Nights in the Gardens of Spain (Falla)
The Hebrides (Mendelssohn)
La mer (Debussy)
Hong Kong Philharmonic Orchestra
Ingrid Fliter (piano)
Jun Märkl (conductor)
This mostly sea themed programme displayed vivid imagery of landscape and movements. A sequence from darkness to light was also carefully planned. Hosokawa's circulating ocean began the concert with its slow grow and weighty outlook. A vast space, probably describing a long shoreline, set the beginning with bells chiming in distance and long notes sustaining among strings. Further tension added to the mysterious impression with crushing bass drum alike roaring tides. The raging percussion effects created an eerie impression, while brass and winds made chilling cries of a tempest.
The bleak landscape marked a contrast from the warmth and rhythmic activeness later in Falla's musically painting of Spanish gardens. The first movement, which depicted the Generalife at the Alhambra in Granada, had the brightness in tone though the ebb and flow felt like waves. The orchestra made a blazing sound, while the solo piano seems accompanying with an improvisation part than carrying a leading theme. The orchestra galloped in the second movement rather than a vigorous dance with dynamics swelling throughout. The run speed up in the last movement with an explosive entry of horn fanfare. It was more symphonic with the thick texture but occasionally heavy footed that lost some of the dance quality. Towards the end it became more lyrical and emotionally expressive, which the majestic coda recalled the fantasia like second movement.
Märkl adopted a rather swift tempo in the Mendelssohn. The misty opening was clear up by the tempest with sheer intensity in the strings' tremolo. The orchestra responded well to the changing moods in tone colour and dynamics, which ably built the momentum forward.
Among all four works, Debussy's la mer was arguably most vivid in scenic depiction and musically sophisticated. Märkl continued the swift tempo in keeping the motion forward and urgency to float. The colour bloomed and rhythmically exciting as the sunrise scene was gloriously portrayed by the brass. It was alike an ecstasy in celebrating a blazing moment. Dialogues between parts were seamless in the second movement. Märkl was able to draw them to articulate their parts and employed rubato effectively. The contrast in dynamic and rhythmic changes again produced a colour image with excitement. Though the brass seems less focused and intense than the lower strings in the stormy scene of the third movement. The growing emotions nonetheless maintained the heroic and majestic impression, which was memorable as a whole.
The bleak landscape marked a contrast from the warmth and rhythmic activeness later in Falla's musically painting of Spanish gardens. The first movement, which depicted the Generalife at the Alhambra in Granada, had the brightness in tone though the ebb and flow felt like waves. The orchestra made a blazing sound, while the solo piano seems accompanying with an improvisation part than carrying a leading theme. The orchestra galloped in the second movement rather than a vigorous dance with dynamics swelling throughout. The run speed up in the last movement with an explosive entry of horn fanfare. It was more symphonic with the thick texture but occasionally heavy footed that lost some of the dance quality. Towards the end it became more lyrical and emotionally expressive, which the majestic coda recalled the fantasia like second movement.
Märkl adopted a rather swift tempo in the Mendelssohn. The misty opening was clear up by the tempest with sheer intensity in the strings' tremolo. The orchestra responded well to the changing moods in tone colour and dynamics, which ably built the momentum forward.
Among all four works, Debussy's la mer was arguably most vivid in scenic depiction and musically sophisticated. Märkl continued the swift tempo in keeping the motion forward and urgency to float. The colour bloomed and rhythmically exciting as the sunrise scene was gloriously portrayed by the brass. It was alike an ecstasy in celebrating a blazing moment. Dialogues between parts were seamless in the second movement. Märkl was able to draw them to articulate their parts and employed rubato effectively. The contrast in dynamic and rhythmic changes again produced a colour image with excitement. Though the brass seems less focused and intense than the lower strings in the stormy scene of the third movement. The growing emotions nonetheless maintained the heroic and majestic impression, which was memorable as a whole.
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