Magnificent Metzmacher & the DSOB

17 March 2009 saw the Deutsches Symphonie Orchester Berlin (DSOB) debut under Ingo Metzmacher. The programme was originally Berg's Violin Concerto followed by Stravinsky's Firebird but the latter piece was replaced by Beethoven's Eroica at the last minute. Webern's Passacaglia also preceded the Berg in a late programme change.

We have heard a few Berg Violin Concerto performances in the DFP - namely by Chantal Juilliet (a shaky interpretation) and Frank Peter Zimmermann & the LSO (an impressive performance). But this Christian Tetzlaff outing with the DSOB was probably the most impressive showing at the DFP Hall yet. Blessed with outstanding bow control, he gave a most technically secure interpretation heard in the DFP that was so expressive in the grief that Berg had to suffer over the loss of his daughter.

We were then treated to an impressive showing in Beethoven's Eroica - played swiftly using "period" performance ideas. The first movement really went at a tremendous lick (an almost 1 beat per bar feeling) and the second movement's Funeral March had some suitable gravitas despite its fast tempo too. The Scherzo & Trio was also impressive in its clear articulation of the strings and woodwinds with fine horn playing to boot. The Finale went at a great lick as well but DSOB is a fine orchestra under Metzmacher and coped extremely well.

The best piece of the evening was the encore - Brahms Hungarian Dance No 6 in D major - played with such elan and verve - despite the musical rubato hesitations, the DSOB and Metzmacher gave us a very wonderful and memorable interpretation.

Lively Tiempo, sleepy Sinaisky

On 28 February 2009, I attended a debut concert by pianist Sergio Tiempo and conductor Vassily Sinaisky at the DFP. The programme comprised of Dvorak's Carnival Overture, Liszt's 1st Piano Concerto and Rachmaninov's Second Symphony. We have heard better renditions of the Dvorak at the DFP by orchestras like the Philadelphia on tour here. Played with livelier tempo and with greater emphasis of the syncopated rhythms by the Philadelphia, this rendition by the MPO was slightly staid in comparison.

The small-built Sergio Tiempo then emerged to play the Liszt concerto. He possess a lovely tone but the tempo set gave him some trouble articulating all the elaborate notes that Liszt penned down. As a result, there were some finger slips and some questionable ensemble with the orchestra. Nevertheless, it was an impressive debut but still fell short of the standard that Arcadi Volodos set in his magnificent debut recital a few years ago.

Sinaisky then led the MPO in a sleepy performance of the Rachmaninov 2nd Symphony. Perhaps the tempi adopted were traditionally slow and sluggish and this symphony may be over-played in the DFP Hall. Much as I love Rachmaninov's 2nd Symphony, I felt that this was another sleepy occasion and a disappointing Sinaisky debut at the DFP.

A very successful LOTR's symphonic concert

A sold out audience for 3 days clamoured for the tickets for the Howard Shore score of the LOTR Symphony conducted by Markus Huber. I attended the concert on 21 December 2008 and had a fun time too. The DFP ushers were all dressed up as characters from the award winning trilogy of films. This added to the fun of the occasion as well.

To aid the pictorial elements to the very long score, there were lovely drawings that projected onto the screen to help with the narration. The Young KL Singers and the KL Children's Choir were also in attendance but the intonation of the choirs went slightly awry in places. However, the boy treble (Andrew Sanjay George) and soprano soloist (Ann de Renais) were duly impressive in their delivery. The MPO played with gusto under Markus Huber's direction and this proved to be a thoroughly enjoyable concert.

The DFP should take great credit to organize such a concert - it really helps bring the Malaysian public (that may be shy of a serious Classical concert) into the DFP Hall for their first visit to a world class concert hall.

