Featuring:
- Einojuhani Rautavaara Before the Icons Australian Premiere
- Saint-Saens Violin Concerto No. 3 in B minor
- Richard Strauss Also sprach Zarathustra
Janine Jansen - Violin
Vladimir Ashkenazy - Conductor
This concert is a little bit out of ordinary for me because of several reasons: I attended the open rehearsal of this concert on Wednesday that week, got a free ticket to the Thursday concert on Wednesday night. I then went to the concert on Thursday night, only have to be leaving early because of my other commitments, and finally went back again to the concert on Saturday - almost LATE! - for the full concert.
Let's start with the rehearsal. It was really the first time for me seeing MSO rehearse in Hamer Hall. The sight of musicians wearing casual shirts is interesting, very much contrasting to their formal attire during concert. More interesting sight is the shirts that Ashkenazy and Janine Jansen wore during rehearsal. They both wore a plain white shirt, but with a black and white picture of a composer imprinted in front of the shirt. I wasn't really sure who was the composers, but my best guess for Ashkenazy's is either Richard Strauss or Mahler and I'm 90% sure that Jansen was wearing Saint-Saens shirt (another 10% goes to Verdi).
The rehearsal started with Saint-Saens' violin concerto. There wasn't as much interaction between the conductor, soloist and orchestra apart from three or four interruptions during the first movement of the concerto. A little bit nitpicking here and there from Ashkenazy and that's about it. The same story goes with the 2nd and 3rd movement. Jansen played beautifully during the rehearsal, and I like her performance during rehearsal better compared to her Thursday's performance. After that, they went on playing the whole concerto again and that's it.
To my disappointment, I couldn't witness the orchestra rehearsing Strauss' Zarathustra. Instead, Rautavaara's Before the Icons were rehearsed and this time, there were a lot more discussions between the orchestra and Ashkenazy. The music didn't hit home for me, but I grew to finally like it during Saturday's performance.
There was some drama going on with the audience sitting just in front of me on Thursday performance. There were this elderly couple which behaved in perfectly fine manner until the middle of the Rautavaara piece. The lady started passing a candy to her husband, and they both started unwrapping the candy and they both did it in how a person would do thing in concert hall: quietly. However, unwrapping candy quietly in concert hall is no easy feat, and it would actually took longer than the usual time to unwrap it. As most people are aware of, the unwrapping sound is rather distracting, and is actually one of the deadly sins in going to concert. Their attempt went on for one minute before I noticed one lady sitting in front of the couple started shooking her head. The usher then came and tried to ask them to stop. Unfortunately, it was in the middle of quiet passage, so the usher had to use some hand signs to convey the message which was not understood by the gentleman. The lady wasn't too happy being told by the usher, and muttered her disgust. The usher, thinking that her message was understood, left the couple, but would you believe it, the couple continued unwrapping the candy! It took a gentleman who sat in front of the couple to turn around and cast his disgusted look and expression to the lady before the lady started to realise what's wrong with her. With that, I lost 3 to 5 minutes trying to enjoy the piece, and subsequently I did not get the rest of the piece. A pure disaster, and I'm sure I wasn't the only one who felt this way.
Jumping straight to Saturday, I myself almost committed another sin in going to concert - being late! I was solving this hard Samurai Sudoku (I solved it before the concert, if you wonder :) ) before I realised that I was running out of time to go to concert. I arrived there seconds before the performance started and had to inconvenient quite a number of people because I was sitting in the middle row. Okay, now to the performance..
The Rautavaara piece was described as a 'Pictures at an Exhibition', a series of musical portray of one standing before these Orthodox icons: 'The Death of the Mother of God', 'Two Village Saints', 'Black Madonna of Blakernaya', 'The Baptism of Christ', 'The Holy Women at the Sepulchre', and 'Archangel Michael Fighting the Antichrist'. The equivalent of 'Promenade' in this piece is called the 'Prayer'. The piece started out with two big bangs, only to be really quiet for a long long time, until we reached the 'Two Village Saints' where the playful folk theme echoed in winds and strings. Then it continued again, but to be honest, I'm not sure where the music were until we reached the end of the piece. There were one melody that I loved in the piece that was played by the strings, and one nice chorale played by the brass during the end. If I were to sum up the piece, I would say it is an impressionistic piece with plenty of modern harmonies imbued - not unlike Takemitsu's pieces.
