Overall, this was dramatic Haydn, well played, but less spontaneous than last year's Haydn under McGegan.

Mozart's Violin Concerto No. 3 fared a little less well. Even if the results were uneven I appreciated soloist Barnabas Kelemen's effort at pointing his phrases. Distinctiveness sometimes is just a hair removed from idiosyncrasy. He grimaced very often, as if playing to kids, and no doubt many in the audience found it annoying. The orchestral contribution was average, the whole lacking somewhat in fluency.

Mendelssohn comprised the second half. The rarely heard Fair Musulina fared better, beautifully executed and atmospheric. The Italian Symphony was meticulously worked out, full of details, long on vigor and drama but short of a mellifluous quality, which this symphony, of all pieces, should have in abundance. Here, I'd certainly prefer a larger string body. The reduced strings often imparted a degree of grittiness to the proceedings. Although the winds were thus heard to better advantage, here they failed to capitalize. The clarinets were the best and oboes the weakest. As a whole the interplay of winds and strings so vital in this symphony lacked rhythmic resiliency and felt earthbound.

Concert Review: SZO-Shostakovich -張國勇

2010-06-15T20:25:00.011-04:00

Concert Review: SZSO-Shostakovich -張國勇

June 12, 2010, 深圳大劇院音樂廳
深圳交響樂團 - 張國勇 - 賈然
Saint Saens-Shostakovich

六四 HKPO-Lazarev 激昂的音樂會還在腦中回蕩，沒幾天後卻是深圳交響樂團的蕭氏第十五號。我本想難免會有點“反高潮“的感覺，但事實證明剛好相反, 我的憂慮是多餘的。

我去聼的原因之一當然是因爲曲目吸引，但更大的是我想聼張國勇的表現。我在 2007 年聼了他伴奏的音樂會後（見下面的附錄），就覺得他是個非凡的指揮。這天，看了場刊裏張國勇的資料後，就有了期待。不單因爲他在俄羅斯受過教育，對蕭氏肯定有深刻的了解，更因爲他原來是 Rozhdestvensky 的學生！Rozhdestvensky 從蘇俄時代到現在都是俄國音樂圈裏擧足輕重的人物，對蕭氏的了解更是第一手而非一般的。老師對學生的評價極高：“...I am awarding Zhang Guoyong the highest mark in the history of the conducting department in the Moscow Conservatory. He can most assuredly take his place in any orchestra throughout the world!...”

第十五號是蕭氏最後一首交響曲，寫的時候蕭氏是知道自己快死了。曲子的風格奇特，可説是蕭氏在他生命中又一次的“反高潮“。曲子肯定是言之有物，但隱晦中説的到底是什麽就備受爭議。我們先看國立臺灣交響樂團對此曲的描述：

"...《A大調第十五號交響曲，Op.141》寫於1971年蕭斯塔可維奇健康日益惡化之時。第一樂章帶著些許孩童的天真氣息，另外也嘲諷成人在共產體制下被矮化成傀儡；曲中所引用羅西尼《威廉泰爾序曲》的片段，則暗示著召喚革命的浪漫理想，而玩具化的配器也有意突顯俄羅斯中央監獄的對面竟然是中央玩具店。第2 樂章的長號主題係取自一首囚犯歌曲，整個樂章的基調則為嘲弄與憤怒。第3樂章挖苦與諷刺的調子亦十分明顯。第四樂章引用華格納《指環》裡的命運動機、《齊格飛》葬禮音樂的反覆節奏和《崔斯坦與伊索德》的開頭音符，以及蕭氏自己《第七號交響曲》裡的進行曲，最後則迂迴到嘎嘎響的死亡骸骨。基本上，此曲可謂蕭斯塔可維奇向現實、過去的影子和音樂美麗世界的告別之作。指揮大師蕭提1997年3月所錄下的版本，係他跟芝加哥交響樂團的最後錄音，整體演出室內樂般透明紋理和合奏完成度，節奏活潑，表情洋溢華格納式神祕。結尾打擊樂器的聲音漸去漸遠，大師也彷彿就此消失於人間，很虛無，卻令行家熱烈感動。..."