Hamelin's Brahms Concerto debut

Having a long church programme on Sunday and taking lunch after caused me to miss the Nielsen Symphony No 2 (the 1st of 2 items of the concert on 7 December 2008). Joining the concert after the interval, I was glad I did not miss Marc-Andre Hamelin's debut performance of the Brahms Second Piano Concerto. His massive CD discography of unusual and very difficult piano repertoire for Hyperion is already daunting enough. So, indeed it was a great treat to hear him in the better of the two Brahms piano concerto - the No 2 in B flat major.

Well, suffice to say that Hamelin did not disappoint his audience with his strong and passionate performance of the Brahms. Despite his superlative technique, there were some finger-slips in the concerto but this did not matter as the MPO under the excellent Osmo Vanska aided him in a magnificent and taut account of this romantic score. Of particular delight were the lighter than usual effects in the Scherzo and the last movement - often played in a heavier and more Teutonic manner - but done just right with the sufficient amount of "lift".

We should invite both artists back and pair them in slightly more obscure and diverse repertoire like the Busoni and/or the Shostakovich Piano Concertos. Now that would be an appealing thought indeed!

Katsaris & Kalmar's classical show

22 November 2008 saw conductor Carlos Kalmar and pianist Cyprien Katsaris in a Classical period programme of Haydn's Symphony No 102, Mozart's Piano Concerto No 21 and Beethoven's Symphony No 2. Generally well-played with reasonable sized forces, the Haydn and Beethoven were suitably programmed before and after the Mozart respectively.

Tempi in this concert were well chosen and the Haydn and Beethoven were played in a sprightly manner. The Mozart Piano Concerto followed in much the same vein - often very light and aerial in mood and feeling. Katsaris played it so very fast (it had some obvious finger slips too) that it did not even much time to breathe and ensemble with the orchestra suffered. However, the audience loved Katsaris's performance and there was a long queue post-concert for his autographs (on the programme and the Piano 21 CDs that he brought along).

The best performance of the evening was the Beethoven - which put the piece in its proper context and chronology between the Haydn/Mozart era and Beethoven First Symphony and the massive "Eroica" Symphony. Kudos to Kalmar for placing the piece so precisely.

Excellent Ehnes excels in Glazunov & Ravel

The next concert I attended was a great tonic after Sarah Chang's very rushed Bruch Concerto No 1. The soloist on 8 Nov 2008 was James Ehnes - a very musical and talented violinist who had played at DFP before. Since the release of his first CD on Telarc of the Paganini 24 Caprices, his musical career has gone from strength to strength. The conductor for this concert was Gilbert Varga - son of the famous violinist Tibor Varga. Varga was making his DFP debut.

Humperdinck's Overture (Hansel & Gretel) was the curtain raiser to Ehnes' superb interpretation of the romantic Glazunov Violin Concerto. Playing the Marsick Strad (by courtesy of wealth philanthropist Dr David L. Fulton), he gave a marvellous rendition of Glazunov's work - secure in its execution, played with the requisite warmth and romanticism and accurate in technique. A similarly excellent rendition of Ravel's Tzigane followed after this.

The second half belonged to maestro Varga - who might have a lower profile than his illustrious father, but should be much better known in the conducting circles. Taught by the famous Sergiu Celibidache, he led the MPO in two entrancing performances of Ravel's Mother Goose and La Valse. Now, I am not a keen fan of French music in general but when Ravel is played the way Varga did with his commanding but yet elegant manner, I sat glued to the magic spells that maestro Varga conjured up. A definite conductor and soloist combination to invite back to the DFP in coming seasons!

Sarah Chang's speedy Bruch concerto

1 November 2008 saw the revisit of Sarah Chang to the DFP Hall after a hiatus of a few years. The concert opened with Rimsky-Korsakov's Capriccio Espagnol Op 34, one of my favourite orchestral pieces because of its colourful and vivid orchestration. I especially love the Berlin PO's version on DG under Lorin Maazel.

Despite the attentions of Chilean conductor Maximiano Valdes, there was insufficient colour and drama in Rimsky-Korsakov's masterpiece (that also rubs shoulders with Scheherazade and Russian Easter Festival Overture).

