(Conductor Bernhard
Gueller)
Concert provided listeners with a studied
and measured reading of three beloved works by two iconic composers. (Review by
Andrew-John Bethke)
The second concert in the summer season of
the KZN Philharmonic Orchestra’s World Series on Thursday (February 22, 2019) conducted
by Bernhard Gueller provided listeners with a studied and measured reading of
three beloved works by two iconic composers. The programme wisely placed the
Mozart Magic Flute Overture and
Jupiter Symphony in the first half, reserving the symphonically scaled second
Brahms piano concerto for the second. The advantage of keeping the Mozart works
together was that the gossamer textures inherent in these Classical
compositions were undisturbed by the thickness of Brahms’ late Romantic idiom.
The outer movements of the Jupiter were
exquisitely proportioned and phrased, bringing the Classical ideals of balance
to the fore, no doubt due to Bernhard Gueller’s meticulous musicianship. Worthy
of note was the attention to phrase ends by the strings throughout the first
movement, giving a sense of grace and lightness which the work requires.
Mozart was a master at writing for the
woodwind section (including the horns) and this is particularly evident in both
the Overture and the Symphony. The orchestra’s woodwinds seemed to revel in
this idiomatic writing, creating a blend which was commendable. The monumental
fourth movement of the symphony was particularly striking in yesterday’s
reading. The clarity of playing and ensemble revealed the ingenuity of Mozart’s
contrapuntal genius. Unfortunately, the Classical poise which was so evident in
the outer movements was not as disciplined in the second and third movements.
In particular, the balance between the strings and the rest of the orchestra
suffered somewhat in sections of the second movement.
(Pallavi
Mahidhara)
Brahms’ concerto is more of a symphony for
piano and orchestra rather than a conventional concerto. The sheer stamina, let
alone technique, required of the pianist to play the four distinctive movements
is formidable. Pallavi Mahidhara proved more than adequate for this task. She
brought a tenderness to the work, which seems to be foregrounded by female
pianists (for example, Grimaud), thus revealing to the listener a different
side of an otherwise muscular Brahmsian style.
Indeed, she brought a sense of the clarity
of the Mozart of the first half, into the more emotionally charged second.
Perhaps this shows where her forte as a pianist naturally lies. Her intense
musicality was revealed in parts of the third movement when her effortless
playing echoed the sensitivity displayed between solo ‘cello and woodwinds. The
lightness of her technique balanced the finale with the heroic and turbulent
opening movements, again revealing aspects of Brahms’ writing which can be
overshadowed by mere bravura. Her encore, Liszt’s Liebestraum, left the audience longing for a solo recital at some
stage in the future which could display more of her startling talents. - Andrew-John
Bethke
To link to the KZN Philharmonic’s website,
click on the advert at the top of this page or visit kznphil.org.za
(Pallavi
Mahidhara will be giving a recital for Friends of Music on February 26, 2019,
at 19h30 at the Durban Jewish Centre. Tickets at the door)