Saturday 1 August 1998 Victoria Concert Hall |
Singapore Symphony Orchestra |
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WOLFGANG AMADEUS MOZART Overture to Die Entführung aus dem Serail, KV384 (1781-2) MICHAEL HAYDN Concerto for Alto Trombone & Orchestra JAN SANDSTRÖM (b.1954) Short Ride on a Motorbike LUDWIG VAN BEETHOVEN Symphony No.4 in B-flat, op.60
Christian LINDBERG trombone |
OVERALL NOISE RATING:
1 (Notwithstanding ccasional coughing, a very disciplined audience. We were no match for the Motorbike anyway!)
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 Adrian Tan
All SSO regulars will know NEVER to miss any of Okko Kamu's concerts. Those who abide by this golden rule were given a rare treat with this diverse and fascinating programme.
Today, he is in great demand with great symphony orchestras all over the world as a soloist performing standard works for and commissioning new works for this remarkable instrument. The many recordings he made for BIS (including one with Okko Kamu. See below for details) are considered benchmarks of trombone playing and line the collections of many brass enthusiasts. In fact, I really thought that every single brass player in Singapore should have been here tonight at this concert. Those of us who are unfamiliar with the wind and brass scene, his name might be new. To his legions of fans all over the world (just check out the web pages dedicated to him!), he is THE man on the Trombone.
The concert began with Mozart's Overture to "Il Seraglio" (A spurious name for Die Entführung aus dem Serail, created by its being sung in Italian in 19th century England), one of his lesser known opera overtures written in his teens. A vibrant and vigorous work, Kamu's presto tempo is perfect and his reading of the piece is not overly exuberant, but charming and witty. The orchestra responded well, especially in the wind sections (less some minor intonation hiccups) with some beautiful solos from the oboe. The closing of the piece reminded me of the "Jupiter Symphony" (No.41), a grand and pompous finale closing this joyful music. A fine start to the evening, but as we would soon find out, this sweet was just an appetizer for the exciting main course to come.
Still charmed by Mozart, (while watching the 1st Violinists move their chairs back to make way for the soloist), Christian Lindberg's entrance made an immediate impression. Lindberg "bounced" across the stage with a kind of boyish (or childish) charm with a broad smile across his face. Clearly, this was a cheerful man who seemed to have not a care in the world except to make music. One wonders if the choice of the Mozart was deliberate?
Michael Haydn (1737-1809), a name known to fewer people than that of his older brother Joseph Haydn, wrote solos for the alto trombone that existed in separate movements but were assembled (and edited) into this Concerto for Alto Trombone and Orchestra by Christian Lindberg himself. Lindberg's deep association with baroque music is evident in his recordings and his grasp of the style is truly outstanding. This is a beautiful piece and Lindberg made it more so with his exquisite artistry and beautiful trombone tone. How can one describe it? You just don't hear a sound like this every weekend!
The first two movements, Allegro spiritoso and Andantino, start in a similar fashion, beginning first with a tutti entrance preceding the solo and closes with a cadenza. The Allegro theme is characterised by clearly articulated notes, almost fanfare-like in nature but far more subtle than that. Despite a few slips here and there with the pitching of the running semi-quaver notes in the initial bars, the first movement already shows off Lindberg's strong musicality that is not determined by how virtuosic the solo part is, but by the clear lines of phrasing and detail in execution.
In contrast, the second movement gives Lindberg the chance to demonstrate the trombone's ability to be lyrical, something all wind instrumentalists are encouraged to bring out. This movement was nothing short of beautiful. I think he gets sentimental over a few of the melodic lines, most clearly in the cadenza which to me was one of the many fine musical moments in this piece. The final Presto was not taken at break-neck speed but like the rest of work, with a good unhurried pace that suits the music.
The SSO horn section seem inconsistent today and this became quite obvious when they were harmonizing in unison with the soloist in one passage. Kamu's accompaniment is subdued but not uninteresting. Perhaps due to the nature of the solo instrument, this was probably one of those few string or wind concertos where the soloist is not drowned out by the orchestra in loud tutti passages. A thoroughly enjoyable performance of a well-written piece - let's check out the elder Haydn's Trumpet Concerto in 2 weeks.
The inspired Swedish composer then developed a three-movement concerto filled with contemporary elements focussing on Lindberg's travelling experiences as a performer to North America, South America and even Antartica. This concerto was tailored for Lindberg and I think, more likely than not, he is the only person in the world who can do it! Not only is the technique required of the highest calibre of virtuosos, but dramatic, and sometimes comic, effects of a showman are needed to pull off.
It's really hard to put into words how this piece sounds like. The first section capitalizes on Lindberg's "growling" technique, making the trombone sound like your Harley, plus the trombone's innate glissando and "wah-wah" effects. Of particular note is the use of the glissando to create the illusion of vehicles whining past as the bike speeds its way through the city, brass in the background blasting their horns in response.
Later in the piece, you will hear the soloist singing one or two notes in a melody line while playing on the trombone. At long last, you will hear the mythical "multiphonic" techniques that as a young wind player, I thought was only the-kind-of-thing-you-do-for-fun. Watch Lindberg swing his trombone like a baton and spin around in circles on stage, endangering our precious leader. The rest of the music is what the uninitiated in contemporary music would call "noise" with the extended percussion, harp, etc. with some sections reminiscent of your favourite movie soundtrack.