Now a Sarah Chang concert is an event not to be missed - because of her showmanship. I had met her for a press interview before the concert and she told me that she is preparing a EMI of the Bruch Violin Concerto No 1 and Brahms Violin Concerto with Kurt Masur. It is due for release this fall.

The impressions of the Bruch is typical of a Sarah Chang concert - with generally excellent technique and passion. However, intonation in the higher registers veered on the sharp side and vibrato tending to be very fast and accentuating the sharpness of the intonation. There were some inconsistencies with the score (like pressing ahead of the final coda at the end of the concerto in the 3rd movement), thereby losing ensemble with the MPO. If the forthcoming EMI CD of the Bruch is of this standard, then the international critics would have a field day making similar musical criticisms.

I was not well with a bad cold and therefore had to miss the second half of the concert - which was an interesting concert concoction of Penderecki's Symphony No 2 (Christmas Symphony).

Fabulous Fabio Biondi & Europa Galante

30 October 2008 saw the 1st performance in Malaysia by Fabio Biondi and Europa Galante. Biondi has the excellent reputation of being one of the foremost exponents of period-violin playing. The other prince of period-violin playing is Giuliano Carmignola (who has yet to play at the DFP).

The programme consisted of Vivaldi (Sinfonia RV 693, Violin Concerto RV357 and The Four Seasons) and Purcell (Abdelazer). Their concert here in KL certainly confirmed the dramatic impressions of their CDs, which is vivid and pictorial music-making - at the expense of beauty and lovely tones.

At times, one wished that Biondi and his orchestra played less vividly but with a more ingratiating tone. The Berlin Baroque Soloists under Rainer Kussmaul that came to DFP a few seasons ago, play with a lovelier tone but still a vivid imagination of the musical line and a very firm technique.

Nevertheless, all in all, it was a marvelous experience for the audience. Now, the next period instrument group that DFP could consider bringing in for a future season is the Venice Baroque Orchestra under Andrea Marcon and violinist Giuliano Carmignola. Now, that would be a really excellent treat for the Malaysian audience!

Solid Germanic performance from Flor

After the previous concert disappointment of the Ma Vlast concert, the MPO and Claus Peter Flor redeemed themselves by playing an excellent German programme of Beethoven Egmont Overture, Mendelssohn's Double Piano Concerto in A flat (with Robert Levin & Ya-Fei Chuang) and Brahms Symphony No 1 on 11 October 2008.

Beethoven's Egmont Overture is my favourite overture of that German composer. Having heard the Vienna PO under Eugen Jochum years ago in the Royal Albert Hall at the PROMS, it sticks out as a wonderful piece in itself. The MPO's performance was full of tension that the piece requires and the lyrical woodwind lines stand out in the memory.

The Mendelssohn Double Piano Concerto is a concert hall rarity and I am grateful to maestro Flor for programming this piece. Obviously, Mendelssohn was one of the world's most gifted musical prodigies and this youthful work with its florid runs were very well-executed by the husband-and-wife soloists.

When I hear Brahms Symphony No 1, memories of Herbert von Karajan's live performance (which I attended in Lucerne 1988) flood back. Karajan is a master of transition and speed changes in this tricky symphony. When musicians like Flor (and even Gunter Wand) interpret this symphony, its tricky gear changes do trip them up. However, the concert was a valiant effort on Flor's part and certainly triumphed over previous music director Bamert's interpretation. Over time, Flor would refine his interpretation and improve on this very good performance. One bright spark of the concert was the un-named guest leader who played a wonderful solo in the 2nd movement of the Brahms though.

Flor and the MPO's first Ma Vlast

What an excellent two days to choose to perform Smetana's magnificent cycle of six symphonic poems called Ma Vlast (that were composed between 1874 and 1879) - the dates were 29 and 31 August 2008. The idea of performing Ma Vlast on National Day (31 August 2008) must have been MD Claus Peter Flor's brainchild. It could not have been more appropriate as Ma Vlast means My Country.

