This was an evening
for the string instruments, as a family in Grieg’s Holberg Suite, as the purring, mellifluous engine of Schubert’s
5th Symphony, and as the soloist – pyrotechnic and songful by turns - in
Tchaikovsky’s violin concerto. (Review by Dr David Smith)
KwaZulu-Natal Philharmonic Orchestra- World Symphony Summer Series, Concert 3 (March 14, 2024) in the Playhouse Opera
This was an evening for the string instruments, as a family in Grieg’s Holberg Suite, as the purring, mellifluous engine of Schubert’s 5th Symphony, and as the soloist – pyrotechnic and songful by turns - in Tchaikovsky’s violin concerto.
Given the problematic acoustics of the Playhouse Opera stage, this was never going to be an easy call. Could the conductor, Leon Bosch, imbue the sound with a convincing presence? Only in part. Full-blooded passages proved the most satisfying, though lushness of sound was elusive; and the silvery, lightly-etched moments seemed sensitive, yet recessed.
Grieg’s Suite from Holberg’s Time (the early 18 century) is a work of charm and melodiousness, and, as an evocation of baroque style through a much later lens, akin to last week’s Tombeau de Couperin. Its use of divided parts and lively speeds make it a test for all players, not just the front desks! In fact, it was the ravishing fourth movement, the slow Air, which delivered the most clout, amid the foot-tapping prelude and dance pieces.
For the Schubert symphony, a mere seven wind players were added to the ensemble: the string body carries this ‘indestructible’ work. But it doesn’t play itself, despite its unfailingly genial ideas and occasional fiery surges. Mr Bosch, himself a double-bass player, guided rather than propounded the musical ideas, with both profit and loss. His approach respected the unforced quality of the symphonic flow but it left a good deal of the shaping of detail to the conscience of the players. This created too many moments of hesitation in ensemble, although the general impression was committed.
Hyeyoon Park (violin) made an immediate impression in the broad spans of the first movement of the Tchaikovsky concerto. Her lower register was rich, chord-playing was well-judged, and the stratospheric reaches often used in this work were effortlessly traversed. In general, she was adequately backed by the orchestra which has the task of both leading and following through a work that changes constantly, sometimes mercurially. Her command of the technical complexities from the outset served to reassure the listener that consistency would be a hallmark of her performance, which it indeed was.
The otherworldly sound of the Canzonetta, played (as specified) with mute, provided an explicit contrast with the commanding first half of the concerto. It is a short, perfectly formed espressivo movement, that garlands the solo part with flute and clarinet touches over a cushion of string chords, and Ms Park embedded her ‘voice’ in the tapestry of sounds in a refreshingly understated way.
Things became suddenly both exciting and risky when this soulfulness merged into the Finale, an extended and highly taxing hustle. Of course, it is not without relief: the subsidiary themes put a brake on the tempo. But it always regains its opening momentum, so that its headlong course is a notable feature. Ms Park never looked back as she skittered through the passage-work: she was complying with the composer’s basic indication of Allegro vivacissimo. The orchestra has to join the dance, and on this occasion the most rapid flights were a shade too quick for them.
This impetuosity was greeted with unqualified enthusiasm from the capacity audience, and needed a counterpoise: Ms Park chose J S Bach’s Loure (Solo Partita No. 3) as her encore and final word, and played it with great delicacy and inwardness. It was a return to elegance, perhaps more than we had heard the whole evening. - Dr David Smith
The final concert in the Summer series will take place on Thursday March 21 (Human Rights Day) at the Playhouse Opera at 19h00. Tickets booked through Quicket
For more information on the KZNPO click on the advertisement to the right-hand side of the top of this article.
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