Reported by Vivek R.
Concert 1: February 16th: An evening of second movements
Augustin Dumay, conductor
Maria João Pires, piano
Mozart: Concertone for two violins in C major, K. 190
Beethoven: Symphony No. 4 in B-flat major, Op. 60
Beethoven: Piano Concerto No 3 in C minor, Op. 37
The Spring season opened with Mozart, which was a bit underwhelming - played and conducted by Dumay with Jane Cho as the other soloist. While Dumay’s violin was well projected, one could not clearly hear the notes from G and D Strings of Cho. The strings also seemed a bit recessed while the winds popped out a bit too much. The second movement was the best amongst the three.
Then came the Beethoven 4th. Forget the odd and even symphonies arguments, I love the gentleness of the 4th - as long as it is not over-interpreted, it to me, plays itself. The music I have on CD is with Walter and Vanska and I enjoy both - as I did the straight ahead interpretation of the day. If I could ask for something more, it would be more of a chamber feel to it bringing out more textures - like how Rizzi did it with Beethoven’s 5th a few years ago in Mumbai. The second movement was a standout one. The orchestra also seemed to have warmed up a bit - the winds did over project a couple of times, and I was not a fan of having the trumpets in a separate row by itself - the sound pops out separately. Overall very enjoyable.
Post intermission the great Pires took to stage. I think Mumbai guessed something special was coming as a loud cough (I will recognise you in a line up buddy, I was next to you) greeted her first notes. The version I know best is Pollini/Abbado but Pires made everything sweeter and more tender. Like the cadenzas and arpeggios in the first movement.
And what a fantastic second movement - the beauty of this was it was made to sound like a Sonata (borrowing from the chamber music example of earlier).
By the time the third movement came the sound had settled down so much. Rich strings. Well behaved winds. And Pires making gorgeous music. Splendid!
Concert 2: February 18, Pires and Dumay: It takes time for the concert hall to warm up!
Schumann Romance
Beethoven Violin Sonata 1
(Intermission)
Schubert Violin Sonata 2
Beethoven Violin Sonata 5 (Spring).
Do halls warm up like an audio system? At the start of the concert, Dumay seemed to be in finer fettle than Pires - however, I saw the magic happening at the second movement (is that just me? can't be!) of Beethoven Violin Sonata 1 (I must say I prefer the late Mozart to early Beethoven by a stretch). Suddenly the body started responding.
And then came the second half was Schubert's A minor Sonata (should Schubert be heard only in a minor key?*). Absolutely brilliant. Starting with the "soft piano, aggressive violin opening" and ending with the Allegro where the piano and violin literally hurl at each other.
What can I say about this Beethoven's 5th sonata? Firstly, an older Beethoven is so much better with all the harmonic richness making a strong appearance. I listened mostly with my eyes closed and when I opened it, I was actually surprised to see other people and musicians on stage - I had been transported! The absolute freshness of the first movement with the wonderful interplay between the instruments, the poignant second movement, the third movement (an afterthought?), COUGH COUGH COUGH (breaking previous records) and the sweet Rondo that closed it off. The chemistry between the musicians was just spot on.
I would go again, even if they played the second half alone! If they even played the Beethoven alone!
*The answer is no. I mean just listen to this opening movement, and the recording quality does not seem to matter. Also that old school style of playing where they slide into a note - wow!
Augustin Dumay, conductor
Maria João Pires, piano
Mozart: Concertone for two violins in C major, K. 190
Beethoven: Symphony No. 4 in B-flat major, Op. 60
Beethoven: Piano Concerto No 3 in C minor, Op. 37
The Spring season opened with Mozart, which was a bit underwhelming - played and conducted by Dumay with Jane Cho as the other soloist. While Dumay’s violin was well projected, one could not clearly hear the notes from G and D Strings of Cho. The strings also seemed a bit recessed while the winds popped out a bit too much. The second movement was the best amongst the three.
Then came the Beethoven 4th. Forget the odd and even symphonies arguments, I love the gentleness of the 4th - as long as it is not over-interpreted, it to me, plays itself. The music I have on CD is with Walter and Vanska and I enjoy both - as I did the straight ahead interpretation of the day. If I could ask for something more, it would be more of a chamber feel to it bringing out more textures - like how Rizzi did it with Beethoven’s 5th a few years ago in Mumbai. The second movement was a standout one. The orchestra also seemed to have warmed up a bit - the winds did over project a couple of times, and I was not a fan of having the trumpets in a separate row by itself - the sound pops out separately. Overall very enjoyable.
Post intermission the great Pires took to stage. I think Mumbai guessed something special was coming as a loud cough (I will recognise you in a line up buddy, I was next to you) greeted her first notes. The version I know best is Pollini/Abbado but Pires made everything sweeter and more tender. Like the cadenzas and arpeggios in the first movement.
And what a fantastic second movement - the beauty of this was it was made to sound like a Sonata (borrowing from the chamber music example of earlier).
