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Friday & Saturday
24-25 July 1998

Victoria Concert Hall
Rachmaninov Cycle I
Wolfgang Amadeus MOZART Overture to Don Giovanni, KV527 (1787)
Wolfgang Amadeus MOZART Symphony No.40 in G minor, K550 (1788)
Reviewed by Darrell Ang

SERGEI RACHMANINOV Piano Concerto No.3 in D minor, op.30 (1909)
Reviewed by Johann D'Souza

Nikolai DEMIDENKO piano
George CLEVE conductor

OVERALL NOISE RATING:
Friday: 1
(Near-perfect audience, except for the 10 o'clock beeps)

Saturday: 4 (Yes, Demidenko actually looked out into the audience to see where the handphone ringing was coming from at the start of the second movement)

The Noise Rating Index is a partially-objective measurement of pager and handphone blasts, 9pm and 10pm watch beeps, coughing-during-the-pianissimo-bits, intra-audience conversation and other mind-bogglingly inept noises emitted in the concert hall during actual performance of music. It is measured on a scale of 0 to 5, in increasing annoyance.

This review has been kindly sponsored by the Singapore Symphonia Co. Ltd


by Darrell Ang and Johann D'Souza

Mozart: Don Giovanni Overture & Symphony No.40 - review by Darrell Ang

This weekend's pair of subscription concerts by the Singapore Symphony Orchestra sold out quickly - attributable, I'm sure, to the company's re-vamped programming policy thanks, not least, to its current music-director Shui Lan, already in his third season here in this capacity. The formula for the weekend's success lies in its juxtaposition of perhaps the most popular works of two of classical music's best-loved composers: Mozart and Rachmaninov.

George Cleve The conductor, George Cleve (left), is perhaps one of the most sensitive Mozart-interpreters alive today. In fact, (with the sole exception of Sandor Végh's) this listener cannot recall having heard Mozart sounding any better. Music Director Laureate of the San José Symphony Orchestra and Music Director of San Francisco's "Midsummer Mozart Festival", Cleve has been hailed by the American press as "one of our canniest and most passionate Mozartians", a description which seeks justly to identify the profound understanding Cleve has for Mozart's music: the sarcasm, the humour, the irony, the passion, the eroticism, the love, the genius, the intellect which is Mozart's own - totally devoid of (Riccardo) Muti's Italianate Verdi-isms, Abbado's Beethovenian sobriety and Levine's undefined characterless-ness.

The hellish, D minor tutti-chord that opens the Overture to Don Giovanni is unleashed with uncompromising power - with a reckonable and clearly-articulated timpani roll booming to signal the ghoulish appearance of the dead commendatore's ghost. Here, the introduction is carefully moulded: textures crafted in a manner allowing the woodwind voices to stay afloat above swirling mists of string chords. It is gratifying to watch how familiar Cleve is with Mozart's idiom, as he skilfully coaxes the soaring, lyrical first-subject from the violins. One is immediately aware that this indeed is Mozartian-interpretation of a very symphonic nature, with a strength perhaps leaning towards the Greek idea of the Apollonian.

Apollo

Right: Detail of Apollo from "Apollon et Marsyas" by Hendrick de Clerk.

Throughout, the wind-playing was of a high order - although undue prominence is given to the flutes - and chords are finely-balanced. There is much delight in the conductor's treatment of the inner voices, outlining textures well: the harmony suddenly becomes apparent, and menacing horn chords are at last given their due. It is often that one forgets how necessary it is in Mozart's music to be aware of his harmonic language, perhaps to a degree accorded with Beethoven's. Unfortunately, with Mozart, performers tend to dwell in sweet abandon in his sugar-coated melodies; ignoring altogether the life-giving interplay of chordal roots that provide the ebb and flow of their lyrical counterparts.

This, George Cleve cleverly steers away from; and one cannot accuse him of sheer Romanticism. There is well-defined articulation and execution of style from all departments of the orchestra (how rare it is, even rarer are the strings of the SSO playing in inspired unison!). Excepting a slight muddle in the flute-oboe dialogue near the end of the piece, the orchestra played splendidly and with a great deal of panache. The conductor has chosen the ending originally penned by Mozart for concert performances, and not the version by Johann Anton André, as indicated in the programme notes. I thoroughly enjoyed Cleve's guided tour through hell.


In the ever-popular Symphony No.40 in G minor, Cleve opened with a probing and inquisitive whisper of the main subject on the violins. With his trademark imaginative handling of inner parts, his reading revealed many hidden treasures. The bass line was clear and pronounced, offering the movement a sense of direction and revealing well the climaxes at important cadential junctures. Cleve carefully induced the players to listen cautiously to one another, creating an almost chamber-like intimacy.

