19 May 2016
Symphony No. 2 (Brahms)
Scheherazade (Rimsky-Korsakov)
Encore: Petit adagio from 'Autumn' from The Seasons (Glazunov)
Symphony No. 2 (Brahms)
Scheherazade (Rimsky-Korsakov)
Encore: Petit adagio from 'Autumn' from The Seasons (Glazunov)
20 May 2016
String Quartet No. 11 'Serioso' (Beethoven, arranged by Mahler)
Symphony No. 4 (Bruckner)
Encore: 'Sheep may safely graze' (Bach, orchestrated by Stokowski)
The Philadelphia Orchestra
Yannick Nézet-Séguin (Conductor)
The Philadelphia Orchestra two day residency in Hong Kong compensated the underwhelming orchestral offers during the arts festival in March. No concerto in the programme but we were treated with three substantial symphonic works and an arranged chamber work for string orchestra. It was also my first to see Yannick Nézet-Séguin in live action. I had some expectation since there was a rumour that he would be the next music director of the Metropolitan Opera in New Year. As a whole the showcase was memorable to an extent and the Bruckner fourth symphony made a stunning conclusion.
The first evening was a mixed affair. I suspected orchestra members were still recovering from the jet lag and adjusting to the acoustics. The first movement of Brahms second symphony was an unending song from beginning to end. There were some occasional similarity to Mendelssohn's overture 'The Herbrides'. Both lower strings and horns seems uncertain in direction at the mysterious fog heavy opening. Soon the passionate tutti put the playing back on track. Amidst the contrasting passages in dynamic, texture and pattern, there were some beautiful playing from the woodwinds and the cellos. The orchestra was responsive to the dynamic indication and retained the presence even at pianissimo. Yannick never over phrase the music in his conducting and had the confident in the band to do its own work. The articulation was natural with momentum and gradually built up the climax in the fugal passage. The only weak part was the solo horn player, which the tone sounded muffled and remained a let down throughout rest of the concerts.
Although a promising start, I did not find the orchestra managed to find the direction in rest of the symphony. The cello solo at the opening of second movement lacked shape in the playing. Dialogues between sections also would need the space to let the music breathe instead of hurrying along in swift tempo. It all sounded moody and unsure where sailing into. The cor anglais pastoral passage at the beginning of the third movement would need to dance more with the music. There were merits though in the peasant dance like presto passage that being unhurried and highly disciplined on rhythmical precision. Strings were rather messy in the fourth movement and did not match the same sense of momentum as in the first movement. It was only until the finale that the playing improved as a body and the brass produced some blazing tone.
During interval, I spotted three non occupied seats in middle of the stall and decided to move there. The orchestra balance was better than where I originally sat behind a wall of double basses. Though I neither enjoy nor dislike the objective approach of Scheherzade in the second half. The violin solo at the beginning produced a silvery tone but the concertmaster seems uncertain with the bowing directions and sight reading like. The upper strings sustained the same colour but sounded rather thin in body with less bow hairs being employed. The flute solo again stood out with some exquisite playing. Dialogue between wind players produced a better sense of music direction and unhurried in momentum in comparison. Radiant playing from the lower strings, particularly the cellos, with a mellow rich tone and I found it moving.
Though the lyrical passages could have allow more time to indulge the music more. Sectional dialogues were still far from connecting as a body and lacked the fluidness. Both the trombone and horn duet were capable technical wise, but the produced sound were again muddy and far from making an impression. The rhythmically robust passage in the fourth movement would have been more successful if more bites from the upper strings with the urge and attack. Again only at the finale the orchestra produced a more muscular and passionate body of sound. The final violin solo was more secured in bow directions and more hairs on the strings, though intonation was shaky as the positions went up. I felt the closing could have taken the tempo slower for a spellbinding conclusion. Yannick was probably not that familiar with the music as he looked at the score more often. A polish account of the work, but holding back the emotion and not indulge in some rubato moment seems taking away the expression and distinctive colour.
