The Philharmonic Orchestra: Papa Haydn & You II / Review

PAPA HAYDN AND YOU II
The Philharmonic Orchestra
Lim Yau, Conductor
Esplanade Recital Studio
Thursday (7 May 2009)

An edited version of this review was published in The Straits Times on 9 May 2009.

It was a refreshing change attending a concert wholly devoted to the symphonies of Joseph Haydn, when the norm is a Haydn symphony serving merely as the prelude to some overplayed Romantic warhorse. In its two-concert series, The Philharmonic Orchestra under conductor Lim Yau tapped into a treasure trove untouched by our national symphony orchestra.

What riches these underestimated works bring, especially to ears more accustomed to the likes of Mozart and Beethoven. The stürm und drang (storm and stress) elements in the early symphonies No.26 (Lamentation) and No.49 (La Passione) – both in minor keys – reveal the wealth of Haydn’s emotional depth. The so-called “Father of the Symphony” was not just adept at cheerful melodies and musical jokes.

The latter symphony, first performed on a Good Friday, was in somber, tragic and even despairing F minor throughout, with the Trio section of the 3rd movement in F major illuminating like a rare ray of sunshine. Unfortunately, the scene was pelted by raspberries from the French horns, and the close to magical effect almost went begging.

This is a totally acceptable phenomenon of amateur music-making, as were the occasions of hesitancy, wayward intonation and uneven ensemble. However these were more than made up for by the enthusiasm and passion exhibited by Lim’s charges. It all came together in Symphony No.85, nicknamed La Reine because it was purportedly Queen Marie Antoinette’s (left) favourite of Haydn’s Paris Symphonies.

The French elements – dotted rhythms at the onset and the 2nd movement’s variations on a French tune – were well handled. Perhaps one forgot that the ill-fated monarch was Viennese by birth, and 3rd movement’s Trio a gloriously bucolic Ländler, that humble Austrian dance in three-quarter time.

Played with much fervour and brio, that and other moments of inspiration were a wellspring of quiet joy. Despite the few niggles, this concert – with each symphony preceded by a short introduction by Symphony 92.4 host Phua Ee Kia – was an enjoyable hour well spent.

CD Reviews (The Straits Times, May 2009)

HAYDN Symphonies No.6,7 & 8
Freiburger Barockorchester
PETRA MULLEJANS, Leader
Harmonia Mundi 2961767

Rating *****

Joseph Haydn (1732-1809), the so-called “Father of the Symphony”, did not invent the genre but popularised it, firmly establishing it as the leading vehicle of expression in the Classical and Romantic eras. These three symphonies of 1761, composed during his first year of service in the Esterhazy household, are programmatic in character. Depicting the times of the day – Morning, Noon and Evening – it was supposed to be Haydn’s answer to Vivaldi’s The Four Seasons. In truth, these sound like good old absolute music, with well-defined themes and development, not withstanding an attempt to simulate a storm (he was no Beethoven) in the final movement of Symphony No.8.

The compact Freiburg Baroque Orchestra (21 players) led by its leader violinist Petra Mullejans come as close to reliving Haydn’s Esterhaza band as possibly imagined, creating a forceful yet intimate sound. Judging by the efforts of flautist Karl Kaiser, that group must have had a supreme virtuoso of a flautist as well. This is the perfect antidote for all who imagined Haydn to be boring.

BRAHMS Hungarian Dances

Waltzes Op.39, Klavierstücke Op.76
CEDRIC TIBERGHIEN, Piano
Harmonia Mundi 902015

Rating ****1/2

Johannes Brahms originally wrote his 21 Hungarian Dances for piano duet (4 hands), having being an accompanist for a Hungarian gypsy violinist in his younger days. He later transcribed the first ten for two hands, thus taxing the amateur pianist with multitudes of notes far beyond average ability. French pianist Cedric Tiberghien more than amply supplies, finding a rare Magyar élan and exuberance in the Dances, which sparkle in his hands. The same applies for his 15 graceful Waltzes (Op.39), which require both litheness and agility over and above mere notes. More profound thoughts are plumbed in the rarely-played Eight Pieces or Klavierstücke Op.76 – comprising varied Capriccios and Intermezzos - which exhibit darker and introverted qualities. Again he delivers with an immediacy and trenchancy that is hard to resist.

CHILDREN’S CELLO
STEVEN ISSERLIS, Cello
STEPHEN HOUGH, Piano
BIS CD-1562

Rating *****

The idea of a record of short cello pieces for children is totally winning one. These are neither boring exercises nor music exam fodder, but encore-like bonbons that will charm and delight in a kiddie concert. The opening piece, Ludwig Lebell’s lovely Berceuse Orientale, requires the young cellist to play only on open strings. The pianist has far more notes, although easily accomplished on one hand. The pieces get progressively more advanced as the composers become more familiar; Boccherini’s beloved Minuet, Sibelius salon-like Lulu Waltz (just under 1 minute long), a pair of cradle songs by Fauré and Amy Beach, and Poulenc’s insouciant Serenade are plain delectable.

Some showmanship is afforded in the Bohemian David Popper’s Gavotte and the Spanish Gaspard Cassado’s Requiebros, both of whom were cello virtuosos. Hough and Isserlis include their own offerings; the former’s The Haunted House with narration from Simon Callow and musical special effects makes for engaging listening. The performers are old pros, but approach these miniatures with a wide-eyed innocence that is always refreshing.

PAPA HAYDN & YOU / The Philharmonic Orchestra Haydn Cycle / Review

PAPA HAYDN & YOU
The Philharmonic Orchestra
LIM YAU, Conductor
National Museum
Sunday (22 February 2009)

Has there been a more underrated composer than Franz Joseph Haydn (1732-1809)? He composed over a hundred symphonies, but how often do these, if any, appear in the Singapore Symphony Orchestra concert seasons? In commemorating the 200th anniversary of Haydn’s death, The Philharmonic Orchestra (TPO) under the indefatigable Lim Yau have righted several wrongs by embarking on a Haydn symphony series in the Salon of the National Museum.

The venue is probably not much larger than Haydn’s own at Esterhaza, and the sound generated by a small orchestra is close and vivid, without too much reverberation from the stonewalls and marble floor. Two rather different symphonies were selected to launch the series, which also had an educational element presented by Symphony 92.4 deejay Phua Ee Kia.

There was a tentative start to Symphony No.73 in D major (1782), which soon settled once the first movement’s Allegro got underway. The mostly amateur group could have done with more intimacy in the slower and quieter bits, and sounded less four-square in the minuet-like dance sections. However, there was no lack of fervour in the general ensemble, with the French horns generating a robust sound in the bumptious “hunt” conclusion, which gave the symphony its nickname La Chasse (The Chase).

What a sensation this music must have caused on its first hearing, as was the Beethoven-like opening to Symphony No.82 “The Bear” in C major (1786), the first of Haydn’s Paris Symphonies. Exploiting wind, brass and the timpani to their max, the performance flexed every muscle and sinew, breaking all restraints to so-called classical prettiness. Yet there were concessions for soloistic prowess, well demonstrated by the solo oboists in both symphonies.

If Haydn (left) had a musical successor, it would have surely been Beethoven, whose storm-tossed compositional tantrums were already anticipated in Haydn’s copybook. The pastoral drone in the rustic finale, suggesting a village dancing bear, went several leaps further - pointing to Brahms and as Maestro Lim rightly alluded to, Stravinsky. More Haydn is keenly awaited, perhaps his concertos, string quartets and further symphonies, just about 102 to go!