CIRCULO / TO Ensemble / Review

CIRCULO

TO Ensemble

Play Den, The Arts House

Sunday (25 February 2018)

This review was published in The Straits Times on 27 February 2018 with the title "Musings of childhood days and memories".

One never knows what to expect in a TO Ensemble concert. In Circulo, the ensemble was pared down to just composer Tze Toh on piano and guest flautist Roberto Alvarez from the Singapore Symphony Orchestra, supported by Akileshvar VM (percussion) and Wendy Phua (electric bass), and a bawling infant.

How an infant-in-arms was even admitted into a formal ticketed concert remained a mystery. Providing an unscripted high-pitched counterpoint for the longest part of the music's duration, it raised concerns but nothing was done. It, however, did little to faze the performers who stuck to their jobs by being simply brilliant.

Unlike past concerts, there were no post-apocalyptic back-story or survival tales to be told but the three suites that formed the narrative roughly united Alvarez's hometown of Asturias on the northern Spanish coast and Tze's Singapore. Both included sea-faring cultures and there was a pervasive element of nostalgia, fondly looking back at childhood days and memories.

The Prologue opened atmospherically with the piano's gentle musings, then accompanied by intakes and outtakes of breath on the flute but no notes. This was the wind, from small blasts to swirling eddies before the emergence of a simple folk-like melody.

Chapter One was The Sea, with a rhythmic dance and percussively staccato beat from the flute in Asturias. City / Metropolis 2018 and The Adventure continued with a busier and more upbeat pace, when drums and bass joined in. The Spanish vibe turned more Middle Eastern in feel, with interesting harmonic progressions hammered out on piano.

The Myths And Legends of Chapter Two began with a playful etude-caprice on solo flute, almost a superhuman effort in breath control in The Boy, The Pirate And The Magician. Piano and percussion entered in Satyvaan Savithri which alternated hypnotically between G major and G minor. Despite its Indian title, was the influence Moorish? And how much further before reaching Singapore?

Deep piano rumblings provided a Lisztian mood to Nuberu / The Cloud Master, matched by equally dark colours from the flute, but this soon morphed from night to day with a jazzy romp to conclude the chapter.     

All through this, the baby did its best to colour the proceedings. But then for stretches, quiet prevailed. Had music the charms to soothe the savage beast? No, timely spots of spontaneous breastfeeding in full view of the audience did the trick.

Circulo, the third chapter, began with a nocturne or night piece. A balmy, echo-filled and somewhat oppressive solo flute introduction gave way to the piano's more active arpeggios. All fetters were then thrown off in Fiesta, where all four players broke out in an all-out Cuban dance. How much was scored, and how much was improvised was only best known to the performers themselves.

The final movement, Child's Play, was unabashedly Romantic in feel. By now, the baby and its family – the only local element discernible – had left the hall. Anyway, thanks for the mammaries.

Both Tze and Roberto shared freely
in the post-concert discussion.

A new take on the programme's cover!

MARTHA ARGERICH TO PERFORM IN SINGAPORE!!!!!

This is no drill.

MARTHA ARGERICH 

WILL BE PERFORMING AT THE 

25TH SINGAPORE INTERNATIONAL 

PIANO FESTIVAL!!!

The Singapore Symphony Orchestra has released long-awaited details of this year's Singapore International Piano Festival (the celebratory 25th or Silver anniversary) which takes place from 7 to 13 June. Four pianists had already been named in last year's festival, but the festival's Facebook posts had suggested big names coming up for two additional nights, but little did we know who they were going to be...

The line up is as follows:

Thursday 7 June: Seong-Jin Cho

Friday 8 June: Denes Varjon

Saturday 9 June: Jeremy Denk

Sunday 10 June: Dang Thai Son

All above concerts at Victoria Concert Hall, 7.30 pm.

Monday 11 June: 

Martha Argerich & Dario Ntaca

(Two Piano Recital)

Wednesday 13 June: 

Martha Argerich & Dario Ntaca

(Concertos with Singapore Symphony Orchestra)

Both concerts at Esplanade Concert Hall, 7.30 pm.

More details and ticket bookings to be found here:

https://www.sso.org.sg/sipf/programme 

So what are you waiting for?