The second evening began with a lesser known Mahler arrangement of the last quartet from Beethoven's middle period. It was an intellectual choice to showcase the strings with a time relevancy to the Bruckner fourth symphony. The work itself seems telling Beethoven could not settle on a logical modulations but abrupt jump in keys instead. The fluctuation in mood changes were often enigmatic, moody or sarcastic. Tempo wise the ensemble would not have the same flexibility as a string quartet but a different sound texture that interested me. Compare to previous evening, strings players employed more hairs on the bow to produce a richer sound. They had a better sense in crafting the structure and more intimate dialogue between sections. The lower strings gave the rhythmic punch and intention in the violent passage of the first movement. It would have been effective if the upper strings could match with better phrasing. The horse galloping like third movement was successfully visualised with the sheer sense of energy and bites on the bows. There were even moments I thought in texture echoing the first movement of Beethoven ninth symphony. The allegretto of the fourth movement would still need more space and patient for the music to sing more. The presto ending was thrilling though with the impact of momentum but one could detect the composer was not wholeheartedly commit to the positivism. I was also impressed by how well Yannick knew the work and guided the musicians with appropriate indications. The playing was never heavy and dragged. His non interventionist conducting kept the music flowing and the structure being naturally shaped. Small gestures were effective and marking the differentiation in what he wanted dynamic wise or where the focus should be at the spot.
If high marks for the first half, his execution of Bruckner fourth symphony was even better and memorable with many magnificent moments. I felt the performance helped me to visualise the scenes or expressions that the composer had in mind. One would imagine the first movement was a long search journey whether walking or riding along the hills next to a great river, perhaps the Rhine or Danube. The horn solo at the beginning was slightly shaky but soon the tutti crescendo culminated a rich body of sound pushing towards the first climax. Smooth climbs in the arpeggio passage between the quiet moment and violent climatic point. The brass section then made a brilliant muscular tone with warmth to mark a contrast in dynamics and atmosphere. Upper strings were technically capable but the playing was rather cloudy in the expressive passage followed. The trio between solo flue, trumpets and horns maintained a good direction though. As a whole the orchestral playing was more together as a body than before. Sections responded to each other and kept the music refreshing, which produced the motivation to look forward to the next development.
Radiant playing from the cellos opened the second movement. The lower strings produced a beautiful and mellow tone in the melodic passage with pizzicatos from the upper strings on top. Finally the tempo of slow movement was not in hurry and had the space for the music to breathe. Though the horns did not quite match the mark set by the strings in the wind dialogue. Phrasing was not its forte and some notes sounded to me were not in its full value. A dramatic transition from a muscular rich tutti to the quietest moment alike walking on tiptoe. The cellos was not over sentimental with its playing in the third solo passage, and at the same time captured the tragic feeling where the music was heading into. The final part felt like clock ticking forever. Triumphant climax from the brass did not brighten up the atmosphere but only the music became more mysterious at the end.
In opposite, the third movement could be imagined as a pastoral hunting scene. The trombones and trumpets were brilliant and confident in the hunting calls, but again the horns' playing were muffled and notes were not differentiated clear enough. The muscular scherzo was answered by an elegant trio by the woodwinds. There were more facial expressions from Yannick at the recapitulation, and could sense the orchestral playing more playful than the first round.
The final movement again recalled the long search journey in the beginning but this time the walking pace was in hurried than before. It was neither definite in message as the third movement as what to look for in actual, or the composer struggled to find a satisfactory conclusion. The orchestral playing showed no sign of tiredness or boredom though and kept the interest going. Energetic tutti started off the violent and dramatic opening. A brief moment of triumphant outburst before the strings and woodwinds played the enigmatic minuet dance passage. The brass again brilliantly played in the tempestuous response and as section had the flexibility to capture the atmospheric contrast. Objective playing had been the norm to this point but sentiments were finally allowed. The strings poured out the emotions accompanied by majestic brass playing to aim for another triumphant climax. Yet the exquisite flute solo marked it was only a transition but a long way before reaching the end, which was to recall the opening of first movement. Emotions were accumulated and the orchestra sounded very different than before. A radiant body of sound by being more dense and richer in tone. It found its way how to integrate into the music with character than merely playing the notes. The ending was spellbinding and took the breath away by its intensity.
