|
 David
does a 'Mozart' and interviews himself on the mini Mozart festival.
They both meet the morning after the two days of concerts at the
prata shop. After a sumptuous meal of onion prata and roti john,
the interview formélle begins.
David:
So, what is your overall feel of the two days of the Mozart festival?
Me:
It wasn't too bad on the whole, quite a few surprises actually.
D:
Really? Do tell us more.
M:
Well, for one, the very first item of Day 1 was Eine Kleine Nachtmusik.
An entirely strings piece, it was quite a treasure to behold. The
playing was magnificent, full of gusto. The outward simplicity of
the piece shown through but plenty of feeling shone through. The
lead violinist was particularly commendable, her playing leading
the rest into the high spirits the piece demands.
D:
This was the first movement?
M:
Indeed. And the funny thing is, I guess the audience must have been
really appreciative because after the first movement, they applauded
thunderously. Actually they did for the rest of the pieces that
night. Strange that, and I can't really tell if they were really
praising the orchestra on a job well done or just didn't know better
since both variables modulated somewhat at times. But the first
movement of Nachtmusik was indeed worth the applause I felt.
D:
I see. Yes, that applauding is strange. What about the rest of the
movements?
M:
Nothing else much can be said really, because they did keep up that
standard. It was rather full of emotions, and the piece was as tight
as a ship, pulling the audience with it as it went along. In fact,
after the final movement, the orchestra members were beaming from
ear to ear, I think even they may have surprised themselves! They
certainly deserved the additional curtain calls.
To
be awfully honest, I must say I'm thankful most of the pieces played
during this festival doesn't spoil it for me. The "Nimrod"
movement from Elgar's Enigma Variations was ruined for me
when I heard it at a previous concert. This time round, I think
the Eine Kleine Nachtmusik and the piano concertos escaped
that fate.
D:
Right on to the meaty stuff then. How was André-Michel Schub
on the piano?
M:
The main reason why I decided to attend the festival was primarily
for the piano concertos really. And I must say I wasn't the least
disappointed. The violins that opened the No. 23 were lyrical, very
emotive. But it was when Schub laid hands on the piano, that was
when it just took my breath away. He has this child-like, almost
Mozartean quality about him, the quirky almost maniacal-crazy-genius
quality that shines in his playing.
He
is quite the showman, for one. His movements are rather exaggerated,
but it is quite impossible to see how he can make the piano tinkle
so magically otherwise. And he looks as if he believes in every
note he plays, that he is trying to communicate Mozart's intention
behind every note he plays. Even when accompanying the clarinets,
he takes on the right tone and touch that supports and accentuates
them. His scale gymnastics, were so smooth and light, his touch
accurate in determining the intensity and importance of each note.
And on both nights, I noticed this. Schub is excellent at linking
his solo parts to the orchestra. He tapers off and hands it over
to them with such ease and continuity it's almost fascinating. What
can I say. I was more than impressed just after the first movement.
And here again, the audience more than willingly showed its appreciation
by applauding again.
D:
I almost wish I was there to witness that.
M:
(laughs here…) his playing, yes. The clapping, no… and
while Schub's playing was quite the extraodinaire, the SSO was unfortunately
not quite so commendable. This is in comparison to the next night.
The first night, the orchestra had a sanitised and 'sane' feel to
its playing, which is quite unlike anything Mozart would have wanted
his pieces to be intepretated! The second night was much improved.
It was very much more Mozartean, wild, with a streak of naughtiness
and quite insane. Kudos to Lan Shui for that improved interpretation
on the second night.
One
thing to add here is that Schub's playing was a splendid contrast
with the SSO. With the winds and strings providing the backdrop,
in the 23rd Piano Concerto, the gloomy F-sharp minor theme was heightened
by the soft, almost pathos-filled notes that tinkled out of the
piano in Schub's hands.
D:
Do you have any favourite recordings of the Mozart Piano concertos?
M:
I love Alfred Brendel's interpretation and playing of the Mozart
piano concertos, partly because in his playing, he is sensitive
to the Mozart spirit of the pieces, and also because his notes are
simple yet at t he same time full of elegance. Schub achieved that
and had the added streak. You have to watch him to know what I'm
talking about. His playing, inclusive of showmanship, seems to encompass
this, the child-like fascination with the keyboard and with every
note he plays.
D:
What about the other pieces? Symphony No. 39 in E-flat major?
M:
Admittedly, after the exciting piano concerto, the symphony piece
was rather on the boring side. As I mentioned before, on the first
night, I felt there was a very 'sane' feeling to the conducting.
It was almost as if you could call it the Singaporean way of conducting
the symphony, not daring to 'step out of the box', to be bold and
wild just for once.
D:
The "Linz"? This is one of the more famous of the two
symphonies presented that night isn't it?
M:
This one didn't suffer the "Singaporean censorship", thankfully.
It was definitely more energetic, had more of a Mozart characteristic
than the 39th did the night before. Especially good were the Haydn-inspired
sections which contrasted very strongly to the other "typically
Mozartean chromaticism, agitation and pliancy" parts. And the
final movement certainly tested the violinists with its rather intense
passages, which at certain times some 'stray strings' were heard,
but was on the whole rather commendable.
Funny
thing about the second night, Lan Shui seemed to be in a hurry to
end the concert. Almost every piece started so quickly, before I
could even settle in my seat! Between movements, musicians were
given an average of one second of respite, before being plunged
again into the piece. And the first piece, the Overture to La
finta giardniera, was so rushed before I knew it, the piece
was over and done with. I had hardly warmed my seat and was beginning
to concentrate on the music when I had to applaud again. Simply
put, the entire second night lasted a whole of one and a half hours,
interval included!
D:
Perhaps partying was on the orchestra's mind… after all, the
great demi-god Mozart himself was a great party animal. Post concert
party?
M:
Well if they did and didn't invite me, I really wouldn't want to
know. So there.
D:
Any last parting words?
M:
Wolfie.
What
with numerous term papers and group projects due in school, DAVID
CHEW's run out of wit to put something rather clever or funny
here. He suggests www.non-sequitur.com
if you're desperate.
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