張國勇向觀衆對此曲做出了幾乎 10 分鐘的講解，重覆強調：（1）藝術家在暴政下表面的妥協和骨子裏的反抗；（2）快死的蕭氏覺得自己一輩子都在不安和憂傷下過日子，但不能死的時候都是這樣, 故此採取了抽離的風格。張國勇的解説平實自然，像對話一樣；希望多些指揮可以這樣做。

今年深交的音樂會有異往年的是回歸了大劇院。大劇院的設計酷似我們的大會堂，音效也是粒粒皆清楚，唯一的遺憾是小了點，臺上顯得擁擠, 而強聲時不免有點超載的感覺。

張國勇指揮的風格跟他的講解一樣樸實，可說是毫不起眼，但在他的指揮下樂隊的表現近乎完美，無論在深度或技術層面上都超越了樂團去年的第十號。先前用來形容蕭氏第十一號/Lazarev 的文字，只用改一點點同樣可用在這裡：

“蕭氏很多作品，包括第十五號，演繹最難的是對連貫性的要求。各種的微弱聲音滿佈此曲，平庸點的演繹會令人在刺激過後容易產生乏味的感覺。在這些地方張國勇沒少費周章，在一個緊接一個隊員或聲部身上張羅到豐富的色彩，描繪了萬生態的哀樂，扣人心弦。“

在這曲子的表現上，深交的木管及敲擊樂的出色程度甚至超越了上一場的港樂。各種的敲擊片斷演出了時鐘的踢踏，敲響的警鐘，心悸後的恐懼，在不規則裏對平安的緬懷。越聼下去越覺得時光漸在流逝，心頭更浮出不安及唏噓交錯的感覺。那是先前在臺北聼同一曲目 (Michael Sanderling 指揮臺北市立交響樂團) 時沒有感受到的。

在我的心靈上，兩場的蕭氏是分不開的聯體，第十五號明顯地延續了第十一號的意義，共同替我帶來了對蕭氏更深的認知，也是我聼過最令我感動的蕭氏。心裏面有感恩的感覺：活著的人怎能忘記無辜地死去的人？也覺得安慰：在這浮華的年代，有心人還是有的；在這廖化當先鋒，肉麻地叫大師前大師後的年代，非凡的指揮和音樂家，也就是默默耕耘的有心人，還是有的。

上半場是 Saint Saens。 Danse Macabre 後演出了第二號鋼琴協奏曲。鋼琴新秀賈然的技術非常扎實，伴奏也到位。整體來説，這法國音樂缺了一點輕鬆的感覺。你也可以在港樂來季聽到賈然。

坐在旁邊的是一位很漂亮大方的女士。我問她在替誰錄像，才知道她是俄羅斯大號首席 Anton 的妻子，也是一位鋼琴家。聊天時她也說張國勇是很棒的指揮。在香港張國勇通常會指揮中樂團或替歌唱家伴奏，希望未來他能有機會指揮點交響曲目。

附錄 1：廣州日报的訪問提及蕭氏及老師 Rozhdestvensky（全文）：

“...广州日报：在中国指挥界，你被公认是肖斯塔科维奇交响曲的最佳诠释者，能不能谈谈你的心得和体会？

　　张国勇：我偏爱肖斯塔科维奇，原因是我不仅喜欢他独特的音乐语言以及高超的作曲技巧，更重要的是，我很敬重他的人格，他是一位讲真话的音乐家。要更真切地感受一个作曲家及其作品，就一定要到他生活的环境、地域里去寻根。我在俄罗斯的学习生活经历对我指挥俄罗斯作曲家的作品帮助很大，而且我与一般较年轻的留学生不同的是，我在俄罗斯学习时年龄相对稍长，有一定的工作和实践经验，也有一定的文化经历。我就不只是纯粹地学习技术，而是在感悟文化，感悟人生，感悟历史。这可能也是我的演绎带给听众的比较特别的一点吧。

　　广州日报：您的恩师国际著名指挥大师罗日杰斯特文斯基也是一位演绎肖斯塔科维奇作品的权威，能跟我们谈一下他对您的影响吗？

　　张国勇：我的老师罗日杰斯特文斯基是一个充满睿智和文化的人。他和肖斯塔科维奇生活在同一个时代，也有很好的私交。我的老师对肖氏作品的理解是第一手的也是最真实的，很多肖斯塔科维奇的作品还是他首演。我认为，我的老师在对音乐结构的宏观把握方面做得尤为出色，非常有逻辑性和合理性。..."