CANCELLED! MURRAY PERAHIA'S RECITAL AT ESPLANADE

We have received news from Esplanade that due to an illness, Murray Perahia has cancelled his Asian tour. 

Get well soon.

SISTIC will arrange for refunds in due course.

Here is another piano recital not to be missed. Celebrated American pianist MURRAY PERAHIA makes a welcome return to Esplanade Concert Hall with a programme of Bach, Schubert, Mozart and Beethoven.

MURRAY PERAHIA IN RECITAL

Esplanade Concert Hall

Thursday, 8 March 2018 at 7.30 pm

Programme includes:

J.S.BACH French Suite No.6 in E major

SCHUBERT Four Impromptus, Op.142

MOZART Rondo in A minor, K.511

BEETHOVEN Sonata No.32 in  C minor, Op.111

Tickets available at:

https://www.esplanade.com/events/2018/murray-perahia-in-recital

In addition, Murray Perahia is holding a masterclass at the Yong Siew Toh Conservatory two days before

MURRAY PERAHIA Piano Masterclass

Yong Siew Toh Conservatory Concert Hall

Tuesday, 6 March 2018 at 4 pm

Tickets available at:

https://www.esplanade.com/events/2018/~/link.aspx?_id=2107148FC36A4DA6B7DDFE12804BF8D0&_z=z

Do not miss these unforgettable piano events.

BORIS BEREZOVSKY: TITAN OF THE PIANO / Review

BORIS BEREZOVSKY

TITAN OF THE PIANO

Esplanade Concert Hall

Wednesday (21 February 2018)

This review was published in The Straits Times on 24 February 2018 with the title "Super-virtuoso pianist makes a splash".

In the second recital of the Aureus Great Artists Series, celebrated Russian pianist Boris Berezovsky, 1^st prize winner of the 1990 Tchaikovsky International Piano Competition, took to the stage. There was an eleventh-hour programme change, with the more standard selection of Beethoven, Chopin, Bartok, Scarlatti and Stravinsky replaced by an all-Russian smorgasbord.

Here are the Russians (L-R):
Balakirev, Liadov, Rachmaninov, Scriabin & Stravinsky.

The music of Mily Balakirev rarely features in recitals, so it was a pleasant surprise to hear a suite comprising two Mazurkas, a Nocturne and a Scherzo from the leader of “The Mighty Handful” clique of Russian nationalist composers, who was also enamoured of Chopin.

Within minutes, Berezovsky, a hulking bear of a performer, showed why he is regarded a super-virtuoso among pianists. That he could deliver huge splashy chords and the finest filigree within mere moments was much to savour, his enormous dynamic range achieved with seemingly the greatest of ease, minimum fuss and absolutely no histrionics.

Even the notorious oriental fantasy Islamey was tossed off with searing pace, lightness and clarity that defied physics. One of very few who can play it under 8 minutes, a canny excision towards its coruscating end lopped off further seconds, thus comfortably hitting the sub-seven mark.

Speed records do not apply to Anatol Liadov's exquisite miniatures, which Berezovsky treated like sparkling gems. There was a gently rocking Barcarolle and lilting Mazurka, reliving Chopin and early Scriabin, and a bouquet of Preludes. This was distinguished by the Borodinesque melody of Op.11 No.1, the melancholy of which could not have been more Russian.

Without neither a break nor fanfare, he seamlessly eased into five Préludes by Rachmaninov, closing with the popular E flat major and G minor numbers (Op.23 Nos.6 & 5). As the alert listener would have noticed by now, Berezovsky had chopped and changed the programme, omitting certain listed pieces and adding new ones as he progressed. It was anybody's guess what came next, but this serendipity was more enthralling than disorientating.

With no further surprises, the second half began with six Études by Alexander Scriabin. Working from Op.42 to Op.65, and mirroring the composer's ascent from neurotic excitability into outright hysteria, the music became more frenzied in Berezovsky's hands. The climax came in the volcanic spewings of Sonata No.5, the so-called “Poem of Ecstasy”.

