Saturday 26 April 1997 Victoria Concert Hall |
Singapore Symphony Orchestra |
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JOHANNES BRAHMS Symphony No. 3 in F, Op.90 (1883) VINCENT D'INDY Symphony On A French Mountain Air, Op.25 (1886) MAURICE RAVEL Piano Concerto for the left hand, in D (1931)
François-Joel THIOLLIER piano |
OVERALL NOISE RATING:
3 (But then, who has the heart to blame a child who in the
midst of an orchestral blaze of music, points his hand at the musicians and exclaims his wonderment?)
The Noise Rating Index is a partially objective measurement of pager
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
The Poco Allegretto is to me actually fairly difficult to pull off because of the push-pull
effect of the first theme - Choo Hoey and the SSO "solved" this problem by playing it straight, though
ample and full, fairly musical, with beautiful contributions from the celli. Nevertheless, I thought it was
a wasted opportunity to see how the musicians will handle the push-pull effect. The final movement
too was well rendered. What I noticed, in the end, were the four gentle endings of the four
movements, each one satisfyingly fulfilled.
With the D'Indy's Symphony On A French Mountain Air, the SSO turned thicker in
tone, which contrasted with the wide range of shadings in French pianist Thiollier's tone. But this
proved to be effective, providing a scintillating range of tonal colours. Thiollier was covered by the
orchestra in many sections, even if the work isn't really a concerto. Nevertheless, I enjoyed the
pianist's many beautiful little flourishes on the piano throughout the work, as well as his nuanced and
sensitive playing, alternating between dark and light. Whether among loud brassy outbursts or in quiet
sections, Thioller made his presence felt, either by one's ear or eye. The oriental character of the final
movement, with the fascinating colours of woodwind with piano, leads to a brassy march with some
grotesque elements on the lower brass, Danny Elfman-like repetitions and rhythms (e.g. Alien march
from Mars Attacks), bringing the work to a splendid close while anticipating the even more
lucidly colourful score of the Ravel (below left) concerto.
In all, a very enjoyable concert, unpretentious and communicative. I found it interesting to see
Thiollier, as he received thunderous applause from the audience, link his hands with Choo Huey and
the SSO's leader, Alexandre Souptel. Russian, French, Asian (with French knighthood too). Very
colourful indeed.
Choo Hoey's vision of Brahms's third symphony seemed to me to be in contrast to his preference
for conducting music in a pointed, rhythmic but rather predictable style of conducting. What I am
hinting at is that this performance showed a somewhat "softer" side of the conductor which I personally
have not seen much of. The overall feeling of the performance was somehow mild, though not in any
way weak. The opening principal theme was a little lacking in sonority and power, but even when the
woodwinds intoned the second subject, the result proved to be gentle and pleasant. The restatement
however was much stronger, the orchestra's dynamic range discerning, which gradually subsided to a
sensitive, even sensuous, end. The pastoral Andante benefited from this gentle approach to
things and I found the resultant "haziness" of Brahm's thick orchestration amiable.
Emerging from the mists, the contrabassoon (responsible for the lowest notes in an orchestra)
intoned its grotesque, dark and ominous chant, opening the brilliant score that is Ravel's
one-movement Piano Concerto for the Left Hand, commissioned by and for Paul Wittgenstein, a
pianist who lost his right arm while fighting in the first World War. Thiollier (left) was the commanding
soloist, full of contrast, like his one hand invoking its myriad of colours with five fingers. The SSO too
was potent and responsive though it would have been better if more colour had been painted into
their reading. Colour, like the bassoon solo over chugging celli, along with the high piano part,
gorgeously done, alternating with the trumpets and percussion -- Ravel offers the orchestra and
audience a glittering plethora of tonal possibilities, worthy of Stravinsky. Thiollier obviously relished
his parts, especially the many flourishes over and across the keyboard, constantly rising from his seat
to make his points felt. His cadenza suitably sombre, and again alternating light and dark, indicated a
pianist well aware of the wide chromatic variety of the instrument.
Francois-Joel Thiollier's has recorded both Ravel piano concerti on Naxos (8.550753).
As you read this, Chia Han-Leon would most likely
have blown a large hole in his pocket at HMV, which opened Singapore's largest CD store on April
28. Read future Flying Inkpot CD reviews to see what he bought!
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