By the time the third movement came the sound had settled down so much. Rich strings. Well behaved winds. And Pires making gorgeous music. Splendid!
Concert 2: February 18, Pires and Dumay: It takes time for the concert hall to warm up!
Schumann Romance
Beethoven Violin Sonata 1
(Intermission)
Schubert Violin Sonata 2
Beethoven Violin Sonata 5 (Spring).
Do halls warm up like an audio system? At the start of the concert, Dumay seemed to be in finer fettle than Pires - however, I saw the magic happening at the second movement (is that just me? can't be!) of Beethoven Violin Sonata 1 (I must say I prefer the late Mozart to early Beethoven by a stretch). Suddenly the body started responding.
And then came the second half was Schubert's A minor Sonata (should Schubert be heard only in a minor key?*). Absolutely brilliant. Starting with the "soft piano, aggressive violin opening" and ending with the Allegro where the piano and violin literally hurl at each other.
What can I say about this Beethoven's 5th sonata? Firstly, an older Beethoven is so much better with all the harmonic richness making a strong appearance. I listened mostly with my eyes closed and when I opened it, I was actually surprised to see other people and musicians on stage - I had been transported! The absolute freshness of the first movement with the wonderful interplay between the instruments, the poignant second movement, the third movement (an afterthought?), COUGH COUGH COUGH (breaking previous records) and the sweet Rondo that closed it off. The chemistry between the musicians was just spot on.
I would go again, even if they played the second half alone! If they even played the Beethoven alone!
*The answer is no. I mean just listen to this opening movement, and the recording quality does not seem to matter. Also that old school style of playing where they slide into a note - wow!
February 28th: Collard and the magic of Chopin
While the world had to contend with virus and a meltdown, we were treated to a great recital by Jean Philippe Collard.
Started off with Chopin's preludes. Beautifully played with excellent dynamic shading, and great technique. If I were to nit pick, I only wish that the tempos were not so uniform through the pieces...for example, in Chopin Prelude No. 7 (1 minute plus of pure loveliness), I like to be lifted up, paused, before the final notes come. However, it was great playing, individual preferences aside.
The second half seem to play to his strengths even more. Started with Faure's Ballade, and finished with a collection from Granados Op 11 (Goyescas). The dance like stead rhythms, I feel, suited Collard's playing so much, and it was better than the versions that I have heard. Spectacular! (And who does not like Besame Mucho's inspiration!).
"Quejas, o la Maja y el Ruiseñor" Inspiration for Besame Mucho
March 1st: Fireworks are an appropriate end
Saint Saens Omphale's spinning Wheel
Saint Saens Piano Concerto 5 (Collard)
Franck Symphony in D.
Conducted by Laurent Petitgirard
This was a special concert. Texture was back with the orchestra and how!
Starting off was Omphale's spinning wheel, a piece I have not heard before. What was indeed very impressive was the conducting - very nuanced. I enjoyed the piece, though I was hoping it was Dvorak's Golden Spinning Wheel instead (now that is the kind of macabre symphonic poem that gets me going - and this one even with an "all is well that ends well").
The Saint Saens piano concerto was par excellence. So beautifully played by the orchestra and Collard - with its melodious first movement featuring runs on the keyboard, and very eastern sounding ("play piano like an Egyptian?") and filigreed second movement and the hurrah finish of the final movement - all were executed brilliantly! The strings in the second movement never did sound more silkier or precise.
The second half featured Franck. This is a piece I have never connected with emotionally - always feel wowed by the body of sound and so many instruments! This day too, was the same, but how magnificently it was played and conducted. The climaxes were all so well sorted and came together with adequate gusto and the brass section was in good form too. Overall extremely well played, and for me, enjoyable the way I enjoy Franck (like an audiophile, to be honest).
I do wish Laurent Petitgirard and Collard would come back to Bombay again.
March 11 - Not the NCPA season, but from the mouth of the babes..
I went to perhaps the last concert for a while - alas the virus has shut down concert halls. This was with Savitri Grier on the violin and Tom Poster on the piano. The concert was special although one cannot talk of it in ethereal terms. It started off with Beethoven Violin Sonata No. 3 followed by the familiar jewel Brahms Sonata 1. Though I am not so needing of a heart on sleeve approach, I wish the violinist played with a little more emotion. I felt she played very well, but more like an young person - all precision, little less emotion (the type that comes out of age). The pianist was great in that regard though the piano sounded a bit loud at times.
Post interval was Messiaen’s theme and variations which wasso all over the place that I enjoyed it after the orderly romanticism of early pieces. This was followed by Faure’s Sonata 1 - played very well. The encore was the slow movement of Beethoven’s Spring Sonata and played so well.
The charm of the two young people and their chemistry made it a very enjoyable concert. They also spoke about the pieces (why is it not done in regular concerts - sometimes the stiffness of classical concerts is stifling. It is meant to entertain too), and a fitting end (temporarily) to the concert season.
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