THE
JOY OF MUSIC FESTIVAL 2013
Thursday
(17 October 2013)
2-PIANO
& 2-CELLO RECITAL by
GIUSEPPE
ANDALORO, Piano
ILYA
RASHKOVSKIY, Piano
GIOVANNI
SOLLIMA, Cello &
MONIKA
LESKOVAR, Cello
This was the highlight of this year’s
The Joy of Music Festival, and true to form, it did not disappoint. Italian
pianist Giuseppe Andaloro, the third
1st Prizewinner of the Hong Kong International Piano Festival (2011),
was making his name as a conductor, composer and arranger, built around a
steady career of concertising. This was to be a culmination of all these
facets, his own transcription for two pianos and two cellos of Stravinsky’s
iconic ballet The Rite of Spring. The
original idea was mooted and experimented in concert several years ago, even
before his competition win, but after several revisions, this was to the World
Premiere of the masterpiece. Hong Kong was to be the lucky beneficiary.
A century after its riotous Paris
premiere, the Rite remains a source
of fear and trepidation among audiences in Singapore and perhaps also Hong
Kong. That might explain the relatively small audience that greeted this
concert. Its sheer iconoclasm, violent dissonance and narrative savagery do not
sit well with those more accustomed to the prettiness of Mozart or the lush
gushings of Rachmaninov. According to Andaloro’s notes, he did not follow
Stravinsky’s own bare-bones four-hand arrangement, but instead went back to the
orchestral score to craft his transcription, with the intention of making it
sound more orchestral. With all the musical details retained, his conception
was a tour de force, not just of instrumental
virtuosity and sonic projection, but one of originality and love of the music.
Fellow Sicilian Giovanni Sollima’s cello
was given the honour of playing the opening bassoon solo. Immediately one
realised why the cello was cast into this role. Its sheer range, from guttural plaint
in the high registers to low pitched groans and percussive effects, made it a
suitable partner for Andaloro’s first piano. Now multiply this by two with
Monika Leskovar’s cello and add Ilya Rashkovskiy on second piano, we have a
virtual orchestra. Just suspend expectations of a full orchestra, as this
arrangement is becomes a new piece on its own terms. The pianos merge into the
canvas with quiet chords and do not dominate until the rhythmic huffings and
puffings of the Dance of the Adolescents.
The pianos and cellos do not get stuck
in their expected (and pre-conceived) roles in this score. Both groups of
instruments take their turn in providing melody (or fragments thereof) and
rhythmic percussion, and they alternate roles totally seamlessly. Soon one does
not actually miss the orchestra, but is taken on a miraculous journey of sound
and colour. Given the multitudes of notes encountered, one was not surprised at
the physicality and movement demanded of the performers, but that did not
include the amazing sight of Sollima abandoning his cello and rushing off to
Andaloro’s side to be his third hand! While pounding the bottom A note with his
right hand, he swept the bass strings of the piano with a percussionist’s
brush. Although the scraping metallic effect did not quite come off, the
theatricality of it all was a most appropriate response.
Although The Sacrifice (Part Two
of the Rite) did not employ a similar
trick as The Adoration of the Earth, the shock value of the sound continued
unabated. The virgin’s dance to the death was built up inexorably, and at its
final leap into the abyss, all four performers were firing on all cylinders. If
the Chopin Society of Hong Kong were to issue this World Premiere as a CD
recording, an accompanying DVD would be imperative. Not only was it visually
exciting, the visceral responses that came with experiencing the live act fully
deserves to be relived.
Jinsang Lee at the lighting control console (Photo by courtesy of Jiwon Kang) |
Interestingly, there was also a light design element to this performance. Nothing elaborate but it involved changes to the onstage illumination which varied according to the music being played. The controller was one who obviously knew the music and sequences in the ballet, and it came as no big surprise that was Jinsang Lee (above), last night’s pianist.
If one thought the second half was to be
more conventional, one was mistaken. Lutoslawski’s Paganini Variations for two pianos was already well-known. In fact
it was the only work played in its original form this evening. Andaloro and
Rashkovskiy gave it a good workout, revelling in its playful dissonances,
unexpected harmonies and rhythmic quirks. More revealing was Debussy’s Prelude
to the Afternoon of the Fawn, scored
for two cellos by Sollima. In many ways, it scores above the two piano version,
not least because the dreamy harp arpeggios are well brought out, in this case
Leskovar reciprocating Sollima’s “flute” solo with much affection. Again,
melody and accompaniment changed hands frequently, and the give and take
between both players so well integrated to be inseparable.
The final work of the programme was
Ravel’s La Valse, arranged by Andaloro
for the foursome. Here he retained Ravel’s original score but the addition of
cellos gave the work a different complexion. In order for the cellos’ lilt to
be better appreciated, tempos built up rather gradually. One criticism of the
piano version is that the work climaxed too soon, but not so here. The heartache
of Viennese society heading towards destruction in this fatal whirling was not
plunged headlong but rather caught on a slippery slope. After all it was some
stretch of years from 1855 to 1914. A civilisation does not always implode
overnight but often slides into its doom while its members gaze on helplessly.
Similarly, this performance was one where the audience was slowly but surely
drawn into an inescapable vortex, from which no escape is possible.
The tumultuous final bars were greeted
with a storm of applause. What could come after this exhausting outing where La Valse seemed like the perfect mirror
image of The Rite of Spring? The
foursome reprised the last minute of The
Adoration of the Earth, which more than whetted the appetite for the next
performance of this masterpiece.
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