After being challenged by 'Before the Icons', we were sweetened by the romantic third violin concerto of Saint-Saens. Here, the music is much more accessible, the playing of the soloist was great and supported well by the orchestra. The gorgeous melody in the second movement was very much suited with Jansen's lovely tone. The duet between the clarinet and the soloist is quiet beautiful. The third movement showed some fast, close to furious, playing from the soloist and the joyful end of the movement brought much applause from the audience. Comparing the performance of the Thursday and Saturday, I've found that there were some not-so-perfect notes during some of the moments when the soloists needed to play ascending notes. Other than that, I loved her playing very much. She looks gorgeous in her dress (she wore the same dress on Thursday and Saturday), played elegantly with some knee flexing actions involved. She looked totally involved in the music, 'banging' her head during some of the orchestral tuttis and marching passages. Also, she gave a beautiful rendering of Bach's Sarabande from the 2nd Partita for solo violin as the encore for both performances. Lovely tone, although I prefer Bach to be played in more masculine tone.
On Thursday, I left early during the Zarathustra and felt a little bit underwhelmed by the famous opening. It simply wasn't grand enough. The section following the opening was gorgeous and I left during 'Of the Great Longing' when the organ played the quotation from the Magnificat - IIRC. The Saturday's performance was a great one, this time the opening was grand. The timpani stroke was as powerful as it can be, the brass was amazing and the organ in the end (whoa!). The rest of the movements were played very much straight forward, with credits must be given to the orchestra's front-desk strings for fine playing. Love the two gorgeous ladies from the viola section. One distracting thing during this performance is the sound of Ashkenazy's watch when he conducted the piece.
A very fine concert, with a chance to see two musical giants in the same concert. The concert was quite popular, around 90% of the seats were occupied. The next concert is actually today's ACO concert (embarrassment of the riches - too much fine music in a space of less than 24 hours!), I'll blog about it later.
Sunday, 15 March 2009
Sunday, 8 March 2009
Melbourne Symphony Orchestra concert 6 March 2009 - Resurrection
Featuring:
- Lili Boulanger Psalm 129 for chorus and orchestra Australian Premiere
- Mahler Symphony No. 2 'Resurrection'
Penelope Mills - Soprano
Bernadette Cullen - Mezzo-soprano
Melbourne Symphony Orchestra Chorus: Jonathan Grieves-Smith - Chorus Master
Oleg Caetani - Conductor
First MSO concert in Hamer Hall this season, and it was a great one. It started with Lili Boulanger's settings of Psalm 129. The piece was great, and the orchestra played well. My minor complaint was the slight unclear French pronunciation of the choir. The irony of this piece is that, while on its own it can make a great impression on attention-paying audience, it is soon subdued by Mahler's symphony and couldn't have a greater effect.
Mahler's symphonies are always titanic, and I don't think any sensible directors will ever place his symphonies to start a concert. Just like Sviatoslav Richter's comment on Beethoven's Appassionata sonata: "It always belong to the end of a piano recital, since there cannot be anything grander, so that anything that comes after will only be diminished in effect by the boundless force of this music." However, the Resurrection symphony won't only diminish any music that comes after it (fortunately, there weren't any that night), but it also negated the effect of music that came before it, i.e. Boulinger's Psalm 129 settings. Clive O'Connell, The Age reviewer of this concert, did not even mention Boulinger's music in his review although it was the Australian Premiere of that music.
The good thing about the concert is, it was one of the best concert I've attended in MSO. Starting with the sudden outburst in strings, and the grim funeral theme (with emphasis in the first note of the theme) in cello and basses, the first movement transformed into something lighter in the second theme of the movement courtesy of fine playing from the winds section. Then the funeral march came back again, cymbals crashing to mark the climax of the movement in I don't know how many f's. The climax needs to be overwhelming and the loud dynamics from the orchestra helped to achieve that effect. It's probably in the same level of dynamics as the finale of Mahler 1 when I attended it around one year ago. The grimness of this movement cannot be denied when we reached the end of the first movement. The double basses are very fine throughout providing clear base line and credit to harp sections for their clear, precise playing.
The second movement brought back the nostalgic feeling with some troubled episode in between. It was played clean, and crisp: the viola section gave a wonderful reading of their part which I think is one of the most beautiful theme composed by Mahler.
The timpani stroke which opened the third movement cannot be any more clear as a wake up call, and the principal timpanist played it to great effect. Great playing, with the cry of despair moment might have actually scared off some people who have not accustomed with this symphony yet.
The Urlicht came tenderly, the mezzo soprano gave a wonderful reading of it. Credit also to the principal oboist giving a beautiful duet with the mezzo.
The cry of despair came back again to signal the beginning of the finale, and the resurrection theme was announced. The brass section was really wonderful that night: trombones, trumpets, horns sections played their hearts out. Caetani really paid attention to small details: The offstage brass achieved the desired effect, the little trills in the woodwinds are emphasised. The march of the dead was hair rising. The choir then came in, the duet of Soprano and Mezzo soprano was good, but could be more heart-melting, the end was overwhelming as it could be, but unfortunately THE ORGAN WAS NOT INVOLVED IN THE END!! To be honest, that is my main disappointment of the performance, apart from minor wrong note playing from the horns.
