Friday 14 August 1998 Victoria Concert Hall |
New Asia Series Pre-Tour Concert |
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JOHANNES BRAHMS Variations on a Theme by Haydn (St. Anthony Chorale), Op.56a (1873)
JOSEPH HAYDN Concerto for Trumpet in E-flat major (1796) FELIX MENDELSSOHN Symphony No.3 in A minor, Op.56 "Scottish" (1830-42)
Gary PETERSON trumpet |
OVERALL NOISE RATING:
1 (Well, it was half-full.)
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
It is good fortune that I am able, once again, to review another subscription concert given by the Singapore Symphony Orchestra of exceptionally high standards: the first having been the Cleve/Demidenko (Rachmaninov Cycle Part 1) pairing three weekends before.
Is it merely a coincidence that the SSO plays better under visiting conductors (with the recent exception of its Principal Guest Conductor, Okko Kamu); or do they only choose to behave when their building reputation is at stake before an unknown guest?
Whichever it is, I’m more comfortable with pinning a lot of the blame on the lasso-wielder atop the wooden podium. For example, it seems as if Kamu is already beginning to lose his touch (recently, a slack, structure-less and ill-played Beethoven Fourth (reviewed here); and a colourless, lacklustre Firebird (reviewed here, etc.); and gathering from this evening’s performance under guest conductor James Paul, I personally feel even Music Director Shui Lan hasn’t done his fair share of work. (A case in point would be a subjective comparison of both conductor’s interpretations of Brahms’ "Haydn Variations".)
James Paul has served also as Principal Guest Conductor of the New Orleans Symphony Orchestra. He is currently Music Director and Resident Conductor of the Oregon Coast Music Festival. His recent recording with the Royal Scottish National Orchestra of Paul Paray’s "Joan of Arc" Mass and Symphony in C on Reference Recordings was nominated for a 1997 Grammy Award for Best Choral Performance.
His style as a conductor can best be described as "direct and honest", without a tinge of superficiality; his unexaggerated interpretations lacking perhaps in an extra quality of imagination or individuality to distinguish them. He is, nonetheless, a hard-worker who gets his results; and anybody who is capable of making the SSO sound five times as good deserves praise.
The barely-half full concert hall applauded Paul's arrival onstage, where he led a cogent and compelling reading of the "Haydn" Variations. A buoyant oboe announced the main theme, accompanied by a resonant chorus of wind-chords and bouncy pizzicati from the 'celli and basses. In the first variation, the melody in the strings flowed like a brook atop pebbly pedal notes; however, a clearer sense of direction for this little stream would have been more appreciated. And, as is always the case with the SSO, fluctuations in dynamics were not conscientiously observed.
In minor-keyed variation No.2, Paul urged the orchestra on a brisk (Più vivace) and playful run through the woods; as pizzicati-strings and woodwind played catch, interspersed with occasional tutti-"surprises". In the lyrical third variation, the violins in their subject-repeat of the woodwinds did not quite keep to the relaxed "mood" as introduced by the latter; due primarily to the almost non-existent phrasing and the wiry-thin sound of tonight's fiddles.
Hunting horns (tonight's horns have been surprisingly good!) carried variation six into motion, with the orchestra in top-form under the maestro's supervision, and gave a commanding performance of this spirited and ceremonial section; imbued with an infectious energy and zest. The gentle and reflective seventh variation sounded perhaps a little taut, as Paul revealed a probable lack of concern for beautiful nuances.
The scurrying eighth variation fared well as the strings and woodwind displayed much sensitivity to the soft and mysterious running figures that end as if tentatively; only to pave the way for a stately introduction to the Finale: a passacaglia that utilises a five-note theme in the bass with the main chorale-theme returning in various guises, before ending in full symphonic splendour reminiscent of Brahms' "Academic Festival Overture".
The SSO ravished the opportunity to play in all necessary pomp, as Paul built a huge, arching crescendo and de-crescendo, before the race to the finish in the final bars. A pity that the fleeting flute-figures amidst the climax did not come-off as well as they should have had; but what inspiration the SSO exhibited, in so rare an occasion! Guest Conductor James Paul has managed all this, and yet given us a reading of such sense and intelligence: with each inter-relation of the variations' tempi, rhythm and melody (to the theme) clearly underlined and elucidated - an outstanding achievement indeed!
