STEFAN JACKIW PLAYS BEETHOVEN / Singapore Symphony Orchestra / Review

STEFAN JACKIW PLAYS BEETHOVEN

Singapore Symphony Orchestra

Victoria Concert Hall

Thursday (24 March 2022)

 

Are there people who wished that Beethoven had composed more than one violin concerto? They had that wish granted at the Singapore Symphony this evening, and possibly got more than what they bargained for. Beethoven’s Violin Sonata No.9 in A major (Op.47), better known as the Kreutzer Sonata, had been orchestrated by Australian violinist-conductor Richard Tognetti, and the result was a full-blown 39-minute long antithesis of the beloved D major Violin Concerto (Op.61).

 

What we know and love about Op.61, its grace, gentility and restraint, was turned upon its head in this “Kreutzer Concerto”. Love it or hate it, it was something that could not be unheard. The solo violin part remains mostly unchanged, its unaccompanied cadenza-like opening given full voice by young American violinist Stefan Jackiw. Allied with perfect intonation, his tone was broad and generous, to be expected when faced with Beethoven’s piano, except that this time the partnership was a full complement of strings. Not satisfied with being mere accompaniment, Tognetti’s no-holds-barred string arrangement provided for a bruising battle royale, the tug-of-war for supremacy dominating most of the first movement. To top it all, principal cellist Ng Pei-Sian was given solo flourishes of his own to dress up accompanying cadences.

 

Respite came in the slow movement’s graceful variations, where small groups of strings took turns to partner Jackiw’s narrative. There was also a variation where a conversation was struck between soloist and concertmaster Kong Zhao Hui, a testament to Tognetti’s inventiveness in making this as interesting (and demanding) as possible for the players. The tarantella rhythm of the finale, with its syncopations and canonic sequences, was immaculately handled. It was a breathless race to the finish, and credit has to go to Hungarian guest conductor Gábor Káli for keeping the opposing forces in sync, especially at such high speeds. Jackiw’s encore was much less frenetic: a serene and clear-as-crystal view of J.S.Bach’s Largo from his Unaccompanied Sonata No.3.

 

Two Haydn symphonies in minor keys flanked the Kreutzer, and it was conductor Káli’s turn to demonstrate that the SSO has become a genuinely good Haydn orchestra. Both Symphony No.78 in C minor and Symphony No.80 in D minor were receiving Singapore premieres, but one would swear that the orchestra had played these many times before.

 

Sturm und drang came to the fore in the opening movements. It was also interesting to note the opening theme of Symphony No.78 (composed 1782) was to find a more familiar iteration in Mozart’s Piano Concerto No.24 (1786), also in the same key. The pathos was palpable, even extending into the slow movement. The Minuets and Trios of both symphonies brimmed with vitality, played with lightness and buoyancy.

 

Both finales also returned to the urgency of the minor home keys. No.78 was however now punctuated by wit and jocular humour, heightened by short pauses, while the syncopations of No.80 (1784) had another familiar D minor Mozartean ring about it. Could Wolfgang Amadeus have subconsciously appropriated its ideas into his Piano Concerto No.20 (1785) and Don Giovanni (1787)? The mind boggles.

 

Given these sparkling and life-affirming performances, it is now imperative that conductor Káli, who also impressed in two Mozart programmes in 2021, return to conduct more Haydn, Mozart and just about anything.