It also needs to be noticed that the woodwinds section lift their instruments when playing several passages, as with the horn section. There were 30 violins (16 first, 14 second), the largest I've seen so far, if I remember correctly. There was a poor violist who played by herself behind the other pairs because there was no more room in the stage to fit another violist. And what sound did 10 horns make in the end! The 85% full hall gave a rousing applause at the conclusion of the piece. It must have been around 10 minutes of applause for the orchestra in the end.
For me, I practically had goose bumps all over during the first and third movements. In the fifth movement, I can barely contain myself to not join the choir singing the Resurrection text and also not to sing out the main theme from the orchestra of which I know by heart. I left the concert emotionally drained. Such an effect this symphony has for its listeners, I am still moved every time (although I've listened to it for 30-40 times already). This concert serves as a reminder to me: Mahler is always best live. And also, "Wouldn't you just die without Mahler?"
Next concert: Ashkenazy (Yes, Vladimir Ashkenazy) in Strauss' epic Also Sprach Zarathustra + Janine Jansen playing Saint Saens' 3rd violin concerto next week.
- Lili Boulanger Psalm 129 for chorus and orchestra Australian Premiere
- Mahler Symphony No. 2 'Resurrection'
Penelope Mills - Soprano
Bernadette Cullen - Mezzo-soprano
Melbourne Symphony Orchestra Chorus: Jonathan Grieves-Smith - Chorus Master
Oleg Caetani - Conductor
First MSO concert in Hamer Hall this season, and it was a great one. It started with Lili Boulanger's settings of Psalm 129. The piece was great, and the orchestra played well. My minor complaint was the slight unclear French pronunciation of the choir. The irony of this piece is that, while on its own it can make a great impression on attention-paying audience, it is soon subdued by Mahler's symphony and couldn't have a greater effect.
Mahler's symphonies are always titanic, and I don't think any sensible directors will ever place his symphonies to start a concert. Just like Sviatoslav Richter's comment on Beethoven's Appassionata sonata: "It always belong to the end of a piano recital, since there cannot be anything grander, so that anything that comes after will only be diminished in effect by the boundless force of this music." However, the Resurrection symphony won't only diminish any music that comes after it (fortunately, there weren't any that night), but it also negated the effect of music that came before it, i.e. Boulinger's Psalm 129 settings. Clive O'Connell, The Age reviewer of this concert, did not even mention Boulinger's music in his review although it was the Australian Premiere of that music.
The good thing about the concert is, it was one of the best concert I've attended in MSO. Starting with the sudden outburst in strings, and the grim funeral theme (with emphasis in the first note of the theme) in cello and basses, the first movement transformed into something lighter in the second theme of the movement courtesy of fine playing from the winds section. Then the funeral march came back again, cymbals crashing to mark the climax of the movement in I don't know how many f's. The climax needs to be overwhelming and the loud dynamics from the orchestra helped to achieve that effect. It's probably in the same level of dynamics as the finale of Mahler 1 when I attended it around one year ago. The grimness of this movement cannot be denied when we reached the end of the first movement. The double basses are very fine throughout providing clear base line and credit to harp sections for their clear, precise playing.
The second movement brought back the nostalgic feeling with some troubled episode in between. It was played clean, and crisp: the viola section gave a wonderful reading of their part which I think is one of the most beautiful theme composed by Mahler.
The timpani stroke which opened the third movement cannot be any more clear as a wake up call, and the principal timpanist played it to great effect. Great playing, with the cry of despair moment might have actually scared off some people who have not accustomed with this symphony yet.
The Urlicht came tenderly, the mezzo soprano gave a wonderful reading of it. Credit also to the principal oboist giving a beautiful duet with the mezzo.
The cry of despair came back again to signal the beginning of the finale, and the resurrection theme was announced. The brass section was really wonderful that night: trombones, trumpets, horns sections played their hearts out. Caetani really paid attention to small details: The offstage brass achieved the desired effect, the little trills in the woodwinds are emphasised. The march of the dead was hair rising. The choir then came in, the duet of Soprano and Mezzo soprano was good, but could be more heart-melting, the end was overwhelming as it could be, but unfortunately THE ORGAN WAS NOT INVOLVED IN THE END!! To be honest, that is my main disappointment of the performance, apart from minor wrong note playing from the horns.
