Symphony No. 7 'Leningrad' (Shostakovich)
Encore: Overture to 'Die Fledermaus' (Johann Strauss II)
Hong Kong Philharmonic Orchestra
Wang Jian (cello)
Jaap van Zweden (conductor)
Pairing a light piece by Tchaikovsky as amuse-bouche with Shostakovich's Leningrad Symphony is lazy programming, neither does it makes much impression. The Fledermaus overture could have started the concert to form the tuneful progression, than serving as an anti climax after the symphony. Alike Tchaikovsky's ballet scores, sweet, tender and lyric are the features of the rococo variations. In the first part, extreme range on finger positions for the solo cello as it gets to the end of fingerboard with harmonics. Wang Jiang kept the music flowing and switched positions smoothly. Though sometimes too much vibrato on the long notes for my taste, and impatient with the tempo than sustaining the elegant impression. The repetition of the main theme was beautifully played by the flute solo, though composition style wise not dramatic at all. Melancholy made the sorrow response in the mid section before galloping at the coda, which rhythmically and audio more interesting than before.
Zweden's account of the Leningrad Symphony realised the graphical abstraction, yet a lot of warmth within that gave more hope than devastation. The majestic theme that began the first movement was muscular and sunny without any sign of doubt. Even in the following pastoral section, with flute solo playing folk tunes, felt rather sweet and sedate under the relaxing tempo. Then the march to battle reminded us the long crescendo of repetition from Ravel's Bolero. First pizzicato on tutti strings forms the rhythmic structure and harmonic foundation, duet between oboe and bassoon give the melodic tune, while the brass dramatise and thundering the tune in full force of power. The principal percussionist Aziz Luce kept the rhythmic momentum tight and consistent on the snare drum throughout, also effective progression from pianissimo up to the climatic violence then faded to a quiet end. Yet the second view of the landscape was colourless as the bassoon depicted, but the first violins were not that tidy in their lyrical response.
It also took few bars to agree on the tempo between the strings and oboe solo at the start of the second movement. The theme led by the clarinet was alike clock ticking, and became surreal with the energetic dance gave a grotesque outlook. One felt the recapitulation of the opening theme enigmatic that not sure where the music was trying to head to. Dialogue between bass clarinet, harp and flutes seems to lament the calmness and tranquility of normality prior the war. A spiritual start to the third movement with the winds playing a chorale theme, which the strings gave an emotional pouring response. Beautiful flute solo accompanied by pizzicato on the strings. Texturally it recalled the music landscape of Sibelius for the clearness and a heavenward glimpse.
Yet the elegant strings' passage before the last movement was calm before storm. The tense gallop and bombastic brass brought the violence of war back to the centre stage, which was muscular but flowing. Sorrow and hope negotiated, though more certain in direction that reassured by the majestic unison strings. The built up towards the thundering climax was less triumphant and naive compare to the one we heard in the first movement. It was turned into a wild dance with sheer dramatic intensity. The aftermath was bleak over the vast landscape, which was gloomy and mysterious that visually near disfigured. Instead horns' fanfares and strings culminated towards a blazing magnificent conclusion. Victory was unlikely the answer, but a conviction that manifestation of hope and glory would triumph over doubts. The long struggle certain put the Fledermaus into an odd extra as to whether we needed more to reassure ourselves, even though the philharmonic was certainly energetic enough to deliver a fiery rendition.
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