THREE BY THREE
re:Sound
Victoria Concert Hall
Sunday (10 March 2019 )
The
classical music scene in Singapore
re:Sound,
performing exclusively in the 673-seat Victoria Concert Hall, has offered local
concert-goers new vistas in the appreciation of baroque and classical
repertoire. It is a dedicated chamber orchestra rather than a full-sized
symphony orchestra pared down to perform baroque and classical music. Its
roster of guest conductors/leaders has included Pavlo Besnoziuk, Enrico Onofri,
Ning Kam, Ike See and Melvyn Tan, names associated with small or period
instrument ensembles.
Its
latest concert, led by Finnish pianist-conductor Ralf Gothoni, was a primer to
the periods of classical music history. Beginning with Baroque, it then
proceeded to Classical before closing with Romantic music, with the ensemble
size progressing incrementally.
Ralf’s
violinist son Mark Gothoni led the opening work, J.S.Bach’s Brandenburg
Concerto No.3 in G major. Scored for three violins, three violas, three
cellos (each player helming a different part) with bass and harpsichord, the
music was as transparent as it could get.
From the outset, the group impressed with a rich and full sonority (despite the small size) boosted by tautness in ensemble. The busy counterpoint in the fast outer movements did little to faze the players who kept a tight rein to their playing. The second movement comprised merely two chords accompanied by brief filigree from harpsichordist Gerald Lim. One wondered if they had thought of utilising this ad libitum opportunity by contributing improvisational minutes of their own.
From the outset, the group impressed with a rich and full sonority (despite the small size) boosted by tautness in ensemble. The busy counterpoint in the fast outer movements did little to faze the players who kept a tight rein to their playing. The second movement comprised merely two chords accompanied by brief filigree from harpsichordist Gerald Lim. One wondered if they had thought of utilising this ad libitum opportunity by contributing improvisational minutes of their own.
Even
better was the performance of Mozart’s youthful Symphony No.29,
conducted by Ralf Gothoni himself. He used neither baton, score nor podium for
this endeavour, and the result was refreshing to say the least. Despite an
expanded body of strings, boosted by pairs of oboes and French horns, the playing
was still intimate and light in spirit.
The opening of the first movement was distinguished with a sense of calm before bursting into life. The changes in dynamics, ebb and flow in this and the ensuing slow movement were well realised. Even when winds came into the picture, the balance was maintained at an even keel. The contrasts in the third movement’s Minuet and Trio could have been more marked, but the daintiness achieved was key to its narrative. The finale was a joyous affair, and the ascending scales for the strings – a distinguishing feature of the movement – could not have been better handled.
The opening of the first movement was distinguished with a sense of calm before bursting into life. The changes in dynamics, ebb and flow in this and the ensuing slow movement were well realised. Even when winds came into the picture, the balance was maintained at an even keel. The contrasts in the third movement’s Minuet and Trio could have been more marked, but the daintiness achieved was key to its narrative. The finale was a joyous affair, and the ascending scales for the strings – a distinguishing feature of the movement – could not have been better handled.
The
longest work came in the second half, with the Gothoni Trio – Ralf (piano),
Mark (violin) and Yuko Miyagawa (cello, also Mark’s wife) – accompanied by an
even larger ensemble in Beethoven’s Triple Concerto. Often referred to
as a piano trio concerto (the first ever conceived, and not widely repeated as
a form), it has sometimes been likened to the cello concerto Beethoven never
wrote. Critics have also unkindly called it Beethoven’s weakest concerto, but
audiences love its spectacle and enjoyable tunes.
About that cello concerto bit, it was Miyagawa who led in the entry of the soloists for all three movements, and she also got to play the big tunes first. Other than that, it was Ralf and his piano that was de facto leader (as to be expected in the piano trios genre). The opening tutti was led standing from the keyboard, and he stamped his authority the moment the music began.
About that cello concerto bit, it was Miyagawa who led in the entry of the soloists for all three movements, and she also got to play the big tunes first. Other than that, it was Ralf and his piano that was de facto leader (as to be expected in the piano trios genre). The opening tutti was led standing from the keyboard, and he stamped his authority the moment the music began.
The
sense of intimacy forged between the three soloists was apparent, and it
withstood the orchestra’s vigorous accompaniment with a very confident Michael
Tan on timpani. While the opening movement was about flexing of muscles, the
slow movement’s Largo
The furious coda was however touch-and-go, with both string soloists almost fraying at the edges to keep up with the pace. Nevertheless it all closed with hearty C major chords, big bangs that ensured equally hearty applause. Happy concerts are supposed to end that way.
Photographs by the kind courtesy of re:Sound.
The furious coda was however touch-and-go, with both string soloists almost fraying at the edges to keep up with the pace. Nevertheless it all closed with hearty C major chords, big bangs that ensured equally hearty applause. Happy concerts are supposed to end that way.
Photographs by the kind courtesy of re:Sound.
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