Maestro Flor generally adopted fast tempi (as he usually does) but the orchestra (made of many musicians from different countries) did not quite adapt to Smetana's Czech idiom. Ensemble suffered as a result of Flor's swift tempi. Personally, I believe that slower speeds in Ma Vlast works better as the tone poems reflect musical life in the Bohemian countryside.

The Eastern bloc musicians identified with Smetana's idiom but some Western musicians were at a slight loss with the cycle. I wonder how the DFP/MPO orchestral management choose its players for each concert. One musician of note that was missing was the excellent principal flautist Hristo Dobinov. The MPO brass were not on their best form that night unfortunately.

Anyway, it was a good premiere performance but I am sure that the MPO would eventually get to grips with this wonderful score in time to come. A Czech conductor leading the MPO in a repeat performance would also help. Not one of the MPO's better efforts but there will be scope for further musical improvement next time around.

Two great Borodin Quartet performances

We have seen the Emerson Quartet from USA a few years ago. Personally, I do find the Emerson ensemble over-rated (despite the long-standing DG recording contract) and found that to be so in that concert live. The Borodin String Quartet has been around for about 60 years and has changed personnel. However, the traditions (of the previous members that have moved on) are still maintained and remain intact.

They play 2 varied programmes of quartet staples as well as some rarities. The first concert (20 Aug 2008) comprised of Tchaikovsky's String Quartets Nos 1 and 3, Stravinsky's 3 Pieces and Smetana's String Quartet No 1 (From My Life) , whilst the second concert (27 Aug 2008) consisted of Beethoven's Op 18 No 2, Shostakovich's No 8 and Borodin's No 2.

A clear sign of their musical, technical and ensemble superiority could be heard in a direct comparison of the Shostakovich String Quartet No 8, which was also common to the Emerson Quartet's concert. Their performances of the great Russian quartets in the 2 concerts are beyond compare. It is always a pleasure to hear the Russian musicians at the DFP in the music of their own countrymen. (This also brings back great momeries of Yuri Bashmet and the Moscow Soloists at the DFP a few years before).

Encores at the concerts were a short piece by Stravinsky and a late Beethoven quartet movement - all beautifully played yet again.

The new broom (MD Claus Peter Flor) sweeps well

A new season, a new breath of fresh air and new MD (Claus Peter Flor) to spruce up the 3 years of stale musical air at the DFP. Indeed, the last 3 years under Matthias Bamert had dampened the MPO musicians' enthusiasm for coming half way around the world to bring classical music to Malaysia.

Generally, the musical planning of the new season is also superior to the last 3. I am able to choose at least 30 concerts I wish to attend, whilst I struggled to reach 20 in the past 3 seasons.

A pre-concert season highlighting the famous Borodin String Quartet was also a good musical idea, and besides performing on its own, the quartet played with the MPO in a number of concerts. The concert under review opened with the favourite Rossini William Tell Overture, which was quite well played. Lead cellist Csaba Koros was expressive in his opening solo and the MPO was by and large inspired by Flor's direction. Flor had changed the seating of the orchestra around - with basses to the conductor's left, cellos right of the first violin and the second violin on the conductor's right. This allowed for better sound separation. However, although the performance of William Tell was memorable, it did not wipe off the memory of the magnificent performance of the same by the La Scala PO under Riccardo Muti some years ago.

The next piece was indeed a rarity. It was Spohr's Concerto for string quartet and orchestra in A minor. I heard it years ago on our local classical FM radio channel here but had not heard it since. Spohr's most famous composition is his Violin Concerto No 8 which has some recordings but is still a rarity in the concert hall. (Perhaps our MD can be persuaded to invite Hilary Hahn (who recorded it for DG) to perform this at the DFP in a forthcoming season).

We could see that the concerto for string quartet and orchestra is not a major work and despite the great efforts of maestro Flor and the superb Borodin Quartet, it may be one for the curiosity bin as its lacks melodic and compositional value. Nevertheless, it was nice to re-visit the piece after so many years.

