BEETHOVEN’S FIFTH
Dewan Sri Pinang, Georgetown
Sunday (28 September 2014 )
An edited version of this review was published in The Star on 16 October 2014 with the title "The Penang classical scene is building up momentum with the Penang Philharmonic Orchestra".
I had the fortune of spending an afternoon in
the company of the Penang Philharmonic Orchestra (PPO), an amalgamation of Penang ’s amateur symphony
orchestras that have for decades performed spottily over the calendar year.
Several years ago, these were merged into the PPO, which enjoys funding from
the state government. It now has a definitive concert season, and an
administrative cum performing home in The Star, Pitt Street
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| Dewan Sri Pinang by night. |
Dewan is a cavernous multi-purpose hall more
suited for political party conventions, and has a dryish acoustic that does not
flatter the best of orchestras. For this concert, the stage was sealed off and
the PPO brought into the stalls. This ensured that the orchestra played very
close (within sneezing distance) of the audience, which was an advantage to all
concerned. The acoustics became less of an issue, and musical communication
became paramount.
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| The Penang Philharmonic in rehearsal. |
From what I learn, Penangites have never had the
privilege of enjoying a Beethoven symphony or a Rachmaninov piano concerto
cycle. This concert conducted by Singaporean conductor Chan Tze Law (Principal
Guest Conductor of the PPO) and featuring guest soloist Filipino Albert Tiu (professor
of piano at Singapore
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| The Penang Philharmonic conducted by Chan Tze Law (Photo: The Star) |
The concert opened with Rossini’s Overture to The Barber of Seville, a staple of
sure-sell curtain-raisers. On conductor Chan’s downbeat, the orchestra
responded with the two opening chords perfectly in sync. This was the very
signal of intent that the young ensemble was going to work things out together,
with one single cohesive mind. The thinness of sound will be filled in with
time and experience, but it is the spirit that was dominant throughout the
performance that will stand the orchestra in good stead. It captured well the
comedic elements of the music, and a head of steam soon built up with each
patented Rossinian crescendo. A good start it certainly was.
Those familiar with pianist Albert Tiu will know
what to expect from him in Rachmaninov’s Second
Piano Concerto in C minor. His blend of passion and fire in the bittersweet
work and virtuosic flourishes are par for the course, and the excitement he
generates makes each performance special. The way the PPO responded to him and
conductor Chan’s direction was fully in the service of the music. How the
strings sang in the first movement’s opening theme over Tiu’s barrage of
arpeggios made this moment stand out, leading to an impassioned climax. The
solo French horn towards the end was also excellent, yet another indication
that the young musicians not only play well as a group but also individually as
well.
More was to follow in the slow movement, and
again the solo clarinet and woodwinds did themselves proud while supported by the
piano’s ruminations. The strings again distinguished in the lush restatement of
the main melody with the piano’s chords in full tilt. There were lots of tricky
bits in the finale, most notably the fast central interlude and the furious
fugato. The orchestra kept time perfectly in the treacherous passages where
even professional orchestras sometimes find themselves unstuck. All this leads
to the grand apotheosis with the big tune, and this was where the new Steinway
D shone; Tiu’s emphatic chords resounded above the throng and the balance at
the concert’s most exciting moments came close to perfection. This is not an
easy concerto to accompany, but the PPO did a very good job. This is as close to
professional as a group of young musicians can possibly muster.
Beethoven’s Fifth
Symphony in C minor filled the second half of the concert. Like the Rossini
that began the concert, the famous opening four notes and its repetitions were
hammered spot on cue. Where hesitation or accidents may happen, these were
safely negotiated as the young musicians followed every beat and step of the
conductor, and there was no letting up in this essentially monothematic
movement. The lingering oboe solo was also handled expertly, a brief respite
before the orchestra began its onslaught of Fate knocking at the door.
If the orchestra betrayed any signs of
inexperience, it would have been in the second and third movements. The slow
movement is the most difficult to pull off because of its meandering
variations, which need to breathe in its ebb and flow, and sustained lines
which can weary younger players. The third movement with its elusive shifts in
pace from a quietly surreptitious slither to a goose-stepping march (a variation
of the 1st movement Fate motif) also proved a real challenge, but it
cannot be said that the players did not try their best.
The transition into the blazing finale was well
worked out, as the orchestra responded to conductor Chan’s directions almost
instinctually, and the expansion of sound provided a chill to the spine as the
broad striding theme of the last movement got underway. Here was a mirror of
the first movement, with very disciplined playing but one that strained and
tugged, and surged ahead on a well-controlled leash. The brass was on superb
form for the joyous expression of ultimate triumph, and they did not need
further encouragement. What of the very steady timpani player, whose beats
marshalled the forces like a battlefield general? A final burst of adrenaline
brought the symphony to a highly satisfying close, that was greeted with a
chorus of cheers. The audience was rewarded with an encore: Dvorak’s Slavonic Dance in G minor (Op.46 No.8).
The Penang Philharmonic has the potential of
going very far, even turning professional sometime in the near future. Penang has a growing,
enthusiastic yet discerning audience which does not deserve anything less.
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