SSO Concert: The Spectacular Seventh / Review

THE SPECTACULAR SEVENTH
Singapore Symphony Orchestra
Esplanade Concert Hall
Saturday (28 August 2010)

This review was published in The Straits Times on 30 August 2010.

When the Singapore Symphony Orchestra invites a guest conductor to lead over two consecutive weeks, it is a sign of faith and confidence in the maestro’s leadership and training abilities. German conductor Günther Herbig is one of a select few who enjoy that privilege, and the second concert of his two-week residency was proof of that.

Under a master of Austro-German repertoire, the symphonic pairing of Schubert’s Fifth and Beethoven’s Seventh worked like a dream. The teenaged effort by the former was a study of Mozartian grace and lightness.

The orchestra’s reading of its clean and clear lines came across with the freshness of morning dew, the bright and chirpy spirits providing the lift and lilt the music needed. Has the love-forsaken and often tormented Schubert (above) ever sounded this happy?

The grittier but no less congenial Beethoven seemed like its ideal counterpart. Ironically, Beethoven in 1812 was already flexing his Romantic muscles while an 1816 Schubert basked in Classical finery. Despite that, the temptation to gush in adrenaline was resisted in a performance that was as finely honed as it was invigorating.

For a symphony with no true slow movement (the most deliberate tempo being Allegretto), it never felt frenetic or rushed. The opening movement’s prolonged introduction gave way to brimming exuberance aided by Jin Ta’s excellent flute solos. The emotional core of the work unfolded in the Allegretto, and like a steady heartbeat building to a heady climax.

While pace gathered inexorably for the last two irresistible movements, it never strained at the reins, guided by some benevolent force of reason and will. That force was, of course, Herbig’s unfaltering vision that helmed these shows of nobility and grandeur.

The concerto segment saw Russian violinist Denis Goldfeld tackle Henryk Wieniawski’s (left)popular Second Violin Concerto. He has a refined and cultured sound, sounding most comfortable in the slow and probing moments, such as the achingly beautiful Romance.

When it came to the more fiery sections, his tone hardened and rhythms became less stable. This resulted in a brief lapse in the gypsy finale and the scramble with the orchestra towards the end was a case of safety first. All was forgiven, however, in the perfect encore from Bach’s unaccompanied Partita No.2. That was where his truest sympathies lie.

SSO CONCERT: THE FAMILIAR AND THE FANTASTIC / Review

THE FAMILIAR AND THE FANTASTIC
Singapore Symphony Orchestra
Esplanade Concert Hall
Saturday (21 August 2010)

This review was published in The Straits Times on 23 August 2010.

It isn’t often these days that the Singapore Symphony Orchestra performs a full-length symphony for the first time. It was a programming coup of guest German conductor Günther Herbig to couple two Czech symphonies for comparison and contrast – Antonin Dvorak’s popular Eighth Symphony and Bohuslav Martinu’s by far lesser-known Sixth Symphony.

The latter, also titled Fantaisies Symphoniques (Symphonic Fantasies) was a revelation. Its three movements each sprouted like exotic plants out of murky and nebulous primordial orchestral stew. Gratifyingly tonal, kernels of themes (including a pivotal motif quoting from Dvorak) were developed, transformed gradually by Martinu’s (left) distinctive dynamic and kinetically charged style.

The orchestra dived headlong into its complexities, performing the half-hour work as if it were a long-trusted and well-loved friend. Concertmaster Lynnette Seah’s extended solo in the first movement was a picture of confidence, while the brass’ reassuring chorale closed the work on a sublime calm.

Familiarity with the Dvorak (left) did not lead to contempt, but rather a freshly minted reappraisal. Taken at the brisk clip, there was little time to get bored yet much of orchestral details shone through. Jin Ta’s flute was heard in his resonant best in all four movements while the overall string tone was glorious in full flow. There was an insouciant country lilt in the dance-like third movement, contrasted with a well-paced finale, never rushed for effect, which closed the concert on a rousing high.

Sandwiched between both symphonies was Mendelssohn’s E minor Violin Concerto. SSO Assistant Leader Kong Zhao Hui, often fondly remembered for his playing of the Butterfly Lovers Concerto, was a paragon of understated virtuosity. Never one for extravagant outward display, his aristocratic mien and thoughtful musicality were inspiration itself.

Producing a sweet but smallish tone, this was no impediment to crafting a reading that was generous with warmth and largesse of spirit. His perfect control in the encore – the Adagio from Bach’s unaccompanied Sonata No.1 in G minor – was further proof of this. Many a young and budding soloist can do well to learn from his example.