Despite getting lost somewhere in its psychedelic ruminations, Berezovsky obeyed the cardinal law of concert pianists by not stopping, instead recovering and finishing in the most exulted of highs. As if that were not enough, Stravinsky's fearsome Three Movements from Petrushka followed, further revealing Berezovsky's metier as a true keyboard colourist.  

While not pin-point accurate, it was the rough-and-tumble of the Shrovetide Fair dances that truly mattered, with swathes of orchestral colour emanating from the keyboard like never before. Its raucous conclusion raised a spontaneous standing ovation, and three of Grieg's Lyric Pieces (Berceuse, March of the Trolls and Wedding Day at Troldhaugen) - conjuring a different sound world altogether – as encores, had exactly the same effect. 

CD Reviews (The Straits Times, February 2018)

A BEETHOVEN ODYSSEY VOL.5

JAMES BRAWN, Piano

MSR Classics 1469 / *****

LATE BEETHOVEN

ISHAY SHAER, Piano

Orchid Classics 100076 / *****

The 32 piano sonatas of Beethoven in the recorded medium have been defined by the likes of historical pianists like Artur Schnabel and Wilhelm Kempff, and more recently, Alfred Brendel. A younger generation represented by Jean-Efflam Bavouzet, Paul Lewis and Igor Levit have carried on quite famously as well. 

But do listen to these latest recordings by British pianist James Brawn (now in his fifth instalment of sonata cycle) and the Israeli Ishay Shaer, who uphold the tradition with pride and vigour.

Brawn explores four sonatas from Beethoven's early period. The trio of Op.10 Sonatas are as varied as one can get. The dramatics of the C minor sonata (No.1) are contrasted with the humour of the F major sonata (No.2), but both are eclipsed by the imposing D major sonata (No.3), the longest of the three and one of his great early essays in the genre. 

Brawn instils an urgency and vitality that is hard to ignore, and follows up with the genial G major sonata (Op.14 No.2).

From Beethoven's later years are the Sonatas in A major (Op.101) and E major (Op.109), as he single-handedly bridged the Classical and Romantic eras. Shaer fully captures the autumnal spirit, which is tempered by defiance and a fond look-back at past traditions. The finales of Op.101 and 109 are a fugue and a theme and variations set respectively. 

Between these giants are 17 Bagatelles (Op.119 and 126), miniatures which resemble shavings from a master's workbench. Trifles some of these may be (Op.119 No.10 lasts just 14 seconds) but would one trifle with gold dust?   

A CONCERT NOT TO BE MISSED: BORIS BEREZOVSKY - TITAN OF THE PIANO

Here is a concert not to be missed, an all-Russian piano recital by the great Russian pianist Boris Berezovsky entitled "Titan of the Piano". 

Berezovsky was the 1st Prizewinner in the 1990 Tchaikovsky International Piano Competition. He last performed a solo recital in Singapore in 2005 (Chopin-Godowsky Etudes and Mussorgsky's Pictures at an Exhibition), and has appeared on multiple occasions with the Singapore Symphony Orchestra.

His piano recital programme (please note the changes) is as follows:

BALAKIREV Mazurkas Nos.4 & 5
Scherzos Nos.2 & 3 
Nocturne No.1 
Islamey

LIADOV Barcarolle Op.44 
Mazurka Op.57 No.3
Preludes (Selection)

RACHMANINOV Preludes Op.32 (Selection)

SCRIABIN Études Op.42 Nos.3, 4 & 5
Etudes Op.65 Nos.1-3
Sonata No.5

STRAVINSKY 

Three Movements from Petrushka

When: Wednesday 21 February 2018

Where: Esplanade Concert Hall

What time: 7.30 pm

Tickets are available at SISTIC by clicking here:

https://www.sistic.com.sg/events/cboris0218

This concert is presented by Aureus Productions as part of the Aureus Great Artists Series. 

CD Review (The Straits Times, February 2017)

ENCORES AFTER BEETHOVEN

ANDRAS SCHIFF, Piano

ECM New Series  4814474 / *****

Anyone who has attended a recital by the Hungary-born pianist Sir Andras Schiff knows that he loves performing encores. The choice of encore is a very personal thing, and he never fails to include works that complement and sometimes even enhance the musical experience that has passed. This disc is filled with live performances of encores played after his all-Beethoven recitals in Zurich's Tonhalle from 2004 to 2006.

