(Conductor
Conrad van Alphen. Photo: Seger van Wijk)
“One
of his loveliest creations, it anticipates the luminous nocturnes he would
compose later”. (William Charlton-Perkins) (Review by Dr Martin Goldstein)
The final concert of the KZNPO’s Spring
Season on November 21, 2019, was a fitting close to a dynamic season marked by
an incredible variety of genres, styles and performers. The orchestra played
Carnival Overture, op. 92, B169 (1891) by Antonín Dvořák (1841-1904); Piano
Concerto No. 2 in f minor, op. 21 (1829) by Frédéric Chopin (1810-1849) and
Symphony No. 9, Op. 95, B178 in e minor, From
the New World (1893) by Antonín Dvořák (1841-1904).
Dvořák’s Carnival Overture was composed
during a time when he was on the way to international fame and was finally been
able to break out of the slump which had marked much of the first part of his
career. The Carnival Overture is one of three concert overtures written around
this time (In Nature’s Realm, op. 91,
B168; Carnival, op.92, B169 and Othello, op.93, B174). One can definitely
hear this new optimism in the composer’s outlook.
The orchestra’s performance of it had an
exuberant start characterised by a delicate excitement. The overall mood was
marked by a positive forthrightness. The onomatopoeic effects in the individual
parts conjured up the sounds of a carnival. The mood and colour were
characterised by a dark playfulness. The orchestra maintained an excellent
sense of meter and rhythm. The piccolo really stood out for its excellence and
the percussionist is to be commended for his great discipline. So, too, are the
upper strings for the agility in their playing.
(Megan-Geoffrey
Prins)
In the Maestaso of the Chopin, the
internationally acclaimed local pianist, Megan-Geoffrey Prins, played in an
unrushed and naturally-flowing manner. He was unperturbed by the technical
challenge. It was clear that there was a combined effort between the piano and
the orchestra to perpetuate the melody. The conductor, Conrad van Alphen, is
also a local but has gained considerable international acclaim. In this work,
he succeeded in coaxing these melodies out of the orchestra. In the Larghetto,
the harmonic simplicity of Chopin could be felt.
Indeed, William Charlton-Perkins sums this
up well in his programme notes for this concert “The slow second movement was
inspired by Konstancja Gladkowska, a young singer over whom Chopin was
infatuated. One of his loveliest creations, it anticipates the luminous
nocturnes he would compose later”. The pianist’s playing was characterised by
agility coupled with strength. At the same time, he played with gentleness and
care and a restrained touch. In the finale, Allegro vivace, the attention to
melody was maintained.”
Dvořák’s much-loved New World Symphony was
composed during his American period (1892-5). Its composition followed in the
wake of his acceptance of the post of artistic director and professor of
composition at the National Conservatory of Music in America (in New York) in
October of 1892. Part of the motivation for the offer was the composer’s
reputation for composing in a nationalistic style. There was the dream in
America of creating a national American style of art music. To further his
understanding of the American style, he listened to spirituals and plantation
songs from the South and transcriptions of Amerindian melodies.
The orchestra’s performance of the Adagio –
Allegro molto, was characterised by resoluteness. The stylised melodies were
given their sense of individuality. The orchestra discerned the narrative from
the thicket of sound and conjured up the excitement of the New World. The Largo
features the famous melody for which the work is known. The orchestra
appreciated the solemnity of this lovely melody. At the same time, it portrayed
the “freshness” of the New World. In the Molto vivace, the orchestra conveyed a
“pioneering spirit”. The tempo never suffered as a result of accommodating the
distinctive, individual entrances of the melodies. The finale, Allegro con
fuoco, began very assertively. It was clear that the orchestra had reserved its
full volume for the finale. Overall, there was an incredible attack, energy and
forward-drive in the orchestra’s playing. – Dr Martin Goldstein
The next season starts up in 2020 with the
Summer Season:
February 13: Conductor Yasuo Shinozaki; Maxime
Zecchini (piano)
February 20: Conductor William Eddins.
Programme includes Mozart’s Double Concerto for
Flute and Harp with Khanyi Mthethwa (flute) and Gaylen Sales (harp)
February 27: Conductor Yasuo Shinozaki. Jan
Jiracek von Arnim (piano)
March 5: Conductor Arjan Tien. Programme
includes Beethoven’s Triple Concerto for Violin, Cello and Piano with Tai
Murray (violin), Aristide du Plessis (cello) and Malcolm Nay (piano)
(To
link direct to the KZN Philharmonic’s website, click on the orchestra’s banner
advert on the top of the page or visit kznphil.org.za)
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