附錄 2：24/03/2007 上海歌劇院交響樂團-陽光-張國勇（我寫於 2007）

"...The hall was packed with an enthusiastic audience (frequently the case with mainland artists). I was really surprised when the orchestra came out, so young!...The real surprise is the orchestra。 They played with concentration and verve under Zhang Guoyong, who conducted with concision and incisiveness. The opening Rossini Barber overture was dramatic. The strings were excellent and had big, dramatic, penetrating power. Most surprising was the lack of “Chinese sound” and the orchestra’s grasp of all the musical styles. Even the Mozart pieces were delivered with élan (that cannot even be said of the HKPO); the beautiful clarinet playing of ?Li Cong almost took my concentration completely away from Yang Guang. The winds were in general very good, except for the sound of the oboe (instrument?). The brass was surprisingly secure and warm. I think this is already a better orchestra than the Sinfonietta and the Macau. And it played the various styles in a more versatile way than the HKPO. For an orchestra so young it is an amazing accomplishment. I look forward to hearing them again. .."

Shenzhen Symphony Orchestra

Concert Review: HKPO-Shostakovich -Lazarev

2010-06-13T20:42:00.013-04:00

Concert Review: HKPO-Shostakovich-Lazarev 音樂的祭拜

June 4, 2010, CCCH
HKPO-Alexander Lazarev
Mozart-Shostakovich

作爲一個中國人，六四不單是一個畢生難忘的日子，更是一個揮之不去的符號加問號。這一天，連政治冷感的大衆都會想起歷史。當天，我選擇了去聼音樂會。要知道原因的話，看看國立臺灣交響樂團對此曲的描述就知道了：

"...標題《1905年》的《G小調第十一號交響曲，Op.103》首演於1957年，內容描寫一樁重大歷史事件：1905年俄羅斯東正教教士加朋錯估沙皇尼古拉二世的仁慈，率眾赴皇宮請願，沒想到沙皇全家避居冬宮別墅，警察及哥薩克騎兵向群眾開火，廣場血流成河，埋下俄國大革命的火種。全曲四個樂章均附標題：（一）宮殿廣場（二）元月9日（三）永恆追憶（四）警報，有學者認為其精神內涵似乎隱喻譴責蘇聯當時入侵匈牙利的不當。無論如何，此曲動態巨大，配器多彩多姿，是一首備受音響發燒友喜愛的里程碑格局曲目。..."

蕭氏從來都是港樂的強項。在這之前，港樂有三次超凡的蕭氏演繹：幾年前 Jaap Van Zweden 指揮的第八號那霹靂感至今仍然在耳（可惜那時未建 Blog, 也沒留檔案；如你有資料，敬請告知）；還有 2008 年 Mark Elder 極具深度的第六號及 2009 年 Rozhdestventsky 的第十號。可是這一次更不一般。

在大嚎中也能聽到細細的哭泣
在 Alexander Lazarev 的指揮下，HKPO 蕭氏第十一號的演繹，絕對稱得上“ 鬼哭神嚎“。描述屠殺的時候，我及朋友們的眼淚滾滾而下。從來沒聼過港樂能夠那麽從容地放送源源不絕的力量。就算在音樂最歇斯底里的時候，每聲部仍然清晰；就這一環，水準已經超越了以前任何蕭氏和馬勒的演出。更可貴的是，在大嚎中也能聽到細細的哭泣。這不只是樂隊在音樂澎湃時的出色表現，也是指揮 Lazarev 對樂曲整體的理解和描述。聼這場音樂會赫然就是一個祭拜的經歷。

蕭氏很多作品，包括第十一號，演繹最難的是對連貫性的要求。各種的微弱聲音滿佈此曲，平庸點的演繹會令人在刺激過後容易產生乏味的感覺。在這些地方 Lazarev 沒少費周章，在一個緊接一個隊員或聲部身上張羅到豐富的色彩，描繪了萬生態的哀樂，扣人心弦。

令人遺憾的是，可能日子特別之故，當日上座率我想四成不到。更糟糕的是，最後一個音符還沒完全過去就有一位先生大叫 Bravo, 破壞了一個完美的音樂會。幸好之後 Bravo 之聲仍然不絕。

差點忘記了，上半場是 Mozart Clarinet Concerto。 Andrew Simon 的表演 (Basset horn) 缺點味道，樂隊雖不錯，整體沒有以前 McGegan 指揮那次的水準。