After a successful fellowship at the Tanglewood Music Center where he was awarded the Voisin prize for excellence in brass performance, Peterson was trumpet fellow with the National Repertory Orchestra in Breckenridge, Colorado. He is also conductor of the Sinfonia Calcania in Boston, and composer of various orchestral, vocal, choral and chamber works. He has performed as soloist with, among others, John Williams and the Boston Pops Orchestra; the Boston Civic Symphony Orchestra and the Ohio Light Opera Orchestra. He has recorded for Telarc with the Empire Brass Quintet; and for Sony Classical with Wynton Marsalis.
With such a reputation behind him, it was without doubt that audiences tonight were in for a treat - and Peterson did not disappoint.
With the second violins seated opposite the firsts, the orchestra opened confidently and in uninhibited unison the Allegro first movement: it signalled many more good things to come in tonight's concert. Paul's control of the ensemble was incredible, as they responded obediently with secure and enthusiastic playing the stately first subject. Peterson entered in unabashed style, and with much conviction.
In the second subject, the trumpeter ornaments the melody with trills and a plethora of non-harmonic tones; and our soloist obliged in assured fashion, as he expressively shaped the music and rocketed impressively up the scale to an exciting finish of the exposition. In the brief development section, Peterson displayed his unerring sense of direction and intonation, as he managed well with the high notes; culminating in an extremely piercing high B-flat on the trumpet.
It is evident surely that he has good control: keeping tone-quality and intonation in check when alternating between piano and forte (sometimes at an incredible speed), and when having to surf from the lower registers to the upper. Elsewhere, orchestral accompaniment remained sensitive and absolutely reliable. A pity the chosen cadenza which preceded the final cadence of the movement did not quite allow Peterson to strut his stuff, as it tended to the lyrical and expressive facility of the trumpet rather than the virtuosic.
In the Andante second movement, the chromatic possibilities of the newly-improved trumpet is brought to the test; entailing a trip through several keys, including an extreme C-flat major. Peterson did well in lending a certain warmth to his tone, which served the gentle lyricism of the subject matter. Credit should go too to Paul, who defined clearly the modulatory passages in the accompaniment, and who elicited gentle phrasing from the orchestra. My only grouse is that this evening's violins all sounded extremely thin and scratchy, which harshened textures a wee bit. Horns and woodwinds were in splendid shape when lending harmonic support.
In the Allegro third movement, a jaunty sonata-rondo, Peterson was able to show-off his quick and crisp articulation amidst numerous key-turns and differing episodes; and was amazingly facile in the militaristic sections, where he spun off those rattling bugle-calls with ease, and especially when swinging between high- and low- registers. A tiny memory-lapse(?) descended upon Peterson near the end, but he managed to carry on without much effort. The orchestra throughout offered sensitve and high-energied response, and the finale wrapped up the work in thunderous applause from the audience. The soloist did not oblige with an encore, however, much to the dismay of his fans.
Mendelssohn's "Scottish" symphony, the third in his symphonic oeuvre, is clearly an expanded version of the lovely "Hebrides Overture"; with all the latter's romantic overtones and luscious tone-colours. Both works were the result of the composer's visit to Scotland in 1829, and the symphony - which was finally completed in 1842 - bears a dedication to Queen Victoria and Prince Albert.
The brooding A minor introduction of the first movement, inspired by the ruins of the chapel of Holyrood Palace in Edinburgh, started out at a moderate speed and straightforwardly: there were no romantic excesses and, like I have mentioned earlier, Paul does not go for individual nuances. It was certainly a get-up-and-go affair. Here, the lean-toned SSO violins meant no mood-painting in dark, fleshy hues; a characteristic I find would serve the sombriety well.
The link into the moody Allegro un poco agitato first subject was not cleverly done - Paul did not allow the dying moments of the Introduction to breathe and thus gain enough momentum for it: it was not unlike a hit-and-run scenario. The urgency of the restless figures did not possess the restlessness I personally feel it calls for, but the SSO made up for it with much refined playing.
