THE GLORY OF THE BAROQUE / Singapore Symphony Orchestra / Review

THE GLORY OF THE BAROQUE

Singapore Symphony Orchestra

Victoria Concert Hall

Friday (18 May 2018)

This review was published in The Straits Times on 21 May 2018 with the title "Spirited display of Baroque music".

Local audiences may be forgiven for thinking that baroque music consisted little more than Bach's Brandenburg Concertos, Handel's Messiah and Vivaldi's Four Seasons. Given recent programming of Singapore Symphony Orchestra's chamber concerts at Victoria Concert Hall, that notion should soon cease. British violinist and conductor Peter Hanson, veteran of the early music movement, has been helping to spearhead this change.

The first of two baroque concerts opened with Venetian composer Giovanni Gabrieli's Canzon XVI, highlighting the antiphonal qualities in cathedrals where his works were performed. The ensemble was split into three distinct string groups, widely spaced apart, and the effect was no less than gorgeously sonorous. 

Heinrich Ignaz Biber's Battaglia was an early form of programme music, depicting scenes of vivid battle which looked forward to potboilers like Beethoven's Wellington's Victory and Tchaikovsky's 1812 Overture. Nine string players were all that was needed to churn up a cacophony of marches, drums and fifes, musket and cannon shots by means of violent pizzicatos, the likes of which 20^th century modernist Bartok would have been proud of.  

Cast in G minor were Alessandro Stradella's Overture to La Forza Delle Stelle and Henry Purcell's well-known Chacony. The former began with a serious introduction followed a fugue, while the latter was an archetypal set of short variations on a ground bass. These compositional forms commonly heard in the 17^th century were performed with loving care and detail. 

Handel's ubiquitous oratorio Messiah was represented by two arias from young soprano Felicia Teo. She initially had some difficulty in negotiating the dizzying runs and intonation in Rejoice Greatly, but soon settled in He Shall Feed His Flock which better revealed her mellifluous tone. Now warmed up properly, she let loose on Handel's Tornami A Vagheggiar (Return To Me To Languish) from Alcina, a display of vocal athleticism and agility that was very impressive.

The evening closed with two works that highlighted solo instruments supported by a larger group of players. Vivaldi Concerto for Two Violins in A minor (Op.3 No.8) from L'Estro Armonico placed soloists Ye Lin and Xu Jue Yi in the forefront, where their virtuosic parts were able to shine through like beacons over the accompaniment in three movements. Vivaldi was one of music's early violin virtuosos and his music reflected that kind of flair.  

A little more subtle was Handel's Concerto Grosso in G major, Op.6 No.1 where violinists Hanson and Michael Loh, and cellist Guo Hao formed the central concertino group. While less obviously virtuosic, their voices nonetheless stood out from the backing ripieno group. Its five movements were built around a central Adagio where time stood still albeit for a short while. Then, a busy fugue and lively gigue (literally a jig) in triple time closed the concert on a spirited high.

The glory and diversity of the baroque could not have been better served. 

SSO CONCERT:THE BEAUTY OF THE BAROQUE II / Review

THE BEAUTY OF THE BAROQUE II

Singapore Symphony Orchestra Chamber Series

Esplanade Concert Hall

Sunday (28 April 2013)

This review was published in The Straits Times on 30 April 2013 with the title "Charmed by early music".

It is always refreshing to witness the Singapore Symphony Orchestra performing early music conceived on a small scale. Several weeks ago, Christopher Hogwood conducted the orchestra in a sparkling evening of Mozart, Beethoven and Haydn built around a Turkish theme. The revelation was that the orchestra of modern instruments, not usually accustomed to period performance practice, could adapt so well to the idiom.

The pair of baroque concerts led by violinist Peter Hanson (left), who has decades of experience working in “authentic” instrumental groups, would be equally absorbing. The orchestra was split into two separate small ensembles, each playing a different programme. A mix of popular and lesser known works also minimised the curse of the familiar.

Sunday afternoon opened with two concerti grosso, the predominant form for baroque ensembles that was later supplanted by the symphony. Arcangelo Corelli (right), the violin virtuoso that he was, ensured that the solo violinists Hanson, Lynnette Seah and cellist Ng Pei Sian were kept busy in his Concerto Grosso in D major (Op.6 No.4).

Two oboists and a bassoonist joined the strings for the five movements of Handel’s Concerto Grosso in D minor (Op.3 No.5), adding a different colour to the group. Despite the vastness of the hall, the very clear textures and immaculate sound came across with much vividness and not a little reverberation. What was lacking was a sense of intimacy, which will be fixed when Victoria Concert Hall reopens in 2014.

The most curious work of the concert was Georg Philipp Telemann’s 8-movement Suite called The Nations, composed for the 18^th century equivalent of a World Expo in Hamburg. Each of its quirkily scored dances paid tribute to the countries represented; vigorous and rhythmic for The Turks, alternating slow and fast for The Swiss, and bell-like sonorities produced by bass and cello ostinatos for The Muscovites. Charming.

The last two works of the 80-minute concert were the best known. Yet it was a pleasant surprise to see only 11 players in Bach’s Third Brandenburg Concerto – three each of violins, violas and cellos, one bass and a harpsichord. Light and buoyant, but never thin, was the result. Hanson’s improvised solo was a delight, leading up the central movement’s two obligatory chords before the finale’s joyous counterpoint at full speed.

The concert closed with Vivaldi’s popular Concerto for Four Violins in B minor, where Hanson was joined by SSO violinists Jin Li, Cindy Lee and Ye Lin. The teamwork was impeccable, with each player’s solos gratefully lapped up and complemented, and the general ensemble supporting at full tilt. Acknowledging the eager applause, the finale was encored. Let us have more of such concerts again soon.