The elusive texture of this symphony is lucid (though not highly-transparent) in this conductor's expertise: it is not unusual for this work to swim in a muddied disarray of unbalanced orchestral sound; but not tonight - Cleve has it all figured out, due partly to the deliberate seating of the second violins opposite the first. Orchestral tuttis throughout were nicely executed: with fortes not too overbearing, and with character. One thing which bothered me a bit, however, was the scant notice paid to the dynamics of the score. Except perhaps at the start of the development section, little disparity was made between the softness and loudness of the various sections, with the strings sometimes overbearing.

Mozart aged 17. Looks real stressed already. The chamber music feel was even more apparent in the Andante , beginning as if it were music for a string quartet. Phrasing had never sounded so apparent in the SSO strings (although I found it slightly wanting in character): staccatos bounced liltingly; legatos drawn out in long, unbroken threads; and fortes not overblown/overbowed. The tempo throughout remained natural and unhurried.

The Minuet was characterised with much distinctive string-playing, phrased with a good deal of sensitivity; crisp staccatos and silky legatos abound. The opening came off successfully, neither too forceful nor over-indulgent, with string tone kept in check and uniform. Elsewhere, inner voices did not go off unheard; especially at the Trio section, where the lyrical exchange between strings and woodwind against a backdrop of playful horn chords produced results which were nothing short of beautiful. Like the rest of the Symphony, all repeats were studiously observed.

All else was revealed in the final movement: the Allegro assai once propelled refused to slacken. It began rather impressively, echoing the quiet start of the first movement; but unlike the latter, bursts suddenly into euphoric fervour. As always, Cleve manages to bring out many hidden details which would usually remain obscure under less-capable hands. He coaxed all involved to emit a sound which was unified and which served the foreboding G minor mood well.

The violins did not articulate as well in this movement, however; but all told, there was commendable woodwind-playing and important harmonies were strategically given prominence, directing the movement through its rapid and tentative key-shifts. The development section was characterful and convincing: throughout, woodwind chords dotted the score like rapid-fire and quick string passages burst fourth with tremendous energy, especially near the end of the movement.

This was undoubtedly a Mozart performance to remember; and George Cleve wanted to remind us that this was Mozart which belongs to a long line of Austro-German symphonic thought that ended with Mahler and Bruckner. Bravo!

Rachmaninov: Piano Concerto No.3 in D minor, op.30 - review by Johann D'Souza

Nikolai Demidenko In what will be remembered as the concert for this season, Nikolai Demidenko (left: note the fiery halo surrounding his head...) gave an awesome and electrifying performance of one of the most celebrated of all piano concertos - the "Rach 3", as it is now popularly known. Having heard that Demidenko was coming and having heard him three times before - twice in the previous Piano Festivals and once in August 1996 in Beethoven's Second Piano Concerto - it would have been foolish not to come for both nights. And mind you each night was an Experience.

Demidenko's first night was marked by a heightened tension, especially the approach towards the cadenza in the first movement. If I am not mistaken he had played the Second Ossia cadenza which is terribly difficult. One literally saw him pull it off, facial expressions and all.

While many who have heard Demidenko have felt that he bothers on the extremes in tonality, for these concerts he did not display this at all. A giant of a man with huge Rachmaninovian fingers, Demidenko has that particular ability to impart to his audience a sense of struggle. However this struggle is not a struggle to grasp the music but a struggle needed to show how one triumphs in the spirit of the music.

I think Rachmaninov should never be played with ease because it was never meant to be. Remember that this work was dedicated to Hoffman, who despite being a noted pianist in his day, could not play it. While George Cleve had a strong hold on the SSO, I did feel that at points he could have put them under even more restraint, especially in the early portions of the first movement where Demidenko was forced to literally bash the chords through to come across - which he succeeded.

Sergei Rachmaninov These are the most powerful and stimulating "live" performances of the "Rach 3" that I have ever come across in my history of concert-going at the Victoria Concert Hall. Not only were they intellectually powerful renditions, there was enough electricity to light up half the [Singapore] island and many in the audience were left stun-struck at how Demidenko attacked the cadenzas with breathless velocity and demonic electricity. While many will remember Edwardus Halim last year for an equally electrifying performance, his approach was lyrical; many preferred the symptomatic approach which Demidenko took in his first movement, taking one to a new dimension. He had this ability to bring you along with him in his playing as if you were an accompanying player.

For the first night, Demidenko did in fact make some slips, but which one has to totally ignore - mind you, if you did not make a mistake in this concerto, you are not human at all.

I did feel he was superhuman the last time he played the Hammerklavier "live" in Singapore (not a single mistake!) - but, this time around Demidenko displayed his humanness. The second movement was beautifully executed - Demidenko has a sensitive left hand which allows the bass chords to register and fade. While I did find that the pace was a bit hurried, this did not become extreme. For the second night, Demidenko seemed more relaxed and had apparently gotten used to the orchestra and piano a bit more. His playing was more controlled and the SSO matched his pace of playing.

