Saturday 24 October 1998 Victoria Concert Hall |
Singapore Symphony Orchestra |
|
SERGEI RACHMANINOV Piano Concerto No.2 in C minor, op.18 (1900-1) DMITRI SHOSTAKOVICH Symphony No.11 in G minor, op.103 "The Year 1905" (1957)
Yakov KASMAN piano |
OVERALL NOISE RATING:
1 (The orchestra was too loud for any coughing to be heard)
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
Only upon the return of Conductor Emeritus Choo Hoey does the audience get treated to the likes of
tonight's program. Van Cliburn Silver Medalist Yakov Kasman joins the SSO in the beautiful
Rachmaninov Piano Concerto No. 2 in the first half of the program, followed by the daunting
Symphony No. 11 "The year 1905" by Dmitri Shostakovich. High expectations abound from those who
know the music. Surely, the SSO has come a long way to even dare attempt a repertoire such as
this, a challenging program which will definitely test the musicians onstage to their fullest.
A lingering thought at the back of one's mind is surely the heavy repertoire that might not
bother the performers but the audience. Still, we keep an open mind for one of the season's most
awaited concerts.
Rachmaninov's Second Piano Concerto is arguably the composer's most popular work. Written in 1901, it was
believed that the music was in part musical therapy for a nervous breakdown that was caused by
the severe criticism of his First Symphony premiered by an irresponsibly drunk Glazunov. Certainly not
the most demanding work for the virtuoso pianist by Rachmaninov's standards (as compared to
the Rach 3), it is certainly a piece that demands much more expression and involvement from the
performer. As my fellow reviewer put it, it will not even be close to "good enough" even if you
get all the notes right. Kasman certainly did get most of the notes right (and if I'm not
mistaken even added somes notes!) but most of the performance did not work for me at all. It was so
difficult to sit through that it was almost painful.
The performance did however start quite well. Kasman opted for a more sustained opening with an
increased use of the pedal. The orchestra took this more brooding reading of the music with
an intense entry that immediately struck me in its relentless pulsing caused by an emphasis on
the onbeats. Unfortunately, that was how the entire first movement went, dragging the music along
in its depressing mood. I kept feeling that Kasman was trying to push the music along, but Choo
seemed determined to keep it at that pace. The result: an inhibited performance with the pianist
trying hard to milk whatever emotion from Rachmaninov's beautiful melodic writing unassisted
by the conductor. Throughout the entire performance, this uneasy relationship between the soloist
and orchestra was an obstacle to the effective delivery of such "Romantic" music. On occasions, one
could even see a hint of frustration on Kasman's face.
The second movement is perhaps the most endearing, with it's heart-wrenching Romanticism. But because of this, it can be done badly through too much mushiness or being absolutely feelingless. Tonight,
it was the latter case. The entire movement was a chore to sit through. There were some
small discrepancies in the playing, starting with the flute solo that came in a tad
too flat in pitch. A glimmer of hope arose as the clarinet came in with its sublime melody
but that was soon over with some insensitive pizzicato from the celli. Kasman strangely
opted to play the entire melody in a detached fashion, with minimal use of pedal. There was
certainly an effort to phrase with projected emotion while trying not to get soppy but
it did not work for me at all. The orchestra was generally heavy sounding and almost listless:
something I had not expected to see in such beautiful music.
To be honest, I had almost given up on the whole thing by now. Choo Hoey's attempt to
liven things up with a more lively opening to the third movement pushed things on a little. But the music returned to its stagnant state, punctuated with some overdone climaxes that
were to foreshadow the Shostakovich performance later on, except it worked better there. The tempo
was again draggy and the orchestra responded with some sloppiness. The piece ended in frustration, as if Rachmaninov had not recovered
from his pessimism and apathy, much less in triumph. Regardless, the audience gave the effort a
generous round of ovation at the end of which Kasman treated us with a humorous account of
Prokovief's March from The Love of Three Oranges. Its mocking tone was rather ironic.
I think the issue is not Kasman's technique but more a matter of interpretation, and the
lack of musicianship. Clearly, the soloist is an excellent pianist
with fantastic technique, but as I mentioned before this is not going to help in this concerto.
Add to this a heightened expectation from the audience due to the immense accessibility and
popularity of the concerto just made it worse. I remember leaving the hall for the interval wondering how I was going to sit through the Shostakovich after such an unbearably long Rachmaninov.
I think we ought to hear some composers more often in Singapore, and one of them is Shostakovich.
We have been treated to much good Mahler this year, all well-appreciated by the audience.
I feel this is a sign that a step can be taken away from the more popular, conservative
programming and progress towards more daring works.
Shostakovich's Eleventh Symphony "The Year of 1905" is a programmatic work recounting the massacre
of unarmed citizens by the Tsar's soldiers in St. Petersburg's Palace Square. The work was
written to commemorate the uprising that followed and premiered on the fourth anniversary of the 1917 Russian
Revolution. Shostakovich's life had been plagued by political factors that resulted in official
reprimand of his music. This work won him the Lenin
medal for cultural achievment which proved to be a turning point for him in Russian eyes. He had already won over the rest of the world long ago from his First Symphony in 1926.
