The first time the Malaysian Philharmonic Orchestra (MPO) performed in Singapore , they performed to full houses and got no less than standing ovations for their excellent performance. This time round their performance was no less different, albeit the lack of standing ovations.

Under the direction of its very distinguished music director Kees Bakels (left), the Malaysian Philharmonic Orchestra was literally a delight to hear from start to finish, encore included. The entire programme was played flawlessly, so smooth, one understands why in an interview with The Straits Times, Bakels notes that "the orchestra is starting to have a unified sense of style". This was truly evident thoughout the whole night.

The opening piece by Debussy was originally written for piano, later transcribed by the composer into an orchestral piece (Iberia being the second of three Images pour orchestra, the other two being Gigues and Rondos de printemps). The three sections of Iberia are meant to give a taste of the Spanish town Iberia, which Debussy spent barely a few hours in.

The first section, Par les rues et par les chemins ("In the streets and byways") was water-tight, given a seamless performance by the orchestra. However, with the exception of the more than lively clarinet, the overall sound of the orchestra was largely muted, contained by the rather dismal acoustics of the Victoria Concert Hall. Les parfums de la nuit ("The fragrance of the night") featured the strings as portraying the misty atmosphere of the night, coupled with the rather alienating strains of the oboe. The brilliant glints of the celesta, tambourine and xylophone only made the night scene more vivid. The musical link between night and day was exceptionally commendable, as the woodwind declared daybreak. The final movement, Le matin d'un jour de féte ("The morning of a festival") returned to the intensity and pace of the first. The plucking strings, swirling winds, together with the clarity of the soloists on violin, trumpet, oboe and clarinet served to bring to mind the vision of Spain rising from her misty slumber. Overall, it was a flawless rendition, but as one fellow concert-goer commented, "it needed to be more inspired".

Now the second piece, Ravel's La Valse, was a completely different matter. From the introduction, an electrifying anticipation was built up all the way to the climax of each waltz. The orchestra clearly enjoyed playing this piece, and this time round, even the hall acoustics couldn't contain the magical element of this piece. Ravel meant to create a surreal image of a Viennese waltz, with dancers waltzing through a huge ballroom with mist floating in between the couples, and he would not be disappointed with the MPO's rendition that night. The glittery harp, the clear and resonant instruments, there was an unmistakable exuberance in this piece that was barely contained by the hall. Bakels controlled the tempo masterfully, the crescendos and accelerandos were handled almost perfectly. After hearing them perform this piece, one has little doubt that this is an orchestra that deserves every bit of its acclaim. The very appreciative audience clearly thought so too, judging from the thunderous and sustained applause this piece garnered at the end.

The performance of Hindemith's Symphonic Metamorphoses on a theme by Weber was similar to the Debussy piece, in both its immaculate presentation and its lacking in spirit. Judging from the looks members of the orchestra were giving one another, it certainly wasn't an easy piece to deal with.

RIGHT: Hindemith, photographed in 1949.

Based on various themes by Carl Maria von Weber, the piece was initially intended for a ballet, with costumes and sets designed by Salvador Dali (whose works Hindemith detested). A conflict of interests arose between the interested parties and thus the project was dropped, only to be revived three years later as the Symphonic Metamorphoses. The following words of critic Olin Downes accurately describe the piece: "As for what Mr. Hindemith has done with the Weber themes he must take the full responsibility. He has remarked that because these are by no means the best of Weber themes, he has felt freer to treat them as he pleases! Nothing like frankness between friends, and the wonderful Carl Maria is safely in his grave!"

The first movement demonstrated the strong strings section they had, but despite the faultless playing, lacked spirit. Likewise the Overture to Turandot (second movement), which I felt was not brought out or developed fully (this was underlined with numerous knowing glances orchestra members kept giving to each other). The so-called Chinese theme of this movement was underscored, and more room could have been given to develop it fuller, similarly the jazz fugue at the climax. Deserving some mention was the solo clarinet 'above the shimmering strings' in the third movement. The unadulterated sound quite literally sang above the rest of the orchestra, bringing out some of the true feelings of the piece. The final movement, a resounding march, reflect my feelings about this entire piece, that it is 'symphonic in terms of forces, but less so in style and expression'. I don't deny that it was stirring and definitely resounding, but to an extent the orchestra's portrayal leaned towards the unconvincing side.

The last item, orchestral excerpts from Wagner's Die Meistersinger von Nürnberg, was much better. There was something of a chemistry between the orchestra and this piece. One of Wagner's most cheerful and light-hearted musical dramas, Die Meistersinger narrates the story of a young knight who falls in love with a local girl, enters a singing competition to win her hand, and is aided by an actual historical figure Hans Sachs. Forced by financial need, Wagner originally composed this piece in the hopes of revitalising his flagging popularity, as he recognised that comedy might appeal more to audiences, thus pulling him out of his financial situation. However, other events took place and he only restarted work on this piece sixteen years later. Many critics believe that the maturing of Wagner as a composer and poet during these sixteen years was crucial to the success of Die Meistersinger.

The first orchestral excerpt, the Prelude to Act 3, was sensitive and thought-provoking. The strings were simply beautiful in their rendition of this excerpt, that nothing else can be said. Noteworthy is the link between the first item and the second, Apprentices' Dance. It was clear, smoothly transiting the scene from deep contemplation to excitement of the village Festival. The second excerpt was robust and full, visually stimulating, with the trombones being exceptionally superb. The MPO very vividly recreated the scene in which "all the young men of the town indulge in a gloriously masculine stamping dance as they prepare for the festival". The Entry of the Master Singers was also done beautifully, with the strings soaring away, uninhibited, giving just the right treatment for the excerpt. The Overture was captivating, not at all forceful, but came out powerful and natural. The wave after wave of the final climax simply pounded from the stage; the wonderful rendition of the overture by the orchestra was indescribably exquisite.

Perhaps the night was capped off 'oh so beautifully' by the Malaysian Philharmonic Orchestra's encore piece, Overture to Verdi's La forza del destino. After the wonderful Wagner piece, we were treated to yet another piece that just showed off the Malaysian Philharmonic Orchestra's talents so remarkably. A much loved piece of Bakels (as he noted before beginning), there can hardly be any fault with a piece so thoughtfully performed, a piece that arouses strong emotions among the already very satisfied audience.

Without a doubt the Malaysian Philharmonic Orchestra have 'it'. And as Bakels himself commented to ST, "If you mean the orchestra is playing better as an ensemble than it did in the beginning - absolutely."

This concert has only served to strengthen DAVID CHEW's resolve to save up enough money to fly up to KL to hear the MPO live in the Dewan Filharmonik Petronas before the end of the year!

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