What came after the interval was a stupendous performance of the Dvorak New World Symphony. If DFP recalled the recording that Bamert did during one of the previous opening galas, you'd hear the difference in the great things that maestro Flor did on this opening concert for the Dvorak symphony that Bamert strived to do but failed to achieve in 3 unproductive years in KL.

Tempi were generally lively, with every detail of Dvorak's wonderful scoring pointed with a sure and deft touch. Maestro Flor gave every single tremolo clarity, played the dynamics of the score so surely (so vital to the rise and fall of the phrases with appropriate accents), introduced some relaxation of the basic speeds at the lyrical moments, ensured rhythmic accuracy and gave the other minor musical details (subsidiary musical lines that would have got lost under Bamert) a through scrub down.

All in all, this was an auspicious start to the season that promises to yield so much in musical riches to come. Bravo maestro Flor and bravo MPO - thanks to our new musical broom that sweeps very well - Claus Peter Flor!

Boring Bamert signs off with Beethoven

A full house is always guaranteed in most concert halls - that is, if you programme Beethoven's Ninth Symphony for the concert. Boring maestro Bamert in his final concert managed a full house (quite unlike most of his other concerts) - because of the Beethoven 9. Well, the Eighth Symphony that began the concert was just played so-so for me. In my opinion, the size of the MPO was over-large and the tempi were a bit sluggish to say the least. This symphony is one of the most jovial amongst the nine and so it needs a lighter touch. But the sheer size of the orchestra just bogged the whole piece down - too heavy, without rhythmic lift and jollity.

In the second half, the Ninth Symphony is a colossus of a piece - the first ever to use a chorus in such a piece - preceding Mahler and his gargantuan choral-symphonic creations. However, Bamert chose to use a HIP (historically informed practice) manner of playing the whole piece. It just zipped swiftly from beginning to end without much drama. Transitions were not specially taken care of, dynamics were also under-played, the intensity of the piece was simply non-existent and the slow movement lacked any spirituality or repose. Again the final movement passed us by without any great musical interpretation. The most distinguished vocalist was the mezzo, Natascha Petrinsky (who had taken part in our Mahler 2 here years ago). The audience liked the performance but I think they were listening more to the notes that Beethoven wrote rather than what little Bamert was able to bring out from this massive piece.

Anyway, for my musical opinion on Bamert - he had spoilt the good work that Kees Bakels and the MPO began with. The orchestra (whilst still not that good yet) went seriously downhill during his tenure and I am really glad to see him go. Now, we look forward to the new reign of MD Claus Peter Flor (who is one of the best guest conductors to the MPO previously) who will now help to restore what Bamert had destroyed and to rebuild the MPO beyond the standard that they achieved under the Bakels tenure.

Bakels' magical Tchaikovsky evening

You can guess that one of my favourite orchestral composers is Tchaikovsky. He is one of the top composers when it comes to finding the relevant orchestral colours to shade a musical passage. For musical structure, he defers to the great composers like Mozart and Beethoven. This concert on 28 June 2008 depicts his talent to adopt other composers' idiom as his own. In the opening piece, Bakels and the MPO played the Introduction and Polonaise from Eugene Onegin with the proper Polish swagger and colour.

In his homage to Mozart, Tchaikovsky's Fourth Orchestral Suite is labelled "Mozartiana". The MPO and Bakels were on top form for this intimate setting of 4 Mozart melodies into the four movements that make up this gorgeous suite. Playing with orchestral as well as soloistic refinement, the MPO performed this suite brilliantly.

After the interval, Bakels announced the movements of the Sleeping Beauty as the orchestra performed various selections from the acts of this great ballet. As in the first half, the MPO and Bakels were on top form in this colourful and wonderful music from Tchaikovsky. Bravo maestro Bakels and the MPO!