Alexander Lazarev
久違了的 Lazarev 是一個非凡的指揮。自我聼了他在 2005 年指揮港樂後，就非常仰慕他。那次全俄國作品，其實比這次難度更高。上半場 Rimsky-Korsakov 的 Russian Easter Overture 及Prokofiev 的 Violin Concerto 2 (Takezawa 拉) 對大家來説比較耳熟能詳；真正令人驚嘆的是下半場兩個冷門曲目。 Liadov 的 Nenie 色彩豐富多變；Borodin 的 Symphony No. 2 氣勢如虹。

友人聼了 RTHK 的訪問，說 Lazarev 很謙卑，強調“指揮”最重要的是跟樂隊的溝通。其謙卑從謝幕也可看到；他不停地用手勢把掌聲推向樂隊。

這才是個真正的“大師”，一個注重令音樂打動人心而不是令樂隊服從的音樂家！希望他不用我們再等五年，很快重臨香江。

P.S.
1. 有沒有留意到海報的詭(鬼)異色彩？
2. 在網上瀏覽的時候，看到一篇有同感的文章：香港管弦樂團政治不正確??

CD Recommendations (3)

2010-06-13T20:07:00.005-04:00

CD Recommendations (3)

Universal HK is having a "Masters of the Strings" promotion right now. Full-priced String albums are offered at mid-price.

Daniel Hope is a young violinist that I like very much, but he's obviously not a box-office draw. His new CD, Air - A Baroque Journey, is available at promotion price! Much of the music is unfamiliar, but it's worth your time to explore. Make sure you sample the tracks at the website link above.

I'm not a fan of Mullova, but I'm certainly one of Carmignola (previously on Sony) in the baroque repertoire. Their Vivaldi Double Violin Concerto CD is refreshing, one of the best Vivaldi CDs recently (aside from Carmignola's own solo CDs, also available in this promotion).

The Grimiaux-Haskil Mozart CD is a classic, but has been difficult to get, perhaps even out of print. It's now available again as part of the promotion. Of course, the cover is a little different. It says DECCA rather than Philips on the cover! Grab it while you can.

The promotion has all the familiar faces, but I'd urge you to explore new talents, like Nicola Benedetti, who not only has a beautiful face.

Pseudonyms on Obscure Labels

2010-06-01T20:00:00.004-04:00

Pseudonyms on Obscure Labels

This is an issue that has fascinated collectors forever. Long time LP collectors often come across obscure labels that were once sold by alternative methods, such as in department stores, supermarkets, or through subscription etc. For contractural and other reasons, the real name of the orchestras and conductors were often changed to almost funny names, caricatures with intent. Even larger "second-labels" such as Everest did this kind of thing.

These LPs were also notable for their covert "art". Many are so campy that they are great! I like the one pictured.

The ReDiscovery Label
While researching the violinist Janine Andrade I came across this small "label" that sells CD-R's at reasonable price (one man's work of love). It has put out a huge series of worthwhile perfromances (some of which I have) and identified the real musicians. That's a real service to collectors!

Here is the Discovery Catalogue (Musical Mysteries series). Please note the "thumbs up, thumbs down" icons contain reviews that offer much more information. Here's a review of the pictured Can Can in Stereo album. The orchestra were certainly not "The French Orchestra" and the conductor not "Suzanne Auber". The real performers were the Hamburg Radio Orchestra directed by Hans-Jurgen Walther.

Make sure you play the ReDiscovery Gallery (wonderful LP covers).

Concert Review: The MET Orchestra and Boulez

2010-05-21T11:05:00.003-04:00

Concert Review: The MET Orchestra and Boulez

May 16, 2010, Carnegie Hall
The MET Orchestra-Pierre Boulez-Deborah Polaski
Bartok-Schoenberg

In the opera house, the MET Orchestra under the long reign of Levine has always been an excellent orchestra. In non-opera repertoire they seem too to have maintained a small foothold and a high standard, though I have not been overly enamored of their recordings. This marked the first time I heard them outside the MET pit.

It was not surprising at all that the orchestra played with fine nuance and great attention to color and mood. One can say the musicians were almost vocal in their outpouring. However, despite the very fine playing I could not be as enthusiastic as the NYT review. Boulez, though frail, conducted just as he always did, with superb concentration over the considerable span of the Bartok Wooden Prince but, as one is unreasonably to expect from him, underplayed the score's more visceral and elemental aspects. I found the same to be true of Deborah Polaski in Schoenberg's Erwartung: she sang well but I felt she had not injected enough passion into the proceedings; lack of hysteria is a reservation in this of all pieces.