If one has to look out for superlative Bruckner symphonic experience in future, Yannick is the conductor to go after and to be amazed by how he conducted the music by heart and hardly looking at the score. He gives whatever necessary to articulate and the same time to let the musicians do its work. Nothing exaggerate or dictatorship from the podium but clear, simple and effective indications to command. To maintain such balance could be high risk if the band is not capable or not always able to deliver. This performance confirmed the trust and partnership could deliver some wonderful music making and that matter most.
The first evening was a mixed affair. I suspected orchestra members were still recovering from the jet lag and adjusting to the acoustics. The first movement of Brahms second symphony was an unending song from beginning to end. There were some occasional similarity to Mendelssohn's overture 'The Herbrides'. Both lower strings and horns seems uncertain in direction at the mysterious fog heavy opening. Soon the passionate tutti put the playing back on track. Amidst the contrasting passages in dynamic, texture and pattern, there were some beautiful playing from the woodwinds and the cellos. The orchestra was responsive to the dynamic indication and retained the presence even at pianissimo. Yannick never over phrase the music in his conducting and had the confident in the band to do its own work. The articulation was natural with momentum and gradually built up the climax in the fugal passage. The only weak part was the solo horn player, which the tone sounded muffled and remained a let down throughout rest of the concerts.
Although a promising start, I did not find the orchestra managed to find the direction in rest of the symphony. The cello solo at the opening of second movement lacked shape in the playing. Dialogues between sections also would need the space to let the music breathe instead of hurrying along in swift tempo. It all sounded moody and unsure where sailing into. The cor anglais pastoral passage at the beginning of the third movement would need to dance more with the music. There were merits though in the peasant dance like presto passage that being unhurried and highly disciplined on rhythmical precision. Strings were rather messy in the fourth movement and did not match the same sense of momentum as in the first movement. It was only until the finale that the playing improved as a body and the brass produced some blazing tone.
During interval, I spotted three non occupied seats in middle of the stall and decided to move there. The orchestra balance was better than where I originally sat behind a wall of double basses. Though I neither enjoy nor dislike the objective approach of Scheherzade in the second half. The violin solo at the beginning produced a silvery tone but the concertmaster seems uncertain with the bowing directions and sight reading like. The upper strings sustained the same colour but sounded rather thin in body with less bow hairs being employed. The flute solo again stood out with some exquisite playing. Dialogue between wind players produced a better sense of music direction and unhurried in momentum in comparison. Radiant playing from the lower strings, particularly the cellos, with a mellow rich tone and I found it moving.
Though the lyrical passages could have allow more time to indulge the music more. Sectional dialogues were still far from connecting as a body and lacked the fluidness. Both the trombone and horn duet were capable technical wise, but the produced sound were again muddy and far from making an impression. The rhythmically robust passage in the fourth movement would have been more successful if more bites from the upper strings with the urge and attack. Again only at the finale the orchestra produced a more muscular and passionate body of sound. The final violin solo was more secured in bow directions and more hairs on the strings, though intonation was shaky as the positions went up. I felt the closing could have taken the tempo slower for a spellbinding conclusion. Yannick was probably not that familiar with the music as he looked at the score more often. A polish account of the work, but holding back the emotion and not indulge in some rubato moment seems taking away the expression and distinctive colour.
