Tremendous finale. (William
Charlton-Perkins reviews the closing Spring Season concert of the KwaZulu-Natal
Philharmonic Orchestra’s 2018 Word Symphony Series in the Durban City Hall on
November 22, 2018.
(Daniel
Boico)
Daniel Boico, the KZN Philharmonic’s
Associate Guest Conductor, brought the 2018 World Symphony Series to a close on
a resounding high. With telling impact, he turned the conventional order of his
programme on its head. Opening with a superbly paced account of Mendelssohn’s
seamlessly elided four-movement Scottish Symphony, the Israeli-American maestro
drew from his players a fine-spun performance that immediately eased the house
into the heart of this arresting work, its quietly measured opening Andante con
moto stealthily advancing into the swirling motion of the Allegro that carries
the first movement’s inexorable current forth, here dispatched with a sense of
inevitability that speaks of interpretive integrity.
The work’s second movement Vivace non
troppo sparkled with an endemic life force, giving way to the deep tenderness
of Mendelssohn’s wonderful third movement Adagio, which glowed with a sense of
humanity that hung in the air. The opening rigour of the fourth movement’s
Allegro vivacissimo felt perfectly judged, as did the chorale-like finale that
sang out exultantly to crown this grand work.
Testimony to the accord that clearly exists between this conductor and
orchestra, for which the audience showed unanimous gratitude.
Mily Alexeyevich Balakirev’s rarely heard Overture on Three Russian Themes proved
an inspired piece to open the second half. We were treated to its broad-stroked
exploration of 19th Century Russian nationalism, evoking the great Steppes and
its people, its vigorous introduction beautifully contrasted with the lovely
Andante for unison flute and clarinet, followed by a pleasurable sense of déjà
vu, as we came face to face with the familiar theme used by Tchaikovsky for the
Finale of his Fourth Symphony.
(Olga
Scheps)
All eyes and ears were trained on
Russian-German virtuoso Olga Scheps, as she at last took centre stage for what
turned out to be a magnificent teaming with Boico and his players in
Rachmaninoff’s ubiquitous Piano Concerto No 2. Displaying supreme pianism and
musical sensibility, Scheps pulled off the feat of imbuing this concert staple
with a sense of newly minted allure, enacting with steely strength its passages
of glittering passion and fire, juxtaposed with a gossamer-fine beauty of tone
in its dreamy Adagio sostenuto that conjured distant horizons, shimmering like
a mirage.
A remarkable triumph to end the season. - William
Charlton-Perkins
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