'Egmont' Overture (Beethoven)
Symphony No. 8 (Beethoven)
The Rite of Spring (Stravinsky)
Infernal dance from Firebird (Stravinsky)
7 October 2017:
Also sprach Zarathustra (Richard Strauss)
Tod und Verklärung (Richard Strauss)
Till Eulenspiegels lustige Streiche (Richard Strauss)
Dance of the seven veils from Salome (Richard Strauss)
Lucerne Festival Orchestra
Riccardo Chailly (Conductor)
This Asian tour was an overdue revisit for the orchestra since Abbado's death and the change of leadership to Riccardo Chailly. The two pairing programmes showcase how versatile this orchestra is, which the members are top notch musicians from various leading European orchestras. Though the two performances were not a total success and Chailly hold some responsibility for the shortfall of insight in his conducting. Beethoven's Egmont overture provided a foretaste of the full bodied rich tone colour from the orchestra. It made a confident start with some tidy and polished strings' playing. Legato was sustained through the line for a flowing impression. Despite first half of the work was in minor key, the produced colour was bold and rich rather than sentimental by impression. However, the thick strings' body affected the balance and the trumpets were drowned by them. Another issue was the lack of focus in phrasing that the Allegro passage was rushed through than shaping the music to build up a climatic finale.
The lack of phrasing continued into the first movement of Beethoven's eighth symphony, which the majestic gallop did not have enough edge for the rhythmic drive. There were also too many desks of strings that tutti playing not being tidy and dense in colour. The tempestuous crescendo felt alike a noise bombardment but lacked colour and dynamic contrast. In turn, the orchestra carried more shape in the playful second movement. Though it again hurried along the minuet of the third movement, and felt like a heavy dance than with the lightness in mind. Blazing sound from the horns' graceful playing but not too exciting to hear for long. It eventually found its foot in the fourth movement which marked with Allegro Vivace. Tempo maintained at the right momentum and restrained from galloping towards the coda. It also had a sweeter and more optimistic outlook. However, the full and rich playing did not feel crispy and details again lost to the heavy handed rendition. Chailly's conducting did not either suggest he had in mind how to shape the music more effectively but simply hurrying along.
A sedate bassoon solo began the surreal sound world of the Rite of Spring in the second half. Though the adopted tempo was too broad and did not carry the flowing momentum. As it reached the tribal dance passage, instrumental cries had the wildness and excitement in place. Yet soon the slow march dragged too much and lost sense of direction again. Later the playing regained some forwardness at the climax, followed by a calm and flowing solo clarinet passage in the transitional section. Structurally clear even during the thick and complex passages. The explosive infinite coda of part one carried sheer excitement of wildness. However, tempo was too broad again in the eerie introduction to the second part. Transitional passages were cloudy in connections and lost direction at the softest moment of the whole work. It felt like sitting on the music than carrying the forward momentum. Radiant horns' entry before returning to the exuberant dance climax and followed by a majestic march. The orchestra had more direction finally towards the end as the music went evermore brilliant. Screaming winds against the exuberant strings' playing created the sheer dramatic excitement. Infernal dance from Stravinsky's Firebird, which had a film score composition style, was given as the first encore. The orchestra played tenderly in the lyrical opening and later gradually went wild for an explosive end.
The second performance predominantly featured tone poems by Richard Strauss, which filled the gap between early romantic period and twentieth century of the first programme. The sunrise scene of Also sprach Zarathustra was glorious rendered with a wall of sound from the orchestra and the Suntory Hall's pipe organ in full blast. Strings' front desks then gave a legato and warm playing for the lyrical depiction of the mountain when it was revealed. Tutti strings built up from there for a sweet, expressive and lush melodic theme. Though Chailly still phrased the music vertically than driving the momentum forward. A muscular and thick bodied sound was made at the crescendo of the storm passage, but the playing did not carry the intention. Lower strings played aimlessly than painting the music, while the woodwinds far from creating the humorous impression at the transitional interlude. Instead, blazing brass took the attention in another stormy passage with a crushing wall of sound. Solo winds were able to sustain the connection in the challenging dialogue passage, but rather messy when the solo violin responded with a folk dance passage. Phrasing and structural clarity improved as the orchestra reached the energetic waltz like passage. Strings played beautifully and knew how to flow between the ebb and flow of emotions naturally. The triumphant theme was gloriously rendered and the orchestra built towards another climax until the bell tolled. Delicate playing from the upper strings and woodwinds for a spellbinding heavenward conclusion.
'Tod und Verklärung' is another typical Strauss's work that searching endlessly for climatic resolves. The orchestra played in a silky tone throughout and displayed the best tone quality it could produce. A flowing impression began the mysterious and sorrow opening. Strings and winds introduced the themes alternatively yet the tone colour was dreamy. It was followed by a violent passage that filled with sentiments and emotions. Resolve to the sweet and lyrical state was beautifully rendered particularly on the melodic theme led by the flute. The dream like soft theme recalled those alike later in Die Frau Ohne Schatten. A muscular and triumphant theme was repeatedly given against the return of the tragic motive. It reached another climax for an optimistic resolve, but the tragic devastation struck again and led to a zen like meditation. Finally a radiant hymn like theme was given at the coda and emotions poured out in full to finish on a romantic high point.
'Till Eulenspiegels lustige Streiche' in turn had more dramatic contrast compare to 'Tod und Verklärung'. Strings effectively conjured the witty impression and galloped in great momentum. Lower strings then playing with a full rich tone on the waltz theme. The ever evolving rhythmic patterns did not pose a challenge and the orchestra had in mind how to shape the music meaningfully. It could also play wildly to create a crushing impact then returned to the naive like response. Blazing tone colour sustained throughout the brilliant heroic gallop for sheer dramatic intensity. Rhythmic momentum and dynamic changes also created a lot of musical excitements. Winds' piercing cries responded by brass solemn theme made a devastating impact on the tragic development. Yet the thrill at the coda was brilliantly executed with an exuberant crescendo. Dance of the seven veils from Salome gave a colourful middle eastern flair for a fitting conclusion to the orchestra's Tokyo visit.
(Photo credit: Geoffroy Schied and Instagram)
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