Prince Znaider meets Cinderella

This is the sort of imaginative programming that I would expect from the DFP and the MPO's music director. Unfortunately, we had been given about 3 years of mediocre programming from the previous incumbent - Matthias Bamert. It needed former MD Kees Bakels to devise a concert programme that I had always dreamt about - 2 musical takes of Cinderella, framing another piece. The opener was Rossini's La Cenerentola Overture, played with gusto and great care over dynamic shading (especially the repeated echoing passages).

Nikolai Znaider, a rising prince of younger concertizing violinists, made his DFP debut in Mozart's Violin Concerto No 1 K 207 (which received its premiere at DFP too). This was very beautiful playing indeed from Znaider who was performing on the ex-Kreisler Guarneri del Gesu. Golden rich tones enveloped the hall, with clear definition of detache, spiccato and legato from Znaider's lovely bow arm. There were 2 instances of poor orchestral co-ordination from the MPO & Bakels (a false entry after the cadenza and an oboe solo that went off-key from Joost Flach). Otherwise, it was a superbly conceived performance. The audience gave Znaider a long and rapturous rhythmic applause (normally reserved for artists like Kavakos and Volodos) and he obliged by playing JS Bach's Sarabande (from the BWV1004 Solo Partita).

After the interval, we were treated to some fine dramatic playing from the MPO and Bakels in selections from Prokofiev's Cinderella. We are blessed with fine acoustics at the DFP and this is the sort of piece that stands out in our wonderful hall. As an encore in keeping with the Cinderella theme, Bakels offered us yet another take on the Cinderella theme - the midnight scene from Massenet's Cendrillon. This was simply magnificent programming and a superb concert - thanks to maestro Bakels!

Hough's high-powered Tchaikovsky PC 2

This was the second performance of Tchaikovsky's Piano Concerto No 2 in the DFP Hall. The first was given by a visiting orchestra, the Sydney Symphony in an early International Series concert. So, in short, this was the MPO's debut performance in this piece. Prefacing the Tchaikovsky in an unusually composed programme was Handel's Concerto Grosso Op 3 No 1 in a bright and delightful performance; it then involved a lot of stage re-arranging (taking off the harpsichord and pushing on the Steinway grand).

Typical of Hough since the first time we saw him here in Malaysia, his performance of the Tchaikovsky was brisk, virtuoso and business-like. Hardly any dwelling on the more lyrical portions of the concerto, but stressing the fast and furious - with virtuoso handling of the challenges of this second piano concerto. Always hidden behind the first concerto's concert hall and recording popularity, this work deserves more than the occasional performance. The second movement featured a trio - the pianist Hough, leader Markus Gundermann and principal cellist Csaba Koros. This was a contrast in playing styles - with Hough keeping a quiet accompanying role, Gundermann playing accurately but not expressively enough with his bow arm and Koros being the main protagonist in a very impassioned display of wonderful rich-toned cello playing. The finale brought on more fireworks from Hough and he treated the audience to a lovely pentatonic encore (I wonder what this piece was as he did not announce his encore).

After the interval, Bamert and the MPO treated us to one of their better performances in the hall of Sibelius First Symphony. One standout moment in the performance was the fine clarinet playing of Philip Arkinstall. Our guest (Jane who was attending her first concert at DFP) enjoyed the Sibelius immensely.

Happy Haydn, slow motion Mahler

The previous MPO music director, Kees Bakels directed a near completed Mahler cycle in his tenure here. Having performed Mahler's 1st, 2nd, 4th, 5th (under various conductors), 6th, 7th and the 9th (under Benjamin Zander), the MPO entrusted the 10th (in the Deryck Cooke completion) to the up-and-coming Hannu Lintu, who made an impressive debut at the DFP Hall a few years ago.

The Haydn "Drum Roll" Symphony (No 103) prefaced the Mahler. Using period timpani, Lintu led a performance that was clear in textures, with warm phrasing and quite tight ensemble-wise. The highlight was the violin leader's solos - played neatly in tune by Markus Gundermann, without that soloist and bowing flair that the best concertmasters have inherent in them. This was the better of the 2 performances of the night.