It also needs to be noticed that the woodwinds section lift their instruments when playing several passages, as with the horn section. There were 30 violins (16 first, 14 second), the largest I've seen so far, if I remember correctly. There was a poor violist who played by herself behind the other pairs because there was no more room in the stage to fit another violist. And what sound did 10 horns make in the end! The 85% full hall gave a rousing applause at the conclusion of the piece. It must have been around 10 minutes of applause for the orchestra in the end.
For me, I practically had goose bumps all over during the first and third movements. In the fifth movement, I can barely contain myself to not join the choir singing the Resurrection text and also not to sing out the main theme from the orchestra of which I know by heart. I left the concert emotionally drained. Such an effect this symphony has for its listeners, I am still moved every time (although I've listened to it for 30-40 times already). This concert serves as a reminder to me: Mahler is always best live. And also, "Wouldn't you just die without Mahler?"
Next concert: Ashkenazy (Yes, Vladimir Ashkenazy) in Strauss' epic Also Sprach Zarathustra + Janine Jansen playing Saint Saens' 3rd violin concerto next week.
Saturday, 28 February 2009
Some interesting music I've recently discovered
Prokofiev's 3rd Piano Concerto - AWESOME! It's so witty, it's so Prokofiev. The coda of the last movement is like a never ending ecstasy. The relentless strings against the piano - very exciting!
Schubert's D. 958 (Piano Sonata #19), D. 959 (Piano Sonata #20), and D. 944 (Symphony No. 9). Schubert is moving up fast in my playlist. He wrote music with such purity and brilliance, I cannot fail to stand in awe when listening to his music. The slow movements of both D. 958 and D. 959 can bring me down anytime, while the slow movement of D. 944 stuck in my head for hours when I first time listened to it. I am never and will never be tired when listening to his masterpieces. They're just timeless.
Berlioz's Harold in Italy - after several listening, I begin to like this piece very much. It's like Symphony Fantastique, but just a tad less fantastic. It's still great anyway.
Mahler's 9th symphony - a tough one to crack, just like the rest of Mahler. But as usual, the reward of being persistent listening to it is very high! I can't say I understand the symphony perfectly - who ever does? - but if you're not carried away in the climax of the finale where basically it seems like Mahler himself is finally saying his last goodbye to the world in a very neurotic fashion, something is seriously wrong with you.
Bach's Goldberg Variations - what a piece! I bought Pinnock's recording of it on the harpsichord. Wonderful recording and playing. I've also listened to Gould's 81 recording in Youtube. Vastly different interpretation and sound (piano vs. harpsichord), but they're both very enjoyable. The minor key variations are something special, the canons are amazing. And what an effect that Aria has when it is played again in the end! It's like telling the listener, you have arrived at the end of the journey, sit back and relax, reminisce about the journeys you just took while not forgetting where you start your journey from. Glorious piece!
Schubert's D. 958 (Piano Sonata #19), D. 959 (Piano Sonata #20), and D. 944 (Symphony No. 9). Schubert is moving up fast in my playlist. He wrote music with such purity and brilliance, I cannot fail to stand in awe when listening to his music. The slow movements of both D. 958 and D. 959 can bring me down anytime, while the slow movement of D. 944 stuck in my head for hours when I first time listened to it. I am never and will never be tired when listening to his masterpieces. They're just timeless.
Berlioz's Harold in Italy - after several listening, I begin to like this piece very much. It's like Symphony Fantastique, but just a tad less fantastic. It's still great anyway.
Mahler's 9th symphony - a tough one to crack, just like the rest of Mahler. But as usual, the reward of being persistent listening to it is very high! I can't say I understand the symphony perfectly - who ever does? - but if you're not carried away in the climax of the finale where basically it seems like Mahler himself is finally saying his last goodbye to the world in a very neurotic fashion, something is seriously wrong with you.
Bach's Goldberg Variations - what a piece! I bought Pinnock's recording of it on the harpsichord. Wonderful recording and playing. I've also listened to Gould's 81 recording in Youtube. Vastly different interpretation and sound (piano vs. harpsichord), but they're both very enjoyable. The minor key variations are something special, the canons are amazing. And what an effect that Aria has when it is played again in the end! It's like telling the listener, you have arrived at the end of the journey, sit back and relax, reminisce about the journeys you just took while not forgetting where you start your journey from. Glorious piece!
Melbourne Symphony Orchestra concert 27 February 2009 - Figaro, Franckly
Featuring:
- Mozart The Marriage of Figaro: Overture
- Villa-Lobos Concerto for guitar and small orchestra
- Franck Symphony in D minor
Edoardo Catemario - Guitar
Oleg Caetani - Conductor
New year, new season concert. Before this opening concert, MSO played 4 free concerts in Sidney Myer Music Bowl. They're all marvelous, the highlight for me is the playing of Rachmaninov's 2nd Piano Concerto, Gershwin Piano Concerto, Schubert's 9th Symphony, Rodrigo's Concerto de Aranjuez, and the most-remarkable concert of Beethoven's 9th symphony where almost all of the audience gave a standing ovation to.
