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Compatible Chemical Mixtures Hong Kong
Hong Kong Cultural Center, Tsim Sha Tsui
12/12/2008 - and December 13
Johannes Brahms: Piano Concerto No. 1 in D minor, Op. 15
J.S. Bach (arr. by Edward Elgar): Fantasia and Fugue in C minor, BWV 537
Dmitri Shostakovich: Symphony No. 6 in B minor, Op.54
Stephen Hough (piano)
Hong Kong Philharmonic Orchestra, Sir Mark Elder (Conductor)
Mark Elder (© Sheila Rock)
When two celebrated musicians come together, the consequence is either marvelous or disastrous. It is just like a chemical reaction, either releasing positive or negative energy. On Friday and Saturday evening, we witnessed a most compatible mixture between two strong chemical substances. Brahms’ piano concertos, no matter the first or the second one, are indeed an immense challenge to the complicity between the conductor and the soloists. The frequently interchanging dialogues, varied textures, and dramatic emotional changes, if not dealt carefully, can easily transform the piece into a concerto of piano “against” orchestra. Guest conductor Sir Mark Elder and pianist Stephen Hough are both distinguished musicians with idiosyncratic characters and styles. But in Brahms’ First Concerto, they seemed to breathe the same air and have the same heartbeat, delivering a congenial and intimate collaboration. Mr. Hough’s playing was also musically insightful and technically impeccable, overcoming all the technical hurdles in this one of the hardest and longest concertos without stress. Under Sir Elder’s direction, HKPO displayed an exquisite and delicate balance, with all the inner voices floating to the surface. But what made me really uncomfortable was their suffocating and stuffy strings, and those under-power climaxes.
After the end of the first movement, the receptionists allowed tens of late comers to go into the concert hall. This messy and disorderly scene – though common to Hong Kong concertgoers – made the guest conductor and the soloist dumbfounded. Sir Elder waited until the last late comer got back to the seat before beginning the second movement. The process took more than 2 minutes, somehow interrupted the flow of the music. It was really a great dishonor to a metropolitan city like Hong Kong.
Sir Elder chose two rarely heard concert pieces in the second half, although they were composed (and arranged) by famous composers. To better acquaint the audience with these unfamiliar works, Sir Elder made short speech introductions before each of them. Elgar’s arrangement of Bach’s Fantasia and Fugue is an interesting and fascinating transcription, transforming this Baroque piece into a modern artwork. With huge percussion band and modern instruments, Sir Elder enlivened the most ideal orchestral tone, without compromising Bach’s polyphonic intricacy. Appropriate rubato and bewitching dynamic contrasts, together with HKPO’s romanticized color and rapt harmonic changes, made this rendition a perfect combination between Elgar’s blood and Bach’ heart.
Shostakovich’s 6th Symphony was also a thoughtful, insightful and finely polished account. Sir Elder tellingly underlined the music’s darkness and shade by judicious textural and acoustic means. The inhibited string tone and distant leading voice reminded Shostakovich’s affection of loneliness and relentlessness. The air-shattering climax in the last movement set a stark contrast to the sultry beginning, effectively evoking the sense of anger and anxiety, as Sir Elder mentioned in his introduction speech. He also showed complete command of the orchestra at every moment, and the orchestra responded with superb execution and exquisite balances to achieve those gloomy solitude and full-throated climax.
Danny Kim-Nam Hui
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