[LJ2ME] Totem Pole Dance
Hüseyin Sermet let on in his interview in yesterday's papers that this evening's concert would be the first time he would be essaying the Piano Concerto No 2 of Chopin. From his fluent and fluid reading of the solo part, it sure didn't seem like it.
Of course, the composer has put it all down in music on the score and the musician just has to follow his instructions and intentions to the T. That said, bonus marks for personal insight and individual expression, should the pianist deliver on promise and develop from potential.
With a vast catalogue of recordings set down for posterity, it is quite difficult for any musician to claim not to be influenced by the interpretations of of historical precedent. It would be a blatant lie outright in any case, unless it were a premiere performance of a work, the part written with you in mind, for you.
On this note, Sermet's performance didn't lack the delicacy of the first movement, the pathos of the second movement or the verve of the third movement. The ingredients for a good performance were all in place and following the recipe faithfully, the resulting proof of the pie is in the eating didn't disappoint. It was a low-key but sincere tip of the hat to commemorate the bicentenary of the Polish composer's birth.
The evening closed with Dvorák's seminal New World Symphony No 9. The SSO pulled out the stops in a trail-blazing reading replete with highlights to remember. Little wonder at the audience reception and response.
Special mention goes to the haunting cor anglais melody which anchors the beautiful second movement. From the onset, conductor Lan Shui allowed Elaine Yeo free rein and she resultantly languished in the long-breathed theme which waxed and waned as it wafted to fill the concert hall. The close of the work brought yet another element of elan, with the double basses teasing the ears with an exquisitely phrased finish.
In the white-hot last movement, the orchestra let loose with an explosion of sound and colour as the punchy tune kept up the momentum with an urgency both propulsive and punctuated.
As one was thumbing this draft out during the intermission, someone lowered himself into the empty seat beside me. Looking up, I exchanged a smile and I tried not to betray that flicker of recognition in my eyes. Breathily, in a loin-stirring baritone his "Is anyone sitting here?" was returned by my "No" though throughout the concert I kept coming up with priceless ripostes which would have made more of an impact.
Yes, it was hard to concentrate on the stage when you find yourself seated next to Darrell Ang, mane of hair and downy forearms and all. Besides, what value does your two-cents'-worth carry when a professional is present?
And yes, one did ponder the rumours and yes, one did try to flirt. But either one wasn't trying hard enough or the other wasn't interested.
Of course, the composer has put it all down in music on the score and the musician just has to follow his instructions and intentions to the T. That said, bonus marks for personal insight and individual expression, should the pianist deliver on promise and develop from potential.
With a vast catalogue of recordings set down for posterity, it is quite difficult for any musician to claim not to be influenced by the interpretations of of historical precedent. It would be a blatant lie outright in any case, unless it were a premiere performance of a work, the part written with you in mind, for you.
On this note, Sermet's performance didn't lack the delicacy of the first movement, the pathos of the second movement or the verve of the third movement. The ingredients for a good performance were all in place and following the recipe faithfully, the resulting proof of the pie is in the eating didn't disappoint. It was a low-key but sincere tip of the hat to commemorate the bicentenary of the Polish composer's birth.
The evening closed with Dvorák's seminal New World Symphony No 9. The SSO pulled out the stops in a trail-blazing reading replete with highlights to remember. Little wonder at the audience reception and response.
Special mention goes to the haunting cor anglais melody which anchors the beautiful second movement. From the onset, conductor Lan Shui allowed Elaine Yeo free rein and she resultantly languished in the long-breathed theme which waxed and waned as it wafted to fill the concert hall. The close of the work brought yet another element of elan, with the double basses teasing the ears with an exquisitely phrased finish.
In the white-hot last movement, the orchestra let loose with an explosion of sound and colour as the punchy tune kept up the momentum with an urgency both propulsive and punctuated.
As one was thumbing this draft out during the intermission, someone lowered himself into the empty seat beside me. Looking up, I exchanged a smile and I tried not to betray that flicker of recognition in my eyes. Breathily, in a loin-stirring baritone his "Is anyone sitting here?" was returned by my "No" though throughout the concert I kept coming up with priceless ripostes which would have made more of an impact.
Yes, it was hard to concentrate on the stage when you find yourself seated next to Darrell Ang, mane of hair and downy forearms and all. Besides, what value does your two-cents'-worth carry when a professional is present?
And yes, one did ponder the rumours and yes, one did try to flirt. But either one wasn't trying hard enough or the other wasn't interested.