Sergei Rachmaninov - painting by Boris Chaliapi Demidenko's readings of the final movement will be remembered for his clarity in bringing out the Dies Irae ("Day of Wrath" - that "tolling bell" effect) motif. I have found many pianists lacking this ability, a crucial ingredient considering Rachmaninov's lifelong obssession with it (the motif). The second cadenza, although very short, was taken very introspectively with colour and feeling. While very often the technical sophistocation of this concerto can leave you cold, untouched; but Demidenko was able to bridge the gap between virtuosity, feeling and introspection.

As the last chord was struck, the whole audience jumped off into thunderous applause with shouts of "Bravo!" As Demidenko stood up, you could see the relief in his face: it was over - but not for the audience. They (I mean "we") wanted more.

For the first night he played two encores - the first was Domenico Scarlatti's Sonata in B minor, Kk87, a work made famous by the legend of yesteryear Vladimir Horowitz. It is here that we hear the soul of Demidenko, the passion in the man as he played the slow music. As electrifying as ever, the concert ended on a thunderous note as Demidenko lashed out with everything he got in his second encore, the Rachmaninov Prelude No.2 in B-flat major, op.23.

For the second night Demidenko was even more generous, playing an obscure Polonaise by Chopin, in G sharp minor; three pieces by Rachmaninov: the Prelude in G minor, op.23; the Prelude in G-sharp minor, op.32 no.12 and the B-flat of the night before. You could see that our great pianist was totally tired as he led Alexander Souptel off the concert stage. Not surprisingly after that, Demidenko was swarmed for autographs like a mega rock star.

Two nights of awe-inspiring natural talent.

Darrell Ang sold Johann D'Souza some Beethoven piano sonatas. Ever since then, Ludwig has been trying to hunt them down.

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Readers' Comments


From: Kevin (kevinl@technologist.com)

Excuse me, but you are wrong about the encores on Saturday. The last encore was Scriabin's etude in C# minor opus 8 no. 2 not a Rachmaninoff prelude.

From: Justin (rach3@corplink.com.au)

On a lighter note, referring to Demidenko being "a giant of a man", Nikolai actually walked pass me on the morning of his first concert and he didn't appear that much of a giant! Another piece of trivia for you - although he outwardly appears to be sterna and serious, seeing him during practice that day, he was quite jovial and smiling (yes, it indeed was a smile), ferverously chatting away to the first violinist. I definitely share with your sentiments of his playing being electrifying, although I did find the tempo a little rushed. Consequently, whilst his performance was extremely commanding and very "Russian", the melancholic, darker side of this work was not conveyed. I can understand his interpretation, but a "darker" approach enhances the triumphant nature of the final movement. (perhaps we should ask Rachmaninov himself as to what he intended?) I suppose another way of describing it- deep and intense without traces of innate sadness. Of all live performances I have seen, he certainly puts a ffff into fff at the climax of the 1st movement cadenza. Yet despite all his power, there was amazing clarity in his phrasing. Another point to note was his dynamic levels just before the 1st candenza, it is actually marked mf but he played it more sf or f, quite untypical of other performances i have seen or heard. Keep up the good work guys and hopefully more people in Singapore as well as internationally frequent this site more often!

From: Therese Yap (phsyapc@nus.edu.sg)

Great article on Demidemko & George Cleve with SSO. I was similarly swept by Demidemko's interpretation of Rach's 3rd piano concerto, appropriately labelled 'human'. Glad to read that the few slips of notes are forgivable, & expected in this notably demanding piece.The Straits Times review was not so sympathetic. Unfortunately, I was not as impressed with Cleve's conducting of Mozart, which I felt did not offer any unique challenge. The orchestra came across as being all too familiar with the emotions.Nonetheless, it was a night to rave about.

From: anon (southpark@aol.com / Thursday, January 25, 2001 at 22:00:47)

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From: True (paola_maldini1@yahoo.com / Tuesday, November 8, 2005 at 11:55:44)

I have never heard anything more bizzare than a phrase" I think Rachmaninoff should not be played with ease because it was not meant to be". Well, first of all it is completely the opposite. If anyone who has ever heard Rachmaninoff's own playing will agree. His playing is full of Romanticism, lyricism and technical effortlessness. The problem is, nobody listens to the genius himself, mistakingly interpreting his music as "revolutionary Russia" that is full of gloomy marches and heavy sounds. Why so many pianists are so trying to impose their "Russian roots" by pouding each note as if it were a piece of iron? Same goes for Kissin's recording of 2nd concerto with Gergiev. Anyway, it is too big of a topic to continue, but I will only say that it takes an amazing talent, natural talent to pull of Rachmaninoff's multidimensial compositions. Not only the performer must be technically superb, but also feel the "real" music which is Romantic. If anyone has forgotten, Rachmaninoff was the last great ROMANTIC composer, and should be played as such, the problem is, there aren't a lot of people who can actually do it....

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