There is a whole sonata by Haydn, his contemplative No.44 in G minor in two movements that come after Beethoven's Op.49 set, which closes in jolly G major. Notice the change in mood and relative tonalities.  Schubert features prominently with his Impromptu in E flat minor (the first of Three Pieces D.946), Allegretto in C minor and Hungarian Melody. He was well-known for being in awe of Beethoven, and. placing these Schubert pieces in juxtaposition is the best tribute possible. 

Beethoven's own Andante Favori followed the Waldstein Sonata. That was the discarded movement from that sonata, but is now heard in its proper context. Bach gets his due with dance movements from Partita No.1 and the glorious Prelude & Fugue in B flat minor which is one of very few pieces that does not diminish the mighty fugue from the Hammerklavier Sonata.  Nothing is left to chance, whim or fancy, and that is truly the genius of programming. 

THE MOZARTEAN EXPERIENCE / ADDO Chamber Orchestra / Review

THE MOZARTEAN EXPERIENCE

ADDO Chamber Orchestra

The Chamber, The Arts House

Friday (9 February 2018)

This review was published in The Straits Times on 12 February 2018 with the title "A romp down Mozart's path".

The ADDO Chamber Orchestra continued its popular Mozartean Experience concerts with another light-hearted romp, now at the historic Chamber of Old Parliament House. The venue was bathed in an eerie pale blue light, and at one corner sat a bewigged lady in period costume talking and singing to herself.

Members of the orchestra walked in, completely ignoring her presence, much to her consternation. Respect was what she deserved, revealing herself to be the ghost of Anna Maria Mozart (1720-1778), devoted mother of composer Wolfgang Amadeus Mozart. Except she was not an apparition, but Italian dramatist-soprano Sabrina Zuber in her usual irrepressible self.

This was how ADDO Chamber Orchestra's Mozartean concerts usually begin, with an educational angle dressed up in finery and frippery. It was a relief that conductor Clarence Tan did not show up wearing a wig himself, as he had on previous occasions. But there was a cheeky nod to the nation's founding prime minister when he addressed a centrally-seated gentleman as Kuan Yew.

Then the music began with seven lady string players descending on Mozart's Divertimento in D major (K.136). Even if there was thinness to the string sound of this familiar music, there was no denying the vitality of its outer movements. In between was an elegant slow minuet, which came across with much grace.

Next was a rarity, the Double Bass Concerto in D major by the almost-forgotten Italian Antonio Capuzzi (1755-1818) who was active as conductor and violin virtuoso in Vienna during Mozart's time. It may be cruel to state that some works are justly neglected, but because this was written for the great bass virtuoso Domenico Dragonetti, it deserved an occasional dusting.

Bassist Damien Kee did the honours, turning the unwieldy instrument into a kind of super-sized violin by being unexpectedly nimble. The melodies were banal, which he kept mostly in pitch and there was an aria-like slow movement to save the day. The finale saw him egged on by a pair of oboes which seemed to say, “Catch us if you can!”

There was a comic moment when Kee had difficulty adjusting his music stand, attributing that to ill spirits, to which Frau Mozart retorted, “This is poor manpower, my dear child.”

The final work was a Symphony in B flat major by Mozart, but which Mozart? The work that was designated as Symphony No.2 (K.17) by Wolfgang Amadeus was actually written by Leopold, his father. This short 4-movement piece came from the infancy of the symphonic genre, and for all its pleasantries was as generic as one could get.

There were remnants of the baroque, influences of Haydn and the Italians, and simple tunes which the orchestra whipped off with relative ease and gusto. Anna Maria also tried her hand in conducting - with a fan - but that was mercifully short as the concert wound to a humorous close. 

Everybody wants to take a photo
with Mozart's mother!

SINGAPORE INTERNATIONAL VIOLIN COMPETITION 2018: GRAND FINAL / Review

GRAND FINAL,

SINGAPORE INTERNATIONAL 

VIOLIN COMPETITION 2018

Esplanade Concert Hall

Thursday (8 February 2018)

This review was published in The Straits Times on 10 February 2018 with the title "Russian's breathtaking bravura scores top violin prize".