One thing that is always to be grateful to when attending the Town Hall concert is the free organ recital by Calvin Bowman. It's more to be appreciated this season, because another free pre-concert program: the music talk is not going to exist this season. On the organ recital program, we have Bach's Fantasia and Fugue in G minor, BWV 542. The Fantasia part is a little bit too fantasia to my taste and also I blame my late arrival to the concert hall to not be able to listen to the fantasia from the start. The fugue, however, is wonderful, as expected from the master of Fugue himself. The next program is Wesley's An old English Meldoy arranged by A.E. Floyd. It's a short piece, with folk music being the main tune of the piece. Quite enjoyable. The piece that made the best impression of the night is the 2 movements of Widor's Symphony No. 5. Dr. Bowman played the Adagio and Toccata from the symphony.
On to the concert. It was good, but not great concert. It doesn't help that the program is too short. Mozart's Overture to the Marriage of Figaro always entertains, but I was quite disappointed with the guitar concerto by Villa-Lobos. While it contains some interesting passages, the second movement doesn't work too well although the soloist's playing of the cadenza is great. The finale is hardly exciting, I was quite bored with it to be honest. However, the encore given by the soloist is amazing. Unfortunately, I did not catch what piece is that and who composed it when the soloist mentioned it.
Franck's symphony in D minor turns out to be the surprise of the night, it was actually quite interesting. The Leitmotif is present throughout the symphony and I was impressed by the creativity in the 2nd movement. The main theme of the finale is a little bit too pretty and popular-sounding, but when the full brass section blasted it towards the end, you cannot help but overwhelmed to the sound. Great performance from MSO. Mascagni's Intermezzo from Cavalleria Rusticana is the encore by the orchestra for the night.
Next week's concert: Mahler's 2nd symphony. Enough said. Can't wait for it!
- Mozart The Marriage of Figaro: Overture
- Villa-Lobos Concerto for guitar and small orchestra
- Franck Symphony in D minor
Edoardo Catemario - Guitar
Oleg Caetani - Conductor
New year, new season concert. Before this opening concert, MSO played 4 free concerts in Sidney Myer Music Bowl. They're all marvelous, the highlight for me is the playing of Rachmaninov's 2nd Piano Concerto, Gershwin Piano Concerto, Schubert's 9th Symphony, Rodrigo's Concerto de Aranjuez, and the most-remarkable concert of Beethoven's 9th symphony where almost all of the audience gave a standing ovation to.
One thing that is always to be grateful to when attending the Town Hall concert is the free organ recital by Calvin Bowman. It's more to be appreciated this season, because another free pre-concert program: the music talk is not going to exist this season. On the organ recital program, we have Bach's Fantasia and Fugue in G minor, BWV 542. The Fantasia part is a little bit too fantasia to my taste and also I blame my late arrival to the concert hall to not be able to listen to the fantasia from the start. The fugue, however, is wonderful, as expected from the master of Fugue himself. The next program is Wesley's An old English Meldoy arranged by A.E. Floyd. It's a short piece, with folk music being the main tune of the piece. Quite enjoyable. The piece that made the best impression of the night is the 2 movements of Widor's Symphony No. 5. Dr. Bowman played the Adagio and Toccata from the symphony.
On to the concert. It was good, but not great concert. It doesn't help that the program is too short. Mozart's Overture to the Marriage of Figaro always entertains, but I was quite disappointed with the guitar concerto by Villa-Lobos. While it contains some interesting passages, the second movement doesn't work too well although the soloist's playing of the cadenza is great. The finale is hardly exciting, I was quite bored with it to be honest. However, the encore given by the soloist is amazing. Unfortunately, I did not catch what piece is that and who composed it when the soloist mentioned it.
Franck's symphony in D minor turns out to be the surprise of the night, it was actually quite interesting. The Leitmotif is present throughout the symphony and I was impressed by the creativity in the 2nd movement. The main theme of the finale is a little bit too pretty and popular-sounding, but when the full brass section blasted it towards the end, you cannot help but overwhelmed to the sound. Great performance from MSO. Mascagni's Intermezzo from Cavalleria Rusticana is the encore by the orchestra for the night.
Next week's concert: Mahler's 2nd symphony. Enough said. Can't wait for it!
Wednesday, 3 December 2008
Melbourne Symphony Orchestra concert 28 November 2008 - The Firebird
Featuring:
- Beethoven Leonore Overture No. 2
- Debussy La mer
- Stravinsky The Firebird - complete ballet music
Oleg Caetani - Conductor
Last concert of the season for me - and it was wonderful!