What lovely music emerged from the 'celli as they sung fervently in the recapitulation section, just before the coda - this, for me, was the highlight of tonight's performance. The "storm sequence" which preceded the finale also came off pretty well - one could almost imagine oneself being swept away by the tempest.
The spritely second movement (Vivace non troppo) began as soon as the first ended. I suspect the tremolo strings did not start-off as quietly as they would have wished, but the playful clarinet melody was infused with enough candour as one would easily have desired. This movement was characterised by excellent playing from all departments of the orchestra, and the enthusiasm was indeed infectious: so infectious that at one spot, the first violins rushed headfirst ahead of everyone else to the climax!
The Adagio third movement was given a brisker treatment than usual, but much sensitivity to the phrasing was to be had from the orchestra. The sombre mood returned once again, in between lyrical episodes of gentleness. Some of the most wonderful music can be heard here, and Paul and the SSO knew just that - cherishing every moment. Much credit should be given to the strings, who were sensitive to the mood and ambience the music created. The aggressive sections were annouced with authoritative ferocity by the woodwinds, and the ensuing tutti enfolded with impressive grandeur.
Incisive playing was the order of the day for the Allegro vivacissimo last movement. Throttling horns announced the virile first subject, which the programme notes referred to as bringing to mind "... a wild gathering of the highland clans, perhaps in preparation for war."
Wild indeed it was, as Paul urged the orchestra to furious excitement in significant passages. Trumpets roared as the battle turned brutal, with violins turned into axes as they "chopped" through the main motif and its accompaniments; and woodwinds shrieked and cackled through the chorus of battle-cries.
The second subject, first introduced by robust oboes and clarinets, returned in the recapitulation to draw the action to a hushed diminuendo; whereupon the orchestra "sings" a chorale-like theme, not unlike a song of victory for the conquering clan. Paul pulls the tempo back considerably, unravelling the majestic chorus of triumph layer by layer till it ends the symphony in brilliant fanfare-ish outbursts; the SSO horns, though, did not quite succeed in joining their brass counterparts in ecstatic fervour.
All in, perhaps the best concert of the season so far - conductor and orchestra displayed a chemistry and zeal only too seldom experienced here. I give it two thumbs up!
James Paul (left), recently appointed the first-ever "Conductor Emeritus" of the Baton Rouge Symphony Orchestra in Louisiana, USA, after 15 years as its Music Director, had been a graduate of the Oberlin College Conservatory of Music and the Salzburg Mozarteum. He was a recipient of the Serge Koussevitsky Conducting Memorial Prize; and had participated in Walter Süsskind’s masterclasses at the St. Louis Symphony Orchestra’s Institute of Orchestral Conducting, where he was also a Conducting Fellow.
The funereal fourth variation came across to me as played a little harsh; but the orchestra responded well to Paul's brooding interpretation, hampered unfortunately (again) by the ensemble's inconsistency with dynamics and phrasing. Variation five (Vivace) launched confidently at a breathtaking speed, but Paul's expertise gave every assurance to the orchestra which executed their parts with accuracy and finesse: staccatos racing away like bullets, with tone kept firmly in-check. (An unknowing audience had mistakenly applauded at the end of this variation.)
It was time now for old Brahms to return to the back-seat, as "Papa" Haydn moves himself into the driver's saddle. Time, too, for SSO Principal Trumpeter Gary Peterson to take centrestage with that composer's Concerto for Trumpet in E-flat major, written in 1796 to put to test one Anton Weidinger's new, improved four-keyed trumpet. A student of James West at Louisiana State University and Roger Voisin at Boston University, Peterson was the first-ever brass player to receive an artist-diploma from the latter institution.
Firm intonation and very little rubato is characteristic (perhaps a little too straightlaced for some tastes) of his interpretation of Haydn's score, echoing the conductor's own treatment of the accompaniment. But Peterson knew exactly what to do, injecting a little personality in the "echo" sections of his solo-part.
A huge and finely-crafted crescendo into the nervous climax was given such strength seldom experienced, with the orchestra giving their all for Paul. No exposition repeat was observed as the music was immediately lauched into the Development section, with the mystery ideally evoked in the pining strings.
Darrell Ang is about to go Dutch with the Inkpot...
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