After three intense rounds of competition, the 2^nd Singapore International Violin Competition reached a climactic high in the Grand Final held at Esplanade Concert Hall. Three violinists were picked from a vastly talented crop of 29 to perform a concerto with the Singapore Symphony Orchestra conducted by Joshua Tan.

Earlier, each participant had to master two solo recitals (30 and 60 minutes each) and a concerto by Mozart before arriving at the Romantic or 20^th century concerto that was to be the final arbiter. To be judged by an international jury formed by renowned concert violinists and pedagogues were two performances of Sibelius’ Violin Concerto in D minor, sandwiching a sole Tchaikovsky Violin Concerto in D major.

Lovers of the violin may be excused for having a field day in the glowing company of Chisa Kitagawa (Japan), Sergei Dogadin (Russia/Austria) and Oleksandr Korniev, who performed in that order.

Kitagawa was the youngest of the threesome, having turned 21 during the competition. Fated to be the first performer in all four rounds (she drew the unenviable No.1 slot during the pre-competition lottery), she displayed little or no anxiety in the ethereal opening of the Sibelius, carving out a pure and voluminous sound as the 1^st movement progressed.

Rock-like steadiness and apparent nerves of steel served her well in the cadenzas and climaxes when she could have easily been overwhelmed by the orchestra's unrelenting forces. That she maintained that level of composure all through to the rough-hewn finale was testament to her abilities. Never less than immaculate in deportment and totally without histrionics, she also made fine music.

Korniev, who resides in Singapore as a teaching assistant at the Yong Siew Toh Conservatory, displayed no less confidence. However his performance of the Sibelius had the feeling of being on edge throughout, possibly a sign of being somewhat less technically secure. There were mild lapses in intonation but his spirit never flagged, going for broke even if it risked possible collapse. All this made for a very exciting performance.

Wedged in between was a most extroverted reading of the Tchaikovsky, no less from a full-blooded Russian. Dogadin's solo entry was breathtaking, as if saying to his audience, “You listen to me, and you listen well.” Grand in movement and gesture, his playing rose to meet that outward extravagance, and the 1^st movement's cadenza sparked, crackled and caught fire, setting the passionate concerto alight.

  

A master of nuance, he was also capable of much subtlety, as in the muted central Canzonetta. However one suspects this was just the much-needed respite before being let off the leash into the most rip-roaring of finales. Here, natural instincts reigned for a suitably spectacular close, drawing loud cheers from the audience.

For his all-round bravura, Dogadin was awarded the 1^st prize of USD 50,000, with Kitagawa and Korniev bagging the 2^nd and 3^rd prizes (USD 25,000 and 15,000) respectively. Interestingly, Dogadin had won 2^nd prize in the 2011 Tchaikovsky International Violin Competition in Moscow (no 1^st prize awarded), and this was a vindication of sorts.

1st Prize: Sergei Dogadin (Russia / Austria)

2nd Prize: Chisa Kitagawa (Japan)

3rd Prize: Oleksandr Korniev (Ukraine)

4th Prize: Laurel Gagnon (USA)

5th Prize: Lisa Yasuda (Japan)

6th Prize: Shi Xiaoxuan (China)

The 4^th, 5^th and 6^th prizes went to Laurel Gagnon (USA, USD 6,000), Lisa Yasuda (Japan, USD 5,000) and Shi Xiaoxuan (China, USD 4000) respectively. Dogadin also won the Goh Soon Tioe Recital Prize (USD 5000), while Kitagawa received top votes for the Audience Prize (USD 2,000).

For being the Best Singaporean violinist, Gabriel Ng was awarded a master bow by Pierre Guillaume. There were also cash prizes for the best performance of the music of Bach, Paganini and the commissioned set-piece Clara-Luna by Singaporean composer Chen Zhangyi (USD 1,000 each).

The 6 finalists are joined by the winner
of the Bach Prize: Elly Suh (USA, extreme L)

Organised by the Yong Siew Toh Conservatory, the Singapore International Violin Competition has become the Formula One Grand Prix of music competitions in this region. If the first competition in 2015 had raised ripples of worldwide attention, this edition would have an even longer lasting impact.