For that night Town Hall series, Calvin Bowman played Bach's Kyrie, Gott heiliger Geist, BWV 671 and the organ rendition of the famous cantata Wachet auf, ruft uns die Stimme BWV 645, a rather short piece by John Stanley Suite in D, the fairy garden movement from Ravel's Ma mere L'oye and two pieces by Percy Whitlock Preambule and Exultemus.
The second Leonore overture is probably always been overshadowed by its more dramatic brother third overture and played much more infrequently. It's still one heck of a fine piece of music and MSO gave a wonderful reading of it. Caetani's elegant conducting was wonderful as usual. All sections of the orchestra were very fine but the performance was let down a little bit by a slightly inaccurate playing of the offstage brass. I was hugely disappointed by lukewarm applause by the audience - not even a curtain call for Caetani after such wonderful performance. Was it because this overture is not a piece that most audience is familiar with?
None of it matters since the next piece is - IMHO - Debussy's finest orchestral music La mer. It took me quite a while to like this piece when I first started listening to it. Until one day, I was lying on my bed while listening to it and the whole thing just clicked - the journey to midday from sunrise in the first movement, the playful waves in the second movement, and the stormy finale of the finale. In fact, the make or break of a La mer performance is whether the performance is able to make me feel and picture the waves come crashing down in the finale. That night's performance succeeded in making me feel that way but I have just slight reservations with the playing of the second movement. All in all, it was a very good performance. The icing on the cake is the sight of the orchestra in full force - I always love to see that.
The last piece of the night was Stravinsky's Firebird. When I first listened to it, I wasn't really impressed with the very long quiet opening, and the music sounded quite boring at times. I still have that kind of feeling when listening to it live in the performance, but this time, the marvelous ending won me over. The ending is uplifting as it can possibly be and the audience seemed to be very pleased with it. Huge applause followed and we were given an encore of another Stravinsky's piece Fireworks, a short piece showcasing orchestral virtuosity.
In summary, a very good night out and a memorable concert to end this season's concert-going experience for me.
- Beethoven Leonore Overture No. 2
- Debussy La mer
- Stravinsky The Firebird - complete ballet music
Oleg Caetani - Conductor
Last concert of the season for me - and it was wonderful!
For that night Town Hall series, Calvin Bowman played Bach's Kyrie, Gott heiliger Geist, BWV 671 and the organ rendition of the famous cantata Wachet auf, ruft uns die Stimme BWV 645, a rather short piece by John Stanley Suite in D, the fairy garden movement from Ravel's Ma mere L'oye and two pieces by Percy Whitlock Preambule and Exultemus.
The second Leonore overture is probably always been overshadowed by its more dramatic brother third overture and played much more infrequently. It's still one heck of a fine piece of music and MSO gave a wonderful reading of it. Caetani's elegant conducting was wonderful as usual. All sections of the orchestra were very fine but the performance was let down a little bit by a slightly inaccurate playing of the offstage brass. I was hugely disappointed by lukewarm applause by the audience - not even a curtain call for Caetani after such wonderful performance. Was it because this overture is not a piece that most audience is familiar with?
None of it matters since the next piece is - IMHO - Debussy's finest orchestral music La mer. It took me quite a while to like this piece when I first started listening to it. Until one day, I was lying on my bed while listening to it and the whole thing just clicked - the journey to midday from sunrise in the first movement, the playful waves in the second movement, and the stormy finale of the finale. In fact, the make or break of a La mer performance is whether the performance is able to make me feel and picture the waves come crashing down in the finale. That night's performance succeeded in making me feel that way but I have just slight reservations with the playing of the second movement. All in all, it was a very good performance. The icing on the cake is the sight of the orchestra in full force - I always love to see that.
The last piece of the night was Stravinsky's Firebird. When I first listened to it, I wasn't really impressed with the very long quiet opening, and the music sounded quite boring at times. I still have that kind of feeling when listening to it live in the performance, but this time, the marvelous ending won me over. The ending is uplifting as it can possibly be and the audience seemed to be very pleased with it. Huge applause followed and we were given an encore of another Stravinsky's piece Fireworks, a short piece showcasing orchestral virtuosity.
In summary, a very good night out and a memorable concert to end this season's concert-going experience for me.
Sunday, 16 November 2008
Australian Chamber Orchestra concert 10 November 2008 - Euphoric Tour
Featuring:
- Prokofiev - Symphony No. 1 in D major, 'Classical'
- Brahms - Double Concerto for violin and cello
- Beethoven - Symphony No. 8 in F major
My first ACO concert. My first time purchasing student ticket - $18.00 (very cheap!). Got a seat high up in the balcony. This will be the last time I sat at the balcony in Hamer Hall, I just couldn't stand looking down at a very sharp angle for a long long time. I was quite lucky that I still able to see the lead violinist - if I were to be seated a couple more seats up, seeing the soloists would be impossible.