The SSO began serenely, suggesting the bleak snow-scape of the first movement. A tinge of sadness was felt from the detached chord movement. The orchestral colour that Shostakovich (right) conjures was
beautifully caught by the Orchestra, transparent and moving. The first few minutes of this was very effective, except for
the insensitive playing from the harps which came in consistently too loud in this soft passage.
However, due to the lack of momentum in the phrases, the movement became a long over-statement
and ineffective due to the overuse of atmospheric effects. Even the increasing dissonance did not seem
to break the "hypnotic effect" of the music. The solos in the brass
were extremely well taken on the whole and managed to maintain interest with each of their
entrances. The lack of direction in the music was worrying as there was still a lot of the
symphony to go!
A restless string rhythm begins the second movement that is suppose to refer to the day the
group of workers went to the Palace to plead with the Tsar. I thought the tempo here was way too slow, but perhaps Choo chose it so that the Orchestra could technically handle the music. My doubts were dispelled by some good sections from the orchestra. In this movement, we
saw and heard some passionate playing from the SSO, ably lead by the brass, culminating in
some exhilarating tutti passages with the timpani banging away. All this is highly characteristic of Shostakovich's music, and I must say, in its own bashful way, it is highly moving. A subito piano passage that recalls the first movement was well-timed and delivered, though ensemble-playing was not consistent. After what seemed an eternity due to the lack of direction, the orchestra built into one of the most powerful climaxes in the whole piece, tam-tam and all. I think if the soft passages were more effective, the climax here would be more meaningful instead of being just plain impressive in all its empty loudness and grandeur.
The third movement was unimpressive and mundane. The viola melody was well-taken but I lost
interest in it after a while. Shostakovich's constant use of the pulsing rhythm, here presented by the timpani once again, and later joined by a trumpet, is perhaps irritatingly repetitive at this point but as with any programmatic piece, every musical idea must
be (made) meaningful. However, I did not get even the slightest hint of what that is from this interpretation.
Despite a certain lack of direction in the performance, it was an encouraging effort. At worst, tempos were sacrificed for no apparent reason while the 'lack of mood' resulted in
some listless playing from the SSO musicians. But Choo Hoey conducted with much clarity and
energy and that gets an A+ for effort. Nevertheless, I think he should spare more time refining the orchestra with regards to this kind of music. Being the proponent of so much new, unusual and/or refreshing music in the SSO programming nowadays, this can only serve well in his efforts to educate both audience and musicians.
Left: Sergei Rachmaninov - painting by Boris Chaliapin.
The Eleventh is not as epic in proportion as the Tenth but still demands a lot
from a large orchestra, especially the wind. Credit goes to Choo Hoey
for programming such a work for it surely shows that the SSO has indeed matured beyond just
playing popular stuff. The impressive SSO brass section had a field day bearing its fangs in the demanding passages, displaying their magnificent prowess, big sound and cutting edge.
In the final movement, the SSO played uninhibitedly but not always with the passion the music demanded. No doubt extremely impressive, but I think that Choo Hoey (left) could have balanced up
the ffff sections as well. The balance in the loud sections are crucial to allow for some interesting harmonies to penetrate. The final English horn solo was played beautifully. The first movement returns to haunt us once again before the music rushes off to a finish, emphasising the darker sounds of the lower winds. But due again to the difficulty in balancing such a large work, the chime-bells motifs in the end failed to achieve its effect - as my fellow reviewer pointed out, the final bell was almost inaudible. Remarkably, the finish was triumphantly brilliant and was met with enthusiastic rounds of grateful applause from the audience. Choo Hoey rightly directed attention to the brass and the woodwinds and the applause noticeably intensified for these deserving players.
Adrian Tan thinks that they should warn unaware audiences, in the first rows especially, of the dangers during Shostakovich symphonies.
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325: 26.10.1998 ©Adrian Tan
Readers' Comments
From: CK Chua (chuages@pacific.net.sg / Thursday, October 29, 1998 at 10:58:28)
Shostakovich's 11th is excrutiatingly boring. He wrote much better music in almost every other symphony(except the 7th). Surely SSO could have programmed something else by this genius of a composer. A symphony like that requires real commitment and advocacy. SSO and Choo Huey are not the right partnership for this music.
From: Derek Lim (dereklim@hotmail.com / Tuesday, November 10, 1998 at 16:04:49)
Hi, CK Chua, it's interesting that you find DSCH's 11th boring music -- it does take a long time, but it lost my attention the first time I listened to it only in the (very quiet) third movement. The 7th does take some work as well, but then again, DSCH was never said to be easy music, and it tends to be good brain food -- one usually leaves it enriched. And of course Mahler too. =) It does need true advocacy and conviction -- unfortunately it's often the case that nothing comes all together at once, and I for one am glad to be able to hear this symphony live -- recordings are all very good, but nothing beats the live performance, right? Anyway who can claim to be able to get the whole orchestra hypnotized with the music of lesser known composers? Even Bernstein had difficulty with the VPO. Hope to hear from you soon, Your resident Mahler-writer, Derek
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