The second evening began with a lesser known Mahler arrangement of the last quartet from Beethoven's middle period. It was an intellectual choice to showcase the strings with a time relevancy to the Bruckner fourth symphony. The work itself seems telling Beethoven could not settle on a logical modulations but abrupt jump in keys instead. The fluctuation in mood changes were often enigmatic, moody or sarcastic. Tempo wise the ensemble would not have the same flexibility as a string quartet but a different sound texture that interested me. Compare to previous evening, strings players employed more hairs on the bow to produce a richer sound. They had a better sense in crafting the structure and more intimate dialogue between sections. The lower strings gave the rhythmic punch and intention in the violent passage of the first movement. It would have been effective if the upper strings could match with better phrasing. The horse galloping like third movement was successfully visualised with the sheer sense of energy and bites on the bows. There were even moments I thought in texture echoing the first movement of Beethoven ninth symphony. The allegretto of the fourth movement would still need more space and patient for the music to sing more. The presto ending was thrilling though with the impact of momentum but one could detect the composer was not wholeheartedly commit to the positivism. I was also impressed by how well Yannick knew the work and guided the musicians with appropriate indications. The playing was never heavy and dragged. His non interventionist conducting kept the music flowing and the structure being naturally shaped. Small gestures were effective and marking the differentiation in what he wanted dynamic wise or where the focus should be at the spot.
If high marks for the first half, his execution of Bruckner fourth symphony was even better and memorable with many magnificent moments. I felt the performance helped me to visualise the scenes or expressions that the composer had in mind. One would imagine the first movement was a long search journey whether walking or riding along the hills next to a great river, perhaps the Rhine or Danube. The horn solo at the beginning was slightly shaky but soon the tutti crescendo culminated a rich body of sound pushing towards the first climax. Smooth climbs in the arpeggio passage between the quiet moment and violent climatic point. The brass section then made a brilliant muscular tone with warmth to mark a contrast in dynamics and atmosphere. Upper strings were technically capable but the playing was rather cloudy in the expressive passage followed. The trio between solo flue, trumpets and horns maintained a good direction though. As a whole the orchestral playing was more together as a body than before. Sections responded to each other and kept the music refreshing, which produced the motivation to look forward to the next development.
Radiant playing from the cellos opened the second movement. The lower strings produced a beautiful and mellow tone in the melodic passage with pizzicatos from the upper strings on top. Finally the tempo of slow movement was not in hurry and had the space for the music to breathe. Though the horns did not quite match the mark set by the strings in the wind dialogue. Phrasing was not its forte and some notes sounded to me were not in its full value. A dramatic transition from a muscular rich tutti to the quietest moment alike walking on tiptoe. The cellos was not over sentimental with its playing in the third solo passage, and at the same time captured the tragic feeling where the music was heading into. The final part felt like clock ticking forever. Triumphant climax from the brass did not brighten up the atmosphere but only the music became more mysterious at the end.
In opposite, the third movement could be imagined as a pastoral hunting scene. The trombones and trumpets were brilliant and confident in the hunting calls, but again the horns' playing were muffled and notes were not differentiated clear enough. The muscular scherzo was answered by an elegant trio by the woodwinds. There were more facial expressions from Yannick at the recapitulation, and could sense the orchestral playing more playful than the first round.
The final movement again recalled the long search journey in the beginning but this time the walking pace was in hurried than before. It was neither definite in message as the third movement as what to look for in actual, or the composer struggled to find a satisfactory conclusion. The orchestral playing showed no sign of tiredness or boredom though and kept the interest going. Energetic tutti started off the violent and dramatic opening. A brief moment of triumphant outburst before the strings and woodwinds played the enigmatic minuet dance passage. The brass again brilliantly played in the tempestuous response and as section had the flexibility to capture the atmospheric contrast. Objective playing had been the norm to this point but sentiments were finally allowed. The strings poured out the emotions accompanied by majestic brass playing to aim for another triumphant climax. Yet the exquisite flute solo marked it was only a transition but a long way before reaching the end, which was to recall the opening of first movement. Emotions were accumulated and the orchestra sounded very different than before. A radiant body of sound by being more dense and richer in tone. It found its way how to integrate into the music with character than merely playing the notes. The ending was spellbinding and took the breath away by its intensity.
If one has to look out for superlative Bruckner symphonic experience in future, Yannick is the conductor to go after and to be amazed by how he conducted the music by heart and hardly looking at the score. He gives whatever necessary to articulate and the same time to let the musicians do its work. Nothing exaggerate or dictatorship from the podium but clear, simple and effective indications to command. To maintain such balance could be high risk if the band is not capable or not always able to deliver. This performance confirmed the trust and partnership could deliver some wonderful music making and that matter most.
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