Prokofiev's classical symphony is a very fine music - 'witty' is the adjective that I use to describe this symphony. All movements were very much enjoyable with the last two movements pleased me the most. Surely it's time to check out Prokofiev's other symphonies?
Brahms Double Concerto was a little bit disappointing. Did not really enjoy the performance and I even thought the musical lines were muddy at times. Not even the lovely theme of the Andante engaged me in the performance. The finale fared much better, but as a whole, the performance did not satisfy me as much as the legendary Rostropovich, Oistrakh and Szell recording on EMI. We were given a small piece as an encore, I couldn't really recall what the piece was, but it was a duet between violin and cello, both of them playing pizzicato throughout.
Beethoven 8 was the highlight of the night. Although it's not as famous as the big Beethoven symphonies (think of the Third (Eroica), Fifth, Sixth (Pastorale), Seventh and Ninth), this is the only symphony of Beethoven that never failed to made me grin from the beginning till the end. The whole symphony is just pure fun! Listen to the big opening movement, the playful scherzo of the second movement, the minuet and the fantastic trio of the third movement and the musical jokes in the final movement! The performance was very fine throughout - the fast tempo taken definitely helped as well. The playing of the timpanist was really fine in the final passages of the last movement and it was very exciting to watch him hitting the kettledrums!
After Beethoven 8, Richard Tognetti gave a small 'speech' about the future closure of ANAM at the end of this year. At the end of his speech, he suddenly announced that students from ANAM will join the ACO to give the audience two encores: Tchaikovsky's Waltz of Flower from the Nutcracker and Sibelius' 'Scene with Cranes' suite from the tone poem from Kuolema.
I am one out of the many people who is very disappointed with the federal government decision to stop funding Australian National Academy of Music (ANAM), effectively closing it down at the end of this year. I've attended several concerts of ANAM students in South Melbourne Town Hall and have enjoyed immensely some of the programs offered. Particularly fond in my memory are the gorgeous performance of Mozart's Wind Quintet K. 452 and Sonata for Two Pianos K. 448. Also, a very memorable night of Schubert's concert by Emmanuel Ax who was invited to give masterclass in the academy. I urge everyone to sign the online petition to stop government from closing the academy which can be found in ANAM website.
- Prokofiev - Symphony No. 1 in D major, 'Classical'
- Brahms - Double Concerto for violin and cello
- Beethoven - Symphony No. 8 in F major
My first ACO concert. My first time purchasing student ticket - $18.00 (very cheap!). Got a seat high up in the balcony. This will be the last time I sat at the balcony in Hamer Hall, I just couldn't stand looking down at a very sharp angle for a long long time. I was quite lucky that I still able to see the lead violinist - if I were to be seated a couple more seats up, seeing the soloists would be impossible.
Prokofiev's classical symphony is a very fine music - 'witty' is the adjective that I use to describe this symphony. All movements were very much enjoyable with the last two movements pleased me the most. Surely it's time to check out Prokofiev's other symphonies?
Brahms Double Concerto was a little bit disappointing. Did not really enjoy the performance and I even thought the musical lines were muddy at times. Not even the lovely theme of the Andante engaged me in the performance. The finale fared much better, but as a whole, the performance did not satisfy me as much as the legendary Rostropovich, Oistrakh and Szell recording on EMI. We were given a small piece as an encore, I couldn't really recall what the piece was, but it was a duet between violin and cello, both of them playing pizzicato throughout.
Beethoven 8 was the highlight of the night. Although it's not as famous as the big Beethoven symphonies (think of the Third (Eroica), Fifth, Sixth (Pastorale), Seventh and Ninth), this is the only symphony of Beethoven that never failed to made me grin from the beginning till the end. The whole symphony is just pure fun! Listen to the big opening movement, the playful scherzo of the second movement, the minuet and the fantastic trio of the third movement and the musical jokes in the final movement! The performance was very fine throughout - the fast tempo taken definitely helped as well. The playing of the timpanist was really fine in the final passages of the last movement and it was very exciting to watch him hitting the kettledrums!
After Beethoven 8, Richard Tognetti gave a small 'speech' about the future closure of ANAM at the end of this year. At the end of his speech, he suddenly announced that students from ANAM will join the ACO to give the audience two encores: Tchaikovsky's Waltz of Flower from the Nutcracker and Sibelius' 'Scene with Cranes' suite from the tone poem from Kuolema.
