(Bernhard
Gueller)
All
in all, there was a distinct detachedness to Kharitonov’s playing which
evidenced complete mastery of the piano without the need for bodily
affectations. (Review by Dr Martin Goldstein)
The second concert of the KZN Philharmonic’s
early spring season on August 29, 2019, did not disappoint. The repertoire
showcased the works of a range of fairly contrasting Romantic composers. The
tone for a slightly avant-garde concert was set with the opening work by Camille
Saint-Saëns (1835-1921), his celebrated Danse
Macabre, Op 40 (1874). This was followed by a strident work by Franz Liszt
(1811-1886), his Piano Concerto No 1, S. 124 in E-flat Major (1849, revised
1853 and 1856). The concert ended with the wholesome sound of Johannes Brahms
(1833-1897) with his Symphony No 2, Op 73 in D Major (1877).
Saint-Saëns’ Danse Macabre reflects his interest in the genre of the symphonic
poem, which in his time was still a novelty. It is one of four symphonic poems
which he composed in the 1870s, the others being Le rouet d’Omphale, Phaéton, and La jeunesse d’Hercule. In this genre, he experimented with
orchestration and thematic transformation. In these works, he endeavoured to
convey specific physical actions such as spinning, riding or dancing, bringing
these ideas to life in musical terms.
The KZNPO was clearly committed to
conveying this same sense of movement in their performance of the work.
Throughout, there was an energetic attack and Saint-Saën’s bewitching theme was
bandied about between the parts with a clear sense of thematic coherence. The
lead first violinist should be complimented on her ability to coax a silky tone
out of the instrument which suited the work. The acclaimed conductor, Bernhard
Gueller chose a good tempo for the performance. He encouraged the orchestra to
maintain a sense of forward-drive without being too intense.
It seems that the concept of the symphonic
poem features prominently in this concert for indeed, the Liszt too relies on
this genre for its organisational principle. The essence of the work is that of
thematic transformation – perhaps not unlike the transformation Liszt would
have gone through as a composer during the 20 or so years that elapsed from
when he first conceived of some of the work's themes until he was finally happy
with the entire work.
The KZNPO’s rendition of this work featured
the internationally renowned pianist Daniel Kharitonov. He has astounding
technical proficiency for such a young pianist and this was evidenced
throughout all of his performances. In the Liszt, Kharitonv displayed excellent
octave work. His effortless playing merged seamlessly with the orchestra. He
actually played three encore works which revealed a more lyrical side to his
playing. All in all, there was a distinct detachedness to Kharitonov’s playing
which evidenced complete mastery of the piano without the need for bodily
affectations.
In contradistinction to the dark and
brooding mood of his first symphony, Brahms’ second symphony radiates warmth
and optimism. This is, however, offset by an underlying melancholy. Indeed, it
is the dynamic flux between optimism and melancholy which is the driving force
for this work and the source of much of its deep beauty.
In the opening movement, the orchestra
conjured up the rustic sentiment which is so typical of Brahms. Gueller worked
with each group of instruments, giving the impression that he was carefully
nurturing each section of the orchestra throughout. Clearly, both he and the
orchestra were working towards the same goal in this work, which culminated in
magnificent, typically voluptuous Brahmsian chords at the end. – Dr Martin
Goldstein
(The
next concert of the KZNPO’s Early Spring Season takes place on September 5
followed by the National Youth Concerto Festival on September 12. Both concerts
take place in the Durban City Hall at 19h30. To link direct to the KZNO’s
website click on the orchestra’s banner advert on the top of the page or visit
kznphil.org.za)
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