But I was glad for an oppoptunity to hear 2 pieces not commonly encountered in the concert hall.

Concert Review: NYPO-Masur

2010-05-14T12:23:00.003-04:00

Concert Review: NYPO-Masur May 12, 2010, Avery Fisher Hall NYPO-Kurt Masur Beethoven-Bruckner
Somehow I had not managed to catch Kurt Masur during his reign at the NYPO. Ever since I heard him live in a complete Beethoven cycle with the miraculous Leipzig Gewandhaus Orchestra at Carnegie Hall in the late 70's I have become one of his fans. The NYPO audience, post-Maazel and entering the Alan Gilbert era, gave him a great welcome even before the first down-beat.

The concert opened with Beethoven Symphony No.1. Coming right after Orpheus' performance of No. 2, the difference could not have been greater. Masur's superbly virile performance, with only slightly reduced strings, had a sonorous bass line and prominent balance of winds, reminiscent of the so-called "Central European" style. It revealed many more details and a sophisticated rhythmic sense infused the performance. The "Haydnesque" element was clearly heard. It goes without saying too that the brass and woodwinds far outstripped their Orpheus conterparts. This was a performance by a master who had lived with the piece all his life. Indeed Masur had recorded at least 2 complete cycles on Philips, both with his incomparable Leipzig orchestra. The first, scattered now on several pairs of Philips Duo, is IMHO one of the best ever, and even offers superior sonics to the remake. It is now also available conveniently in a multichannel SACD/CD set issued by the reliable Pentatone.

Of the magnificent Bruckner Symphony No. 7, little need to be said (finally). From the first bar, it completely outclassed a previous performance by the same orchestra conducted by Zubin Mehta. The same sophisticated rhythmic sense also pervaded the breathing performance; subtle rather than forceful, it gave passages, such as the scherzo, a "Schubertian" lilt entirely appropriate for the music. The perfect balance and chording of grand themes could only have come from decades of experience. Diverging a little into HiFi, I shall quote Robert Harley's conclusion on the dCS Puccini/U-Clock: "...simply presents more musical information to the listener without calling attention to the fact that it's presenting more information..." If you read the NYT review, it basically says the same. That is what separates a master from lesser "maestro's". The NYPO played magnificently for Masur. In case you wonder, Masur's also has a solid Bruckner cycle on RCA.

Concert Review: Stravinsky-Gergiev II

2010-05-09T08:56:00.006-04:00

Concert Review: Stravinsky-Gergiev II

The Russian Stravinsky: A Philharmonic Festival, Avery Fisher Hall
New York Philharmonic-Valery Gergiev, Conductor Chorus of the Mariinsky Theater-Andrei Petrenko, Principal Chorus Master

May 5, 2010 Symphony in C-Capriccio for Piano and Orchestra-Petrushka (1911)
I have increasingly become fond of Petrushka, and it's wonderful to have heard the complete score performed so magnificently. As previously, the orchestra played with high voltage and great flair under Gergiev.

No more need to be said except that the soloist Dennis Matsuev almost stole the limelight. This is one BIG-toned pianist, infallible, with a great rhythmic sense and swagger. Despite its jazz inflection, Cappricio can sound rather tame on records but this team brought it to life. I first took note of this pianist in his famous "Unknown Rachmaninov" CD, played on the composer's own piano, and available in the HKPL. It's worth searching for.

For more info, read the NYT review. For other concerts in the series, see Part I of my review.

It's too bad I could not get tickets for the last program in this series, as much for the Rite as for a chance to hear another star, pianist Alexei Volodin.

Concert Review: Orpheus with Ryu Goto

2010-05-06T14:10:00.004-04:00

Concert Review: Orpheus with Ryu Goto

May 4, 2010
Orpheus Chamber Orchestra Ryu Goto, Violin
Stravinsky-Bruch-Beethoven

I was quite happy to discover this under-publicized concert by the famed conductorless Orpheus Chamber Orchestra, sponsored by Korean Daiwo Bank. The hall was about 80% full, with many Asian faces that greeted Violinist Ryu Goto's entry with screaming passion fit for pop-stars.

