Singapore Symphony Orchestra
Okko Kamu (conductor)
Vladimir Feltsman (piano)
BEETHOVEN'S EMPEROR CONCERTO
CHARLES IVES
Central Park in the Dark
LUDWIG VAN BEETHOVEN
Piano Concerto No. 5 in E-flat Major, Op. 73 "Emperor"
I. Allegro
II. Adagio un poco mosso
III. Rondo: allegro
---INTERMISSION---
JEAN SIBELIUS
Symphony No. 5 in E-flat Major, Op. 82
I. Tempo molto moderato - Allegro moderato - Presto
II. Andante mosso, quasi allegretto
III. Allegro molto
I've been waiting for this concert for ages! Two of my favourite works - the Beethoven's Emperor Concerto and the Fifth Symphony by Sibelius - and a work that arouses my curiosity - Ives' Central Park in the Dark.
I've always wondered about Charles Ives' music. So far I've only listened to his Second Symphony. According to the programme sheet, he is "regarded as the father of American music for his innovative and highly approach to composition". Now, there are many types of American composers. You could have those who look to jazz, like Gershwin and Bernstein; those who wrote about the American landscape and lifestyle like Copland and Grofe and Stephen Foster, who wrote songs like "Camptown Races" and "Oh Susannah"; those who signified American patriotism, like March King Sousa - it is said that his surname stands for "Samuel Osborn - United States of America, i.e. S.O.U.S.A. . . how patriotic can that be?).
So where does Ives stand? Up to the concert I regard him as one who paints the American country and people on the pages of his manuscript. In his Second Symphony he quotes songs by Stephen Foster - themes that we know so well, but are cleverly disguised that you need to be familiar with them in order to spot them out in the score. Throughout, his composition is tonal. Themes and harmony. Easy listening.
Now, here's something. The strings start off, each instrument holding its notes. The entire section forms chords that change upon each beat - a murmuring effect. One by one, the other instruments come in. Some of the themes seem to fit the murmuring strings; others simply run independently. At first it sounds dreary, like . . . the strings are going to play this thing all the way? What is going on? Why does each instrument play, then disappear, then someone plays something that doesn't fit into the piece?
The climax is so comedic. I can't help but chuckle. Now everybody's playing different things. Different rhythms. Yet they are all linked to one conductor and one tempo. The music reaches a summit and -
The strings return to the murmur.
Ives is a genius! Such a creative and near-accurate soundscape! Although I haven't been to Central Park, and I have no idea how Central Park looks like during Ives' times, the work convinces my imaginations.
* * *
Feltsman is one you will truly call a virtuoso maestro.
He plays with such ease as if he were merely chit-chatting with another person. You can tell he is enjoying himself. He enjoys what he is playing. Jeez, if only I can play like that. Every time I take a piece through, I get tense and worried that I do not know what I am playing.
Not he. He doesn't give a damn about notes which he's made mistakes.
I really enjoy the second and third movements. Honestly, I couldn't wait for the first movement to finish. It's long and dry. For the first time, I am really concentrating on the music - besides, I know the piece having listened to it countless times while studying for my music paper. With the exception of the E-flat minor, staccato theme, everything else is as good as a line drawn exceptionally accurately with a ruler.
Yeah . . . I can't believe myself declaring that the first movement is bland. I couldn't wait for it to finish.
The second movement, as always, beautiful. Beethoven writes beautiful melodies. His lyrical slow movements are those that I eagerly anticipate listening to. To me there aren't a lot of slow movements that can really capture your heart and not make you doze off, waking up during the rondo or the scherzo to find that your shirt is wet from salivation. Of course, I'm trying to discover more slow movements. I usually get apprehensive when I have to listen to the slow movement of a piece of music that I've never come across before. Admit it: we are always driven to excitement by fast movements. Slow movements can be contemplative to the player, but boring to the listener who has to endure God knows how many minutes of it before WHEW! We're at the fast section.
Feltsman exalts the third movement with so much ecstasy that it is impossible not to tap your feet to the music. For me, this is the second-most-exciting Rondo I've heard by the SSO. The best was the performance of Brahm's First Piano Concerto. Arthur Pizarro went so fast that he took us all on a whirlwind ride of what heroin would have been to a drug addict. His performance ended on such a high note that all of us gave him a few curtain calls. During one of them, he links arms with conductor Okko Kamu and they skipped onto the stage in time, like a pair of kids. The audience roars with delight.
Alas, no encore. Concertmaster Alexander Souptel has to wave the orchestra off the stage.
* * *
I do not know how to describe Sibelius' Symphony No. 5 in words. I've thought hard about it. To really convince you my enthusiasm for the piece, you must listen to it yourself.
The second movement is unique: it has the kind of Italian song feeling to it. In fact, one of the themes sounds like the opening notes of "O Sole Mio". You might think the movement ought to be in a scherzo. That's what I think: an adagio-scherzo.
The final movement has always been my favourite, especially the when the horns sound off the "pom-pom-pom" theme of theirs. OMG . . . it's just so stunning! Like you're standing on top of the mountain and the world awakens! It's so beautiful I can just die there a happy man.
* * *
Some idiots sitting behind us (Kan Kan, Emily, Jessica, Zhang Yi and I) started tearing titbit or sweet wrappers when the middle movement of the Emperor Concerto begins. For God's sake, can you people choose a better time to open your packet? At least during the first tutti in the Rondo: where the orchestra plays loud enough to excite the senses and to cover up your irritating action. Not when the strings are playing the loving and hymn-like theme!
* * *
I see a lot of people I know.
Loh Wei and Wangui (with her mum) are there. Surprisingly Loh Wei is sitting in the same row (DD) as we are, with his friend. When we met before going into the concert hall (I ran ahead of the others to hand him the Harry Potter book first) he asked which row I was sitting. I replied I didn't know as I hadn't received the tickets yet. He said something about Circle-don't-know-what, and then we part.
