Maybe the weather (incredibly hot and humid for the time of year), or some other factors contributed to a rather small audience, such a shame, as the music played was beautifully crafted, and testament to the teaching skills of the RNCM, as well as the talent of each individual, that these musicians are more than well-equipped to take up residencies with the world's leading orchestras or forge solo careers.
The music on offer this evening was what you might call a Russian sandwich in between French bread. The opening piece of music was one with which I was unfamiliar; a concert overture by French early Romantic, Ambroise Thomas. What a beautiful and tuneful start this proved to be with shades of both Lehar and Strauss with a very polka-esque middle section, this was a delightful piece to open the concert and showcase the orchestra.
Following this, and a smaller orchestral configuration [the only brass instrument being a solo French Horn, and timpani the only percussion] we were treated to Shostakovich's moody and sinister Cello Concerto. With accomplished and somewhat brilliant cellist Waynne Kwon tackling this difficult and dramatic work with utter aplomb, it was almost enjoyable for me! - which, is actually a huge compliment to all since it really is not a piece of which I am particularly fond!
The music is turbulent but extremely sinister, and the style rather odd. The soloist ha to employ all different kinds of bowing techniques as well as strange fingering in this busy piece. It starts quite melodically and quite tunefully, unusual for Shostakovich but soon descends into doom and gloom. The first movement is quite upbeat, but it is nevertheless the prelude for darker themes to follow. The second movement starts largo and piano with every semi-melody refusing to cadence and instead is developed and mutated as this quiet and gloomy piece does eventually rise in both pitch and tempo ended by the single beat of a timpano. It quickly returns to the screeching and wailing before a very long and difficult cadenza for the cello, before an ironic march and frenetic dances. Despite the orchestra playing the main melodies here the cellist plays unceasingly - it is hard here to distinguish his playing from that of the orchestra - one of the many reasons I am not fond of this piece. This unending cacophony continues to a loud and brash final cadence.
Kwon's playing was superb, that is not in any doubt, and of course he deserves an encore. For this he enlists the help of the orchestra's principal cellist and together they play a rather beautiful duet. Lyrical, harmonic and melodic. A lovely little contrast to the music immediately prior to this.
After the interval and we were back to France with Ravel's complete Daphnis And Chloe. The music is in three parts but is played seamlessly without a break. We have now augmented to the orchestra to capacity. Two harps, celeste, and 10 percussionists. The conductor also employed four solo instrumentalists appearing at the top of the choir seats to give an almost quadrophonic feel to a couple of the movements.
Typical ravel, the music swells and dips like a child playing with a radio's volume control, and the melodies come in snatches too. Just as our ears pick up the thread of a melody it stops and something else starts, nothing ever seems to be completed. The rich orchestration making the music at times very dense but also ravel's music is evocative of the southern French countryside. We can see fields of lavender bowing gently as the Mistral blows; goats on mountain pastures being herded by an ancient dog, and we hear the hustle and bustle of towns such as Aix or Montpellier.
With a different conductor for each of the three pieces and different orchestral configurations for each, this could have been a little ragged and disorganised. However, it was all performed with elan and skill, and the music a sheer delight.
I wish every single one of them well with whatever career path they choose, but please, don't ever stop music-making!
Reviewer - Matthew Dougall
on - 30/6/18
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