Piano Concerto No. 3 (Prokofiev)
Encore: Nocturne in d minor (Tchaikovsky)
Symphony No. 1 (Elgar)
Hong Kong Philharmonic Orchestra
Behzod Abduraimov (Pianist)
Vladimir Ashkenazy (Conductor)
The programmed works in this last concert of current season reminded me the performing experience with the university symphony orchestra few years ago. I remembered the Prokofiev being technically demanding for the pianist, also a clever exchange between wit, sarcasm and the occasional romanticism outpour. The Elgar had a noble and beautiful theme, but textually thick and time signatures changed a lot particularly in first movement. The conductor is supposedly to know how to shape the music and make it interesting for the ears to avoid an intellectual rendition. I am not sure if this was the case with Ashkenazy directing from the podium. One admire and respect him as an acclaimed pianist, also his good personality to fellow musicians, but his conducting skills were not inspiring in all three performances I had encountered so far.
The clarinet solo played beautiful to begin the piano concerto, but mechanical conducting resulted in vertical reading of the score. The orchestral playing lacked interrelation and legato that being square in shape without direction. Thankfully, Abduraimov's playing was enchanting in the dissonant and mysterious bell like passage of the second theme. The eccentric and sarcastic impressions were well captured towards the crescendo climax. Though the melancholy gavotte in the beginning of second movement again lacked shape and felt more like a slow march than dance. The orchestral playing fell short from creating a structure in the ironic second variation and lacked differentiation in dynamics. Abduraimov again turned the disappointment away and delivered spellbinding playing in the haunting fourth variation. Tempo was well paced and produced a dreamlike atmosphere. He managed the contrast in dynamics, and responded to the mood change at the dramatic return of the violent fifth variation.
Tempo in the beginning of third movement was a bit steady that would need more anticipation. The coordination in the lyric passage between orchestra and soloist were accurate and together but slightly restrain emotionally. Though by the climatic point the orchestra began to drag the tempo too much. Ashkenazy's conducting did not indicate the phrasing by only showing the beat and pointing the baton upward, which was confusing for the orchestra to follow. The coda was a showcase for Abduraimov brilliant technique, but the conductor began the reinstatement of the main theme too slow and luckily the orchestra was quick enough to pick up right tempo.
Here the noble and majesty opening theme of Elgar first symphony felt like a very slow walk in tempo, and the double basses being too prominent in volume that failed to produce the tranquillo impression. Soon at the violent passage one could sense the orchestra playing was on its own will than following the conductor. Gradually the momentum and directions lost in the tricky time signature changing sections. Sections failed to connect and lacked a clear structure. Tempo was a bit broad for muscular stormy theme despite confident brass playing and some attempt to phrase the music. The conclusion slightly improved with more dynamic contrast and lighter body of sound.
Second movement was more dramatic with the urgency to capture the violent and disturbed atmosphere. A promising start of the strings only third movement that the music flowed but eventually lost the focus. The adapted tempo again dragged and the lyrical themes need more connection than a vertical reading. The enigmatic outlook was compensated by beautiful playing from the strings in tone quality and control. The lento opening of the fourth movement was too slow that became an examination of chord progression without direction. Momentum only picked up again at double time but again lacked dynamic contrast. Brass playing was a bit polite and needed the bite to drive the music forward. Tempos at the return of the noble theme and triumphant conclusion would need more urgency than merely a muscular sound. It did not help when Ashkenazy seems following the orchestra, and struggled with his conducting gestures instead of indicating ahead. Not a resounding finale to mark the season end.
Encore: Nocturne in d minor (Tchaikovsky)
Symphony No. 1 (Elgar)
Hong Kong Philharmonic Orchestra
Behzod Abduraimov (Pianist)
Vladimir Ashkenazy (Conductor)
The programmed works in this last concert of current season reminded me the performing experience with the university symphony orchestra few years ago. I remembered the Prokofiev being technically demanding for the pianist, also a clever exchange between wit, sarcasm and the occasional romanticism outpour. The Elgar had a noble and beautiful theme, but textually thick and time signatures changed a lot particularly in first movement. The conductor is supposedly to know how to shape the music and make it interesting for the ears to avoid an intellectual rendition. I am not sure if this was the case with Ashkenazy directing from the podium. One admire and respect him as an acclaimed pianist, also his good personality to fellow musicians, but his conducting skills were not inspiring in all three performances I had encountered so far.
The clarinet solo played beautiful to begin the piano concerto, but mechanical conducting resulted in vertical reading of the score. The orchestral playing lacked interrelation and legato that being square in shape without direction. Thankfully, Abduraimov's playing was enchanting in the dissonant and mysterious bell like passage of the second theme. The eccentric and sarcastic impressions were well captured towards the crescendo climax. Though the melancholy gavotte in the beginning of second movement again lacked shape and felt more like a slow march than dance. The orchestral playing fell short from creating a structure in the ironic second variation and lacked differentiation in dynamics. Abduraimov again turned the disappointment away and delivered spellbinding playing in the haunting fourth variation. Tempo was well paced and produced a dreamlike atmosphere. He managed the contrast in dynamics, and responded to the mood change at the dramatic return of the violent fifth variation.
Tempo in the beginning of third movement was a bit steady that would need more anticipation. The coordination in the lyric passage between orchestra and soloist were accurate and together but slightly restrain emotionally. Though by the climatic point the orchestra began to drag the tempo too much. Ashkenazy's conducting did not indicate the phrasing by only showing the beat and pointing the baton upward, which was confusing for the orchestra to follow. The coda was a showcase for Abduraimov brilliant technique, but the conductor began the reinstatement of the main theme too slow and luckily the orchestra was quick enough to pick up right tempo.
Here the noble and majesty opening theme of Elgar first symphony felt like a very slow walk in tempo, and the double basses being too prominent in volume that failed to produce the tranquillo impression. Soon at the violent passage one could sense the orchestra playing was on its own will than following the conductor. Gradually the momentum and directions lost in the tricky time signature changing sections. Sections failed to connect and lacked a clear structure. Tempo was a bit broad for muscular stormy theme despite confident brass playing and some attempt to phrase the music. The conclusion slightly improved with more dynamic contrast and lighter body of sound.
Second movement was more dramatic with the urgency to capture the violent and disturbed atmosphere. A promising start of the strings only third movement that the music flowed but eventually lost the focus. The adapted tempo again dragged and the lyrical themes need more connection than a vertical reading. The enigmatic outlook was compensated by beautiful playing from the strings in tone quality and control. The lento opening of the fourth movement was too slow that became an examination of chord progression without direction. Momentum only picked up again at double time but again lacked dynamic contrast. Brass playing was a bit polite and needed the bite to drive the music forward. Tempos at the return of the noble theme and triumphant conclusion would need more urgency than merely a muscular sound. It did not help when Ashkenazy seems following the orchestra, and struggled with his conducting gestures instead of indicating ahead. Not a resounding finale to mark the season end.
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