It's been said that good modern composers haven't died out, they've just turned to writing film music. In its earlier development, composers as eminent as Korngold, Shostakovich, Prokofiev and many others have tried their hand successfully with movie music. Among the composers of our time, some have been so well known for their movie music that their other music languishes in obscurity. Though John Williams has tried his hand at traditional classical forms, it is still his many film scores that come to mind when one thinks of him, and that have rightly made him famous.

Though written merely for the big screen and meant to be heard in context, John Williams' music isn't easy to play and at its best is both inventive
and challenging. Transformed into concert suites to be heard out of context, though, it loses some of its impact. Tonight we heard four suites - the
Schindler's List suite, the Harry Potter Suite, the Catch-me-if-you-can Suite and the Star Wars Suite, as well as the theme from E.T - The Extra-Terrestrial, conducted by Adrian Tan.

Of these, the most recognizable suites unfortunately turned out also to be the most lacklustre.

The ET suite was limp and undirected, the mostly amateur orchestra only beginning to warm up to the music midway through the piece. John Williams' themes, while lovely were repeated too many times by half (no fault of the orchestra here), with little talent at development, and like many of Bruckner's themes, outstayed its welcome by the end of the performances. The technical difficulty of these works is not to be underestimated. Many of these works were written with full professional orchestras in mind and while enthusiastic, the orchestra was often overwhelmed.

The lyrical Schindler's List suite, played so memorably by Izhak Perlman, requires a degree of affinity with the idiom which the violinist Gerard Chia
clearly lacked, credentials notwithstanding. It was clearly just a readthrough of the music, with not much thought given to phrasing, bowing or
fingering. Perlman, with his varied palette of vibrato, glissandi and bowing, brought a beguiling beauty to the score that failed to approach.

While the Harry Potter suite shared a similar repetition of ideas, more the fault of the composer than anyone else, there was a gusto and excitement in the performance that was palpable. Obviously they had watched Harry Potter and not Schindler's List, commented my friend. In any case, this was largely more successful.

The Superman March is probably one of John Williams' most popular, if not most inspired works. I've always loved it and its excitement. Here
concertmaster Xu Zhonghao took over the baton, delivering a smashing performance that brought cheers from the audience.

Saxophonist Fabian Lim, on the other hand, shone in the Catch-Me-If-You-Can Suite, which was by far the most enjoyable item. While I would have liked to hear more of the bassist, who valiantly plucked away at her instrument, Fabian Lim's deeply satisfying saxophone tone and comfort in both John Williams' jazz and classical idioms was an absolute delight, steadfastly leading his way through the work as if he'd been playing it forever. Bravo.

The last-placed Concert Suite from the Star Wars Trilogy was probably the most awaited item on the program. While execution left much to be desired with sputtering brass notes from players whose embrouchures must have been giving way by now, the musicians played with much gusto, with a suitably energetic Imperial March that stood out. The last movement, a rondo, was played with infectious energy.

It's a pity that this concert couldn't have received the amount of rehearsal time that it badly needed. The orchestra has potential, as I have mentioned previously, but it needs an orchestral builder and strong section leaders and teachers if it is to grow, since the students won't improve on their own. I understand the need to showcase the more neglected repertoire as well, but I'm worried about members of an orchestra which seems to be increasingly aimed at performing more peripherally related classical repertoire such as film scores and musicals. That said, I wish the orchestra
and its conductor the best in future endeavours. Singapore's amateur scene is improving by leaps and bounds and any endeavour to expose young musicians in performances is richly welcome.

Derek Lim

 

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