DEATH
AND THE MAIDEN
NAFA
Project Strings
Lee
Foundation Theatre
Thursday
(9 April 2015 )
This review was published in The Straits Times on 11 April 2015 with the title "Skilful shifting of gears".
NAFA Project Strings is the brainchild of
Singaporean violinist Foo Say Ming, with the aim of promoting excellence in
string playing among music students at the Nanyang Academy of Fine Arts. Its
various concerts since 2012 have covered the bread and butter of the string
repertoire, with a keen emphasis on ensemble work rather than solo
virtuosity.
Its latest concert began with the Aria from Brazilian composer Heitor
Villa-Lobos' Bachianas Brasileiras No.5 which
employs eight cellists accompanying a singer. Young Indonesian soprano Isyana
Sarasvati, one of NAFA's most promising voice students, has a bright ringing
voice well-suited for coloratura arias. However more shades of subtlety could
have been employed in this sensuous, even mysterious song, which is mostly
wordless.
The cellos first provided a background
rumbling counterpoint, before emerging with the glorious melody on its own.
They did so with an intensity that closely matched the singer's. It was a pity
that the fast and trickier second movement, which would have revealed different
aspects of both skills, had been omitted.
As a prelude to the main work, Franz
Schubert's original lied Der Tod und Das
Mädchen (Death and the Maiden) was performed by Saravasti with pianist Chin
Kim Hung. The opening chords played on the piano rather than the sung melody
served as the subject for the composer's famous string quartet of the same title.
Chin was sturdy in his delivery and Saravasti impressed with her lower
registers which evoked true pathos.
The houselights dimmed and came on to
reveal Foo conducting the full string ensemble of 33 members in an augmented
version of Schubert's String Quartet
No.14 in D minor (D.810). Gustav Mahler had written his own version for
string orchestra, which in turn was further adapted by Foo for this
performance. Notably, double basses were given parts to add body and heft to
the overall sound.
Barely ten days ago, the celebrated
Juilliard String Quartet had given a stunningly riveting account of the
original work at the Yong Siew Toh Conservatory in a lunchtime concert. The
NAFA version was to be no less committed despite the youth and inexperience of
the players involved. The opening movement was taken with an urgency and
tautness that held its seams like glue. The exposition repeat was included
without sounding weary and the subsequent development ratcheted the tension
several notches.
The Andante second movement was a set of
variations on the afore-mentioned lied, the spiritual heart of the work. The
ensemble was sensitive to the change of dynamics with each variation and there
was a sublime moment when the melody sung by the cellos was accompanied by
delicate flitting violin figurations. A passionate climax had been reached, but
there was more to do in the 3rd movement's Scherzo and Trio, which
was guided with alternating agitation and lilting grace.
Gaining in confidence, the finale's
tarantella rhythm was led at a furious pace, but witness how the frenzy
dissolved immediately with the second subject's broad and generous entrance. It
was this ability to shift gears so skilfully and musically in rapid succession
that spelt the success of this endeavour. If the seemingly unwieldy 33 could
come close to emulating a slick foursome, something has to been said about the
level of guidance and instruction. More is to be expected from this worthwhile
project.
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