Overture from 'La Gazza Ladra' (Rossini)
Violin Concerto No. 1 (Bruch)
Solemn Night Music/ Feierliche Abendmusik (Borstlap)
Pines of Rome (Respighi)
Hong Kong Philharmonic Orchestra
Karen Gomyo (Violinist)
Jaap van Zweden (Conductor)
This concert started and ended with Italian festivity in fullness. The Bruch violin concerto made a sentimental contrast, but Borstlap's orchestral attempt in neoclassicism seems far from making a distinctive impression. The orchestra gave a full bodied opening in the thieving magpie overture. Symphonic in texture but not too muscular and the music still danced. The 'Rossini crescendo' were carefully paced and had many thrilling climatic moments.
Highlights of Karen Gomyo's violin playing were the exquisite tone, tenderness, elegance and smoothness in fingers position changing. Generally a steady tempo throughout which allowed double stopping to be precise and unhurried in arpeggio climbs. Though some bowing could be abrupt and not always sustaining the legato. The first and second movement fared better than the last when tiredness sank in. Tempo was then slightly sluggish but still maintained a good sense in phrasing. The lyrical passage was sweet in tone and elegantly played. Surprisingly intonation on the higher finger positions more accurate than the lower first position. The produced sound also rang more with brightness and colour differentiation. Same happened in the Bach's Chaconne during encore that being appropriate in performing style and phrasing, but not always accurate with tuning at lower positions. The orchestral accompaniment was smooth and in good coordination with the soloist. Warm and confident playing from the woodwind in the beginning of the first movement. Vibrato was not overdone on the tutti strings.
Second half of the concert musically and programme wise made an unfinished impression. John Borstlap's new work was alike deconstructing a late 19th century symphonic work without the theme or tune, except some occasional reference to themes from other composers like Elgar. Whether it was Jaap not able to draw the orchestra's attention locating the melodic line, or the piece intended to be a demonstration of inner part, I felt it was generally dull in texture and dramatically underwhelming. The conclusion sounded cheesy that in hurry to finish off with anything sweet.
Thus, the underwhelming experience prompted me to prefer the whole set of Respighi's 'Roman Triptych' being present than just Pines of Rome. It seems unnecessarily wasteful to augment the orchestra with a large brass section plus organ and piano for a mere twenty minutes rendition. Vibrant music colour and atmospheric contrast would be more interesting for the ears and music curiosity, as demonstrated by the festive and lively first movement in Pines of Rome. Orchestra winds' playing were glorious and highly spirited for an uplifting start. The mysterious and timeless atmosphere of catacomb were vividly captured by the lower strings at the beginning of second movement. One could see the flashback to a glorious past of an empire when later the trumpet gave an emotional solo passage, followed by the orchestra playing the 'roman' march with a patriotic flair before the music died away again. The colourful solo from the clarinet would be enchanting if the phrasing was more natural and smooth in the third movement. Beautiful playing from the strings at the lyrical passage, with harmonic reference to nostalgic blues but stayed romantic in melodies. The stillness in air of a clear evening was sensibly produced. The cor anglais solo could indulge more on rubato in the seductive introduction of last movement. The sheer impact of the glorious and triumphant conclusion would have been effective if Jaap took a bit more time in pacing the momentum, so to accumulate the energy and making the volume contrast towards the climatic peak. Otherwise, it was a thrilling end.
Violin Concerto No. 1 (Bruch)
Solemn Night Music/ Feierliche Abendmusik (Borstlap)
Pines of Rome (Respighi)
Hong Kong Philharmonic Orchestra
Karen Gomyo (Violinist)
Jaap van Zweden (Conductor)
This concert started and ended with Italian festivity in fullness. The Bruch violin concerto made a sentimental contrast, but Borstlap's orchestral attempt in neoclassicism seems far from making a distinctive impression. The orchestra gave a full bodied opening in the thieving magpie overture. Symphonic in texture but not too muscular and the music still danced. The 'Rossini crescendo' were carefully paced and had many thrilling climatic moments.
Highlights of Karen Gomyo's violin playing were the exquisite tone, tenderness, elegance and smoothness in fingers position changing. Generally a steady tempo throughout which allowed double stopping to be precise and unhurried in arpeggio climbs. Though some bowing could be abrupt and not always sustaining the legato. The first and second movement fared better than the last when tiredness sank in. Tempo was then slightly sluggish but still maintained a good sense in phrasing. The lyrical passage was sweet in tone and elegantly played. Surprisingly intonation on the higher finger positions more accurate than the lower first position. The produced sound also rang more with brightness and colour differentiation. Same happened in the Bach's Chaconne during encore that being appropriate in performing style and phrasing, but not always accurate with tuning at lower positions. The orchestral accompaniment was smooth and in good coordination with the soloist. Warm and confident playing from the woodwind in the beginning of the first movement. Vibrato was not overdone on the tutti strings.
Second half of the concert musically and programme wise made an unfinished impression. John Borstlap's new work was alike deconstructing a late 19th century symphonic work without the theme or tune, except some occasional reference to themes from other composers like Elgar. Whether it was Jaap not able to draw the orchestra's attention locating the melodic line, or the piece intended to be a demonstration of inner part, I felt it was generally dull in texture and dramatically underwhelming. The conclusion sounded cheesy that in hurry to finish off with anything sweet.
Thus, the underwhelming experience prompted me to prefer the whole set of Respighi's 'Roman Triptych' being present than just Pines of Rome. It seems unnecessarily wasteful to augment the orchestra with a large brass section plus organ and piano for a mere twenty minutes rendition. Vibrant music colour and atmospheric contrast would be more interesting for the ears and music curiosity, as demonstrated by the festive and lively first movement in Pines of Rome. Orchestra winds' playing were glorious and highly spirited for an uplifting start. The mysterious and timeless atmosphere of catacomb were vividly captured by the lower strings at the beginning of second movement. One could see the flashback to a glorious past of an empire when later the trumpet gave an emotional solo passage, followed by the orchestra playing the 'roman' march with a patriotic flair before the music died away again. The colourful solo from the clarinet would be enchanting if the phrasing was more natural and smooth in the third movement. Beautiful playing from the strings at the lyrical passage, with harmonic reference to nostalgic blues but stayed romantic in melodies. The stillness in air of a clear evening was sensibly produced. The cor anglais solo could indulge more on rubato in the seductive introduction of last movement. The sheer impact of the glorious and triumphant conclusion would have been effective if Jaap took a bit more time in pacing the momentum, so to accumulate the energy and making the volume contrast towards the climatic peak. Otherwise, it was a thrilling end.
This blogger did not pick-up the music of 'Solemn Night Music', in stark contrast with press reactions in Dallas where the piece was premiered in March. The piece is full of themes and motives, not the type of bright tunes like Bruch or Respighi, which are of a simple kind, but a web of interrelated motivic references, none of which have been taken from other composers, by the way. There is more to music than simple singable tunes.
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