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A full
house for SSO concerts seems to be the norm nowadays so far as I
can remember the last few concerts that I have attended, probably
helped quite a bit by the sensible programming this season offers.
The
offerings for this night is very good indeed, Mendelssohn's concerto,
though much overplayed, is performed by excellent soloist Adele
Anthony, who mesmerised us with her last appearance playing the
Beethoven Concerto in Singapore. Aaron Copland's Third Symphony,
to be played for the first time by the orchestra, is also an experience
to expand music tastes to the 'American' symphony.
Beethoven's
2nd Leonora Overture is given a rare performance tonight
over its other more popular cousins, the third being a more popular
choice for the SSO usually. Lim Yau conducts with his steady and
disciplined hand as usual, and the overture was given a controlled
and well paced interpretation to good effect, setting up effective
climaxes without exhausting the orchestra's expressive range till
the moment arises. The solo trumpet was excellent in his solo part,
bravely trumpeting out of the silence to launch the music anew to
the finale.
One
just can't wait for the concerto to come after the overture, and
the reviewer happens to be a CFC (came-for-concerto) member of the
audience. But Adele Anthony is truly the real deal - her Beethoven
Concerto performance way back (in 1997) still remains one of the
most sublime live performance of the work thus far. The onstage
violinists applauded with their bows for her, the reduced orchestra
played in inspiring fashion despite the numbers, and she played
a solo that was as inspired, hand in hand with the SSO. Her opening
line was taut and sure, a very measured and composed manner, not
at all given to sensationalism in tempo or expression in order to
make something new out of this familiar work. She does not need
to - her Grumiaux style of clean and efficient playing is something
not many violinists can deliver. Her long and smooth bow use and
distribution is also very impressive indeed.
Both
soloist and conductor conducted the piece in suitable tempo until
a sudden breathtaking flurry of notes to race towards the second
movement. Adele Anthony makes out the Andante to be strangely sophisticated
in its emotive mode instead of its usual sentimentality, effected
by thoughtful playing even here rather than giving in to the soapy
demands of the solo parts. The third movement showed off neat staccato
bowing from her, and the only grouse is in the slight under-projecting
of her sound, obscured by the orchestra in tutti passages. She was
gracious enough to give the audience more with an encore of Bach's
Gavotte from the third solo partita. It was violin music
in its most beautiful form, solo Bach, and like several violinists
in the orchestra I savoured the treat with eyes closed and ears
attuned.
Aaron
Copland's Third Symphony is touted as "the greatest American
symphony" (quoting from notes) by its champion conductor, Serge
Koussevitzky. So what is the great American symphony like? My impression:
Full of energy, optimistic music, and not too subtle at all. The
orchestra's brass section have to rare chance to exercise their
lungs to its capacity here, and it is here that Lim Yau really have
to employ his vision to keep the work from careening over the top
everywhere in its blasting enthusiasm.
As
the programme notes claim, Copland is a traditionalist at heart
in terms of his melodic development overall and it the simplicity
of the opening introduction, which strikes one as being totally
unpretentious. The parts for strings are fairly sectional and uncomplicated,
and statements made by the brass gives them equal presence in the
movement. Can I call the use of the solo trombone as being 'American'
too? The brass were clearly eager to show off tonight, and they
delievered their parts with real vigour and volume. The second movement's
scherzo was also a brass show, throughout which they conveyed the
positive energy, though the screaming exclamations and constant
punctuation by them clearly disturb some aurally sensitive audience
members.
The
third movement, described by Copland as "the freest of all
in formal structure", started as an elegy of sorts and strangely
developed into a sparkling allegro before advancing to the final
movement. In its initial half, the music is so alike Barber's Adagio
for String Orchestra; There is the familiar united string ochestra
feel in the playing of a simple but strongly felt melody in pure
tones. The eventual transition to the light and joyful tunes of
the combined orchestra really gives one the feeling of this being
'hope is always in sight' music. The finale of course showed no
doubt on the affirmation of the positive, the strings in vivacious
mood and the peaceful warrbling of the woodwind chorus a delight
to hear. But this does not persist for long of course - the brass
forces its way to the centerstage again, and excellent though the
SSO brass ensemble have proved themselves to be, one still hope
that the aural assault will not be for long. "A note of pure
triumph", can it be any way else for the great American symphony?
It does makes a fitting ending to a great night of beautiful music,
coupled with something new to provide a musical experience.
ONG
YONG HUI loves the solo violin.
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