Ryu Goto is familiar to HK concertgoers for his stunning rendition of Paganini No. 1 with the HK Sinfonietta, one of the most perfect concerti I have ever heard live (reviewed in this Blog previously). Although I was very eager to hear him in the Bruch Violin Concerto No. 1, I have to admit a certain disappointment created by overly high expectation. While he played beautifully, with an exquisite tone, I had one major reservation not mentioned in the NYT review. Volume. His tone was just a shade small for this large hall; bigger than Cho-Ang Lin's, but just enough, lacking the power of some other (maybe lesser) soloists. The perfect solo Paganini encore fared much better and brought back memory of his previous performance in HK. This points up one thing: Paganini is easier to project than many romantic pieces.

I have not been that impressed by Orpheus on record, and so I was surprised by the big sound Orpheus made in this romantic repertoire. The small string body played wonderfully. One did not much miss the big sweep in the Bruch, and gained insight into the part-writing. Again, the strings shone in the Beethoven Symphony No. 2, but I found the woodwinds and brass to be only good and not up to the standard of the strings. Their solo's were relatively bland and their blend was not sophisticated compared to their counterparts in the better orchestras. It follows that I found the opener, Stravinsky's wind and brass-dominated Octet tidy but without flair, which the music sorely needs.

Doctorjohn Classical Music and Arts Page

Concert Review: Vienna Symphony - Luisi - de la Salle

Concert Review: NYPO-Haitink

Concert Review: HKPO-Watkins-Wigglesworth

Happy New Year

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Concert Review: Hong Kong Philharmonic-Ning Feng-Andreas Delfs-HKPO

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CD Recommendation: Vocal

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Bach, Musica Antiqua Koln and Tadao Ando

Movie: Tree of Life

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Concert Review: Shenzhen SO - Fred Buttkewitz - Shostakovich

Concert Review: Shenzhen SO -Zhang Guoyong - Shostakovich

Concert Review: HKPO-Carolyn Kuan-Zhang Haochen

Concert Review: Jupiter String Quartet

Dance Review: NYC Ballet - Balanchine

Concert Review: St Matthew's Passion-Suzuki

Concert Review: MET-Ariadne auf Naxos

Instrumentation

Concert Review: New York Philharmonic-Gilbert

Concert Review: Chicago Symphony - Muti

Concert Review: Juilliard Orchestra - Alan Gilbert

Concert Review: St Petersburg PO/Temirkanov

Concert Review: Parker Quartet

Concert Review: Juilliard Orchestra - DePreist

Concert Review: Shenzhen Symphony Orchestra Mahler Symphony No.3 深圳交響樂團 馬勒 第三交響曲

Christian Ehwald Interview 专访指挥家爱华德

专访指挥家爱华德：让乐队成员学会彼此聆听

CD (DVD) Recommendations: Paavo Jarvi's Beethoven cycle

Concert Review: Yevgeny Sudbin recital

CDs from the Hong Kong Public Library: Listening Log (4)

Concert Review: HKPO-Yang Tianwa-楊天媧

Concert Review: Peter Frankl (Chopin Society)

Concert Review: Hong Kong Sinfonietta - Christopher Hogwood

Concert Review: Ning Feng 寧峰 Recital

Concert Review: Vienna Classical String Quartet

Concert Review: 張昊辰 Zhang haocheng Chopin

Concert Review: Asian Youth Orchestra 2010

Dance: 雲門舞集 花語 Cloud Gate Whisper of Flowers

Concert Review: SZSO-Ehwald-Laloum

Concert Review: SZSO-Ehwald

話劇：金鎖記

Concert Review: Sinfonietta-Schmid-Zuckermann

Concert Review: Benjamin Schmid-Dejan Lazic

CD Recommendations (4): HMV Sale - Australian Eloquence

Film Music: Wim Wenders

Concert Review: Piotr Anderszewski

Concert Review: HKPO-Wang Yujia-Tang Muhai

Concert Review: Krystian Zimerman

Concert Review: HKPO-Suzuki-Kelemen

Concert Review: SZO-Shostakovich -張國勇

Concert Review: HKPO-Shostakovich -Lazarev

CD Recommendations (3)

Pseudonyms on Obscure Labels

Concert Review: The MET Orchestra and Boulez

Concert Review: NYPO-Masur

Concert Review: Stravinsky-Gergiev II

Concert Review: Orpheus with Ryu Goto

Concert Review: Shenzhen Symphony Orchestra Mahler Symphony No.3 深圳交響樂團馬勒第三交響曲

Dance: 雲門舞集花語 Cloud Gate Whisper of Flowers