Saturday 11 January 1997 Victoria Concert Hall |
Singapore Symphony Orchestra |
|
LUDWIG VON BEETHOVEN (1770-1827) Leonore No.3 Overture, op. 72 Piano Concerto No.4 in G, op. 58 Symphony No.5 in C minor, op. 67
SEOW Yit Kin piano |
OVERALL NOISE RATING: 2 (some noise but not disturbing)
The Noise Rating Index is a partially-objective measurement of beeper blasts, 9pm and 10pm watch beeps, coughing-during-the-pianissimo-bits and other really inapt noises emitted in the concert hall during the music itself. It is measured on a scale of 0 to 5, in increasing annoyance.
This review has been kindly sponsored by Singapore Symphonia Company.
by Chia Han-Leon
There was someone somewhat missing at this concert and his name is Beethoven. I don't mean to say, of course, that the man who died 170 years ago actually bought a ticket, but that I could not sense his spirit in much of this concert. But that did not prevent the SSO from giving a terrific performance of the music.
But the *Fifth* is not, according to traditional understanding, absolute music in the way the Seventh can be thought of. The Fifth is no "apotheosis of the dance" (Wagner), it is more "fate knocking at the door." If you accept the traditional idea that the Fifth is a manifestation of Beethoven's struggles against his deafness, then the rather dispassionate mood of the SSO's performance can be faulted.
In all, the last two movements were the most impressive, as befits the mode of interpretation. At this point, I must point out that the SSO's marvellous strings continue to impress many, providing a visual and aural treat, especially in the skittering and rushing passages of the Scherzo. The somewhat long-winded ending section (in the final presto) did not suffer from the "die-also-dowan-to-die" syndrome that also afflicts many performances of the Fifth (oh, and 1812 too.)
Judging by the decibel production of their applause, much of the audience evidently enjoyed the performance - great art does evoke a great variety of responses. But my view remains firm: Beethoven must feel like Beethoven or else it is merely ear-candy. Romanticism is much more than just nice sounds and exciting speeds.
One of the most difficult things about staging a concerto is providing a good balance between orchestra and soloist. Seow Yit Kin has a rather smallish piano voice which was conspicuously covered at times by the orchestra in the first movement of the Piano Concerto No.4. The ballroom acoustics of the VCH is generally fickle, depending on where you sit. From where I was, I
found that the less accompanied portions of the concerto were the best. Seow's playing is marvellous, unassuming yet noble. I have previously described his playing in these pages (see review of his CHIJMES recital). This subtle
work, more elusive than the "Emperor," is demonstrative of Seow's own light, delicately-shaded playing. The central slow movement ended magically, ethereal, floating away, dissipating the subdued harshness of the strings' earlier admonitions. This was the one moment that made the entire concert worthwhile for me. I wondered how it would have been to hear him play the slow movement of the "Emperor." Or Ravel's Piano concerto in G.
Despite these reservations, therefore, I heartily welcome Shui Lan as the SSO's new Music Director. The truth is, a conductor capable of his nuances *and* dramatism is very rare indeed. In my review of his performance of Rimsky-Korsakov's Scheherazade (SSO- 23rd Nov. 1996), I noted that Shui's style seems predominantly French, very spontaneous and free. I am not surprised therefore by the relative lack of OOOOMPH!
in his Beethoven; or the wonderful dynamic shadings and nuanced phrasing that he has coaxed from the SSO.
Like Okko Kamu, Shui often "loosens" his conducting to allow the orchestra to play on its own -- a distinct testament of trust.
We all know that the SSO is capable of great volumes of sound, and that refinement of playing is the harder thing to cultivate.
But with Shui and Kamu, I believe we shall have many splendid concerts in the future.
Are any recording companies reading this?
So what's the problem? Or you may ask: what on earth am I talking about? Consider this: Romantic music is, traditionally and among other things, about the composer and his emotions, his spirit. It is not music per se, full stop. Shui Lan (left) and the SSO's rendition of the Fifth Symphony was to me a very impressive performance of the *music*, but it did not appreciate the spirit of Beethoven himself. The entire symphony was played at tempi quicker than most would dare. But this is not a real fault - recall the SSO's earth-shattering, death-defying rendition of Beethoven's Seventh Symphony under Okko Kamu in 1995, and you'll remember the kind of world-class playing the SSO is capable of, and that Beethoven *can* be convincingly played fast.
The first movement sounded relentless but not angry at all. The "da-da-da-TAAA!" came across as smoothed-over and unaccented. It was a strong performance but it was not sharp. The second movement was, to me, in the same confident mood as the first! In fact, the entire performance of the symphony was remarkable for its singularity (monotony?) of mood, so much so that even the first and last movements sounded emotionally similar. My personal view of this symphony is that it might begin with anger and anguish, followed by contemplation and determination, then challenge followed by triumph. The SSO's performance sounded energetic and determined, but emotionally unvaried.
|
Click to Return to the Concert Index!...
or Visit the Inkvault archives! |
086: 1997
 |
Explore the Flying Inkpot
| Concert Reviews |
Bit deadish:
| MORE STUFF |
Do you have a website relating to classical music performance in Singapore? Tell us about it! Email classical@inkpot.com