Violin Concerto in e minor (Mendelssohn)
Variations on themes from Porgy and Bess (Gershwin, arr. Keren)
Symphony No. 8 (Beethoven)
Geneva Camerata
Viktoria Mullova (violin)
David Greilsammer (conductor)
Despite energetic playing and displays of chamber virtuosity marked the debut of Geneva Camerata in Hong Kong, there was a noticeable balance problem between strings and winds. The tone colour of middle and lower part were rich, but the upper felt relatively thin on top. More upper strings would be desirable in the Debussy to be more able bringing out the theme and counter the weight. It was better in the Beethoven with the full team of violins, yet a silky tone would be more effective to penetrate the thick texture than a raw sound. The employment of period horns and trumpets certainly helped with the balance, yet rest of the woodwind remained in modern gears was sometimes overpowering for the current formation.
Greilsammer also preferred to keep the tempo on the swift side, which kept the momentum flowing with rhythmical excitement. He gave some interesting insight in the fashion of the current period informed practice. His approach of the Mendelssohn as a dance marked an opposite to the romantic indulgence one normally encountered. It certainly created a brighter tone colour and shape to the longer phrase. The dotted rhythm in the first movement of the Beethoven was exaggeratedly rendered, which felt more fiery and urgent. Same with the accented notes in the third movement that turned into a flamboyant dance and rhythmically bouncing. Instead the last movement of the symphony became an exuberant hunting gallop with the winds turning into a lively military band. He probably saw the work as a drama and reminiscence of the Napoleonic war than an Indian summer preceding the ninth.
Yet under such robust forwardness, it did not leave much room for the built up of intensity towards climax. In Debussy, the culmination of tension fell short from the sedate slow march preceding the ebbs and flows of waves alike in La Mer. The tempest in Beethoven’s first movement also lacked the impact but roaring through. Although some minor tuning glitches, Viktoria Mullova delivered the technical expectations and very natural in her playing. If one has to be fussy, perhaps less weight on the slides between positions, but nonetheless that would allow the swifts easier to nail the right notes. Jonathan Keren’s arrangements of the Debussy were more colourful and interesting than the Gershwin, which the latter seems lacked some memorable features than a medley of excerpts.
Symphony No. 8 (Beethoven)
Geneva Camerata
Viktoria Mullova (violin)
David Greilsammer (conductor)
Despite energetic playing and displays of chamber virtuosity marked the debut of Geneva Camerata in Hong Kong, there was a noticeable balance problem between strings and winds. The tone colour of middle and lower part were rich, but the upper felt relatively thin on top. More upper strings would be desirable in the Debussy to be more able bringing out the theme and counter the weight. It was better in the Beethoven with the full team of violins, yet a silky tone would be more effective to penetrate the thick texture than a raw sound. The employment of period horns and trumpets certainly helped with the balance, yet rest of the woodwind remained in modern gears was sometimes overpowering for the current formation.
Greilsammer also preferred to keep the tempo on the swift side, which kept the momentum flowing with rhythmical excitement. He gave some interesting insight in the fashion of the current period informed practice. His approach of the Mendelssohn as a dance marked an opposite to the romantic indulgence one normally encountered. It certainly created a brighter tone colour and shape to the longer phrase. The dotted rhythm in the first movement of the Beethoven was exaggeratedly rendered, which felt more fiery and urgent. Same with the accented notes in the third movement that turned into a flamboyant dance and rhythmically bouncing. Instead the last movement of the symphony became an exuberant hunting gallop with the winds turning into a lively military band. He probably saw the work as a drama and reminiscence of the Napoleonic war than an Indian summer preceding the ninth.
Yet under such robust forwardness, it did not leave much room for the built up of intensity towards climax. In Debussy, the culmination of tension fell short from the sedate slow march preceding the ebbs and flows of waves alike in La Mer. The tempest in Beethoven’s first movement also lacked the impact but roaring through. Although some minor tuning glitches, Viktoria Mullova delivered the technical expectations and very natural in her playing. If one has to be fussy, perhaps less weight on the slides between positions, but nonetheless that would allow the swifts easier to nail the right notes. Jonathan Keren’s arrangements of the Debussy were more colourful and interesting than the Gershwin, which the latter seems lacked some memorable features than a medley of excerpts.
No comments:
Post a Comment