I am one out of the many people who is very disappointed with the federal government decision to stop funding Australian National Academy of Music (ANAM), effectively closing it down at the end of this year. I've attended several concerts of ANAM students in South Melbourne Town Hall and have enjoyed immensely some of the programs offered. Particularly fond in my memory are the gorgeous performance of Mozart's Wind Quintet K. 452 and Sonata for Two Pianos K. 448. Also, a very memorable night of Schubert's concert by Emmanuel Ax who was invited to give masterclass in the academy. I urge everyone to sign the online petition to stop government from closing the academy which can be found in ANAM website.
Ensemble Liaison & Friends - Concert 4: Lullaby & Doina
4 November 2008
Featuring:
- Beethoven - Cello Sonata No. 4 in C major, Op. 102 No. 1
- Jean Franciax - Theme and Variations for Clarinet and Piano
- Osvaldo Golijov - Lullaby and Doina for Flute, Clarinet and Strings
- Schubert - Piano Quintet in A major, D. 667 "The Trout"
Ensemble Liaison:
- Svetlana Bogosavljevic - Cello
- David Griffiths - Clarinet
- Timothy Young - Piano
Friends:
- Wilma Smith - Violin
- Katie Chilmaid - Violin
- Simon Oswell - Viola
- Alex Henery - Double Bass
- Mardi McSullea - Flute
There's reason for late reviews: these past few weeks had been quite hectic. Assignments, exams, and old/new personal problems had taken their tolls on me and I just did not have time to do blogging. I'll try my best to recall the experience of this concert.
I have never listened to any of the pieces from that night's concert before.
Short summary:
Wasn't really impressed with Beethoven's Cello Sonata. Sure, there were some brilliant passages, but on a whole, it wasn't quite memorable. Also, the cellist sounded a little bit overwhelmed by the pianist in this performance.
The Franciax's piece was described by the clarinetist as a 'circus music' and he couldn't describe it better. A very challenging piece for clarinetist to perform - plenty of notes in fast tempo portraying fun and bouncy atmosphere of a circus act is what came into my mind when listening to it.
Golijov's piece was another interesting one. It was apparently used in the 2000 movie The Man Who Cried starring Johnny Depp and Cate Blanchett. The music was quite haunting and started out very somber. In the middle of the piece, after the double bass player put down his bow and took a deep breath, the music picked up its tempo and the double bass player launched himself to a prolonged, very exciting to watch, fast pizzicato passages. This performance was definitely the highlights of the night for me.
I have to pity myself for not being entirely impressed with Schubert's Trout Quintet. I am not sure what happened but I lost my concentration in the middle of the first movement. Only the folksy tune in the last movement restored my interest of this music. This is the piece that I have to listen again to get why it is so popular.
Featuring:
- Beethoven - Cello Sonata No. 4 in C major, Op. 102 No. 1
- Jean Franciax - Theme and Variations for Clarinet and Piano
- Osvaldo Golijov - Lullaby and Doina for Flute, Clarinet and Strings
- Schubert - Piano Quintet in A major, D. 667 "The Trout"
Ensemble Liaison:
- Svetlana Bogosavljevic - Cello
- David Griffiths - Clarinet
- Timothy Young - Piano
Friends:
- Wilma Smith - Violin
- Katie Chilmaid - Violin
- Simon Oswell - Viola
- Alex Henery - Double Bass
- Mardi McSullea - Flute
There's reason for late reviews: these past few weeks had been quite hectic. Assignments, exams, and old/new personal problems had taken their tolls on me and I just did not have time to do blogging. I'll try my best to recall the experience of this concert.
I have never listened to any of the pieces from that night's concert before.
Short summary:
Wasn't really impressed with Beethoven's Cello Sonata. Sure, there were some brilliant passages, but on a whole, it wasn't quite memorable. Also, the cellist sounded a little bit overwhelmed by the pianist in this performance.
The Franciax's piece was described by the clarinetist as a 'circus music' and he couldn't describe it better. A very challenging piece for clarinetist to perform - plenty of notes in fast tempo portraying fun and bouncy atmosphere of a circus act is what came into my mind when listening to it.
Golijov's piece was another interesting one. It was apparently used in the 2000 movie The Man Who Cried starring Johnny Depp and Cate Blanchett. The music was quite haunting and started out very somber. In the middle of the piece, after the double bass player put down his bow and took a deep breath, the music picked up its tempo and the double bass player launched himself to a prolonged, very exciting to watch, fast pizzicato passages. This performance was definitely the highlights of the night for me.
I have to pity myself for not being entirely impressed with Schubert's Trout Quintet. I am not sure what happened but I lost my concentration in the middle of the first movement. Only the folksy tune in the last movement restored my interest of this music. This is the piece that I have to listen again to get why it is so popular.
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