HERE IS A SERIES OF CONCERTS NOT TO BE MISSED! The first Beethoven Piano Concerto cycle to be performed by a Singaporean. Only the fourth such cycle to take place in Singapore (the previous ones were in 1983, 1998 and 2004, given by Anton Kuerti, various pianists and Mikhail Pletnev respectively, all with the Singapore Symphony Orchestra), this one is special because it features local piano titan LIM YAN and The Philharmonic Orchestra conducted by Lim Yau.
Pianomania is privileged to have a few words from pianist LIM YAN, who obviously relishes his forthcoming experience with Beethoven.
Congratulations! You will be the first Singaporean pianist to perform
all of Beethoven’s five piano concertos in a cycle here, and even beating
Melvyn Tan to it. When was this not-so-crazy idea with The Philharmonic
Orchestra first mooted?
The Philharmonic Orchestra had previously
presented complete cycles of symphonies by Beethoven, Schumann, Schubert and
Sibelius, and it is an intriguing idea to explore the entire output of one
composer in a particular genre; to immerse oneself in the musical language of a
particular composer and to study his works intensely. It’s music director Lim
Yau and I had been discussing the possibility of a Beethoven piano concerto
cycle for some time now – years, I think – so when this opportunity arose we
went ahead and plunged right in!
Surely you must have performed one or two of these concertos in the
past. What do Beethoven’s piano concertos mean to you?
Each of Beethoven’s five piano
concertos is an important work of the repertory, and that is a remarkable testament
to his genius and his perfectionist streak. Off-hand, the only other composer I
can think of with a comparable record in the genre is Rachmaninov. As a piano
virtuoso himself, Beethoven’s writing for the instrument is not only idiomatic
but also revolutionary – for example, the characteristic long pedal markings
for effect.
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| The three ages of Beethoven. |
We see Beethoven’s style evolve with these concertos, from the
Haydn-Mozart model of Op.19 (the Second
Concerto but chronologically the first), through the Middle Period
concertos of Op.37 and 58 (Third and Fourth Concertos) to his maturity in
Op.73 (the Fifth or “Emperor” Concerto). How differently do
you approach each of these works?
Undoubtedly, Beethoven was an
innovative composer who was constantly pushing at the edge of the envelope –
for example, up to the Third Concerto
we have a standard concerto structure with double exposition, et cetera. Suddenly, in the Fourth Concerto it is the piano which opens
with a quiet four-bar phrase. And the Fifth
Concerto practically begins with a written-out cadenza punctuated by three
orchestral chords. It is as if Beethoven was showing us that there are
alternatives; that a concerto does not have to start in a certain fixed way. I
am quite sure that Liszt was strongly influenced by the opening of the Fifth for his own First Piano Concerto, as well as Grieg and Schumann, to name just
three other composers.
Let us also not forget that the
piano was undergoing some changes during this time as well. The keyboard
expanded from five octaves to almost seven octaves and with it also the range
of expressive possibilities. In the first two concertos in particular, the
music often traverses the entire range of the keyboard or hovers around the
extremes. One can imagine Beethoven sometimes wishing for an extra note or two!
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The opening bars of
Beethoven's Piano Concerto No.4
in G major, Op.58. |
Which of these concertos did you find the most challenging to learn and
interpret?
I’m afraid I am going to have to
go with the clichéd answer which is the Fourth
Concerto. I think there is a good reason why this concerto is often singled
out. It is for me the least concerto-like of the five. The typical dynamic and
drama of a concerto involves pitting the soloist against the orchestra – the
struggle of one against many – but the texture in the Fourth Concerto more often resembles that of a symphony with piano obbligato. Even though there are very
many notes, the piano frequently has a subservient role in the context of the
whole. Add to that a seemingly calm and sedate, lyrical main theme (highly
unusual for Beethoven!), and it is almost as if Beethoven is challenging one’s
preconceived notions of a concerto; to re-evaluate and re-think what is
understood by the term “concerto”.
Do you have a particular favourite? And why?
Growing up, the Great Composers
series of recordings was an important part of my musical education as that was
how I first got to know many of the pieces in that collection. I still remember
vividly the first issue, which featured Beethoven’s Fifth Symphony, and being totally captivated by this music which I
had never heard before.
Later on in the series, the Emperor Concerto was featured, with its equally arresting opening, and I
was hooked. I even managed to obtain a score and tried to pick my way through
the easier bits, with limited success. I could only boggle at passages like the
double thirds in the first movement.
Now, over two decades later, I
still love the Emperor, and I still
struggle to play double thirds…!
Do you have any favourite recordings of the concertos?
One musician whom I admire greatly
for his interpretation of Beethoven’s music is Daniel Barenboim – not just as a
pianist but also as a conductor. To me, he gets right to the heart of the
music, without any showboating, cheap effects or eccentricities – just pure
music. I recently discovered the recording he made in 2007 with the
Staatskapelle Berlin, conducting all five concertos from the piano, and was completely
blown away by its conviction. The orchestra was also on top form and so
sensitive to everything that Barenboim did.
You recently performed the “Emperor”
with the Vietnam National Symphony Orchestra in Hanoi (conducted by Adrian Tan). What was the
experience and reception there like?
I thoroughly enjoyed the
experience with VNSO in Hanoi
although the weather was unbearably warm! Temperatures went up as high as 40°C sometimes
and rehearsals became quite uncomfortable, especially in poorly-ventilated
spaces. We even cancelled one session of rehearsals because of the heat wave!
Thankfully we managed to get through the performances – Adrian and I were both
drenched in perspiration by the end – which were on the whole well-received.
I must also mention, as an
integral part of the Vietnam
experience, the food which was absolutely delicious. The flavours of the fresh
produce are really highlighted and enhanced by the light cooking and condiments.
I’m getting hungry just thinking about it!
We notice that Beethoven’s Triple
Concerto (Op.56) has been included in this cycle, which means you play six
concertos instead of just five! It has been described as a “Piano Trio”
Concerto, so what is the piano part like, as opposed to the violin and cello
parts?
Certainly, the Triple Concerto features quite an
unusual instrumentation and it is interesting to see how Beethoven tackles the
relationship, not just of soloists versus orchestra, but also strings versus
piano. Although all three instruments have their moments in the spotlight, I
think the piano rightly plays a more supportive role here to the more lyrical
and expressive strings. The cello part in particular is especially prominent. It
introduces the main subjects in each of the three movements, and is also technically
demanding. The cello is so high up in its register that half the time the music
almost sounds like a concerto for two violins and piano!
Since while you’re at it, why not also learn the D major Concerto (Op.61), Beethoven’s own
transcription for piano of the Violin
Concerto?
Yes indeed! Perhaps for the next
cycle, together with the Piano Concerto
No.0 (in E flat major, WoO 4)!
We wish you all the best!
The Beethoven Piano Concerto Cycle with Lim Yan and The Philharmonic
Orchestra (conducted by Lim Yau) takes place at the School of the Arts (SOTA)
Concert Hall at 8 pm on:
8 June (Friday): Nos.1 and 5 “Emperor”
13 June (Wednesday): Nos.3 and 4
16 June (Saturday):
No.2 and Triple Concerto
(with Grace
Lee, Violin and Lin Juan, Cello)