No doubt an extremely well-crafted work that would surely get shouts of "bravo!" from any crowd (and it did!) and hearing the work on CD before surely did not prepare me for this! A really cool piece and great fun, but for the real "chops" in Lindberg's wonderful playing, I'd still recommend the Haydn concerto. After the Motorbike ride, Lindberg obliged the cheering crowd with a performance of Rimsky's Flight of the Bumble-Bee on solo trombone.
Reading the BBS, someone overheard Kamu (right) say that "what Lindberg is to trombone playing is what Pele is to soccer." After watching tonight's performance, one wonders who can doubt that. I personally thought it was a pity that there were no masterclasses by Lindberg while he was here, which would have been truly a dream come true for the many trombone students in Singapore.
The second half of the programme featured Beethoven's Symphony No.4 in B-flat major, a work commissioned by Count Franz von Oppersdorf, a great admirer of the composer. Beethoven had possibly already started work on the famous Fifth Symphony but put that aside in favour of this new commission that was to become the Fourth. It was perhaps a moment of contemplation and brooding for Beethoven, away from the fiery and driving Fifth, suggested by the opening slow, reflective introduction. This is contrasted with an abrupt change into vibrance and exuberance. The transition from the Adagio into the Allegro vivace demonstrated conductor's and orchestra's fine ability to shift from darkness into luminous light. What is interesting right from the offset of the performance, was Kamu's Brahmsian (read mellow, contemplative, deep) approach to the music compared to the fiery interpretations like that of Karajan. Yet, I still thought Kamu's reading to be quite convincing...
But once again, in the third movement, Allegro vivace, I had this nagging feeling that things were taken a tad too slow. With its rather playful metres and uplifting melodies, it somehow felt inconsistent with the interpretation. The last movement is characterised by "a busily scurrying theme" passed from the strings to the rest of the orchestra and teasingly to the solo bassoon. An animated movement from beginning to end, this finale is definitely happy all the way right through. I think the best was brought out of the opening section of the Symphony and the Adagio but the joviality of the rest of the work presents a difficulty to this reading. I think though, that this gives us new insights into a great symphony that is too often dwarfed by the later symphonies, falling into undeserved neglect.
An interesting programme but a little of an anti-climax, from Lindberg's dazzling motorcycle ride to a sombre Fourth Symphony. Regardless, tonight was still a night of music-making in very high standards, and an enlightening educational experience to vroom, I mean boot.
In the limelight tonight was trombone virtuoso Christian Lindberg (left, with tool of the trade), making his debut appearance in Singapore. To say that it is rare for the trombone to take centrestage in an orchestral concert is an understatement. Lindberg, however, has made it his career to change that and has succeeded against the odds.
The highlight of the evening was beyond a doubt Jan Sandström's Short Ride on a Motorbike, extracted from his Motorcycle Concerto specially written for Christian Lindberg. Apparently, this piece was inspired by a little trick that Lindberg decided to show Sandström, imitating a motorbike on the trombone. (look Jan, I can do this ... Vvrrooooooommm!!!!).
One thing that I noticed was the orchestra's obvious insecurity at contemporary music, that whose scoring seems "unpredictable".
The anxious faces on stage counting bars reminded me of last season's Bartok Concerto for Orchestra and the earlier Rite of Spring. I think the SSO has proven its potential versatility and I would love to hear more modern works programmed in later seasons perhaps.
The Adagio movement worked best for me. Kamu brought out the melancholy in the stillness of the music with his care for phrasing and movement. This movement was where the orchestra sounded its best tonight, with good intonation and well-taken solos all round. I think this reading of the music made it truly sublime: the result was something pure and distilled, but retaining its flavour, sweet and softly pained, with a warmth at its human heart. And this came through despite the obvious (and major) slip by the horns towards the end, which in turn confused the 1st Violins. Good save by Okko Kamu.
Christian Lindberg: A Selected Discography
Visit the BIS Website for more details and albums. BIS discs may be found at HMV (The Heeren) or at Borders (Wheelock Place).
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256: 2.8.98
Readers' Comments
From: ang mei sian (angghock@mbox4.singnet.com.sg)
Dear editor, this comment is written with regards to the Christian Lindberg concert on the first of August.I personally feel that the concert is great,especially the motorbike,which sounded exactly like the real thing.The audience were also very responsive and encored.I think that that has to do with the fact that most of the audiencessare trombonists,which I am also one too.But then,after all the excitment during the first half of the concert,I feel that the violin concerto after Christian Lindberg has left is REALLY REALLY boring.And I almost fell asleep.Anyway,the writer is really professional in writing this review,in the sense that he has done quite a lot of research on the pieces performed. From a satisfied reader
From: Yaroslav Razdobudko (yrazdobudko@hotmail.com / Saturday, August 21, 1999 at 06:55:31)
Hi,I just want to say that Christian Lindberg is my favorite trombone player.And I hope that you'll forgive me that I'm using this in different purpose,but I just would like to know if Mr.Lindberg is doing any mastercourses or masterclasses in U.S. If you can let me know about it,I'll sincerelly appreciate it. Sincerelly, Yaroslav Razdobudko
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