The Mahler however, was over-long - a performance that stretched to about 85 minutes in total. Actually, Mahler completed only the first movement and left sketches for the rest of the movements. Conductors like Claudio Abbado and the late Gary Bertini only believed in the first movement and performed/recorded only that movement. Other maestros like Sir Simon Rattle, Mark Wigglesworth and Rudolf Barshai have played the symphony complete (using other composers' completions such as the Deryck Cooke version, etc).

The BBCNOW/Wigglesworth Cooke version (given with the BBC Music Magazine) took only 74 minutes to perform, whilst the award winning Berlin PO/Rattle EMI live Cooke version was 77 minutes long. Rudolf Barshai conducting his own completion also took 74 minutes over the whole piece, so I wondered how Lintu managed to stretch the piece to 85 minutes.

The Mahler was painful to listen to as the violins were not sure of themselves, phrasing was flat, the momentous moments lacked tension and the dynamics were compressed into a narrow range. The horns were typically out of tune in places and played with the usual and occasional split notes. However, the highlight of the performance was by Hristo Dobinov - one of the MPO's best woodwind players, in the fifth movement's unearthly and beautiful flute solo.

I believe that Lintu has to re-think his interpretation to make it a bit more taut. For now, Mahler 10 is out of his league. My parting shot is to wonder if we could have a Mahler 3 and/or 8 in the coming years, though the DFP Hall would be hard-pressed to accommodate the audience, let alone the orchestra.

Akiko Suwanai's superb Sibelius VC

This evening really belonged to the superb violinist Akiko Suwanai, who made her long-awaited debut here in KL with one of the greatest 20th century violin concertos - the Sibelius. A few seasons ago, Suwanai was supposed to have made her Malaysian debut with the Dvorak Concerto but had to cancel due to illness.

I had watched the Sibelius Concerto on many occasions live (Vengerov at his Proms debut, Anne-Sophie Mutter with Sir Charles Groves in London, Pekka Kuusisto and Anje Weithaas in KL among some of the performances that I had seen). Let me cut to the chase and say that Suwanai's is the most stunning live rendition that I had heard. [Vengerov had a memory lapse in the last movement, whilst Mutter was not so technically secure at age 23. Kuusisto was very intent on dragging and then pulling ahead as he felt led to do so. Weithaas' rendition was hampered by a very dark sounding violin that was submerged by the MPO's accompaniment]

Armed with the 1714 ex-Heifetz Dolphin Strad, Suwanai's interpretation was stunning in its technical delivery - no hurdle was too difficult for this sweet-looking soloist. In comparision to her SACD recording with the CBSO and Sakari Oramo, the middle animated section of the second movement was excellently done, with a swifter and more passionate response than the SACD version. I had two bones of contention though with her playing - the rhythm in certain bars (e.g. Bar 9 after Figure 3 and Bar 16 after Figure 10 in the Eulenberg miniature score of the 1st movement) elongated beyond their written value and also the very swift speed set for the third movement by Kevin Field (resulting in some serious co-ordination problems with the MPO).

Apart from the less than inspired conducting from Field, I felt that it would have been better A&R practice to have Suwanai perform in KL with a recognized Sibelian like Oramo. I also felt that solo Bach is over-played as an encore (She offered us a movement from the D minor Partita, whilst there are many other choices for a solo violin encore e.g. a movement from Ysaye's Solo Sonatas or Herman Bellstedt Jr's "Caprice on Dixie" for a change). It was refreshing to hear Ilya Gringolts in Ernst's Der Erlkonig for a solo encore some months back.

I did not like the programming for the concert - which featured John Adam's Short Ride in a Fast Machine (yet over and over again at the DFP!) and also Tuur's Passion. Field could have just simply played a piece like Penderecki's Adagietto from Paradise Lost for a change before the Sibelius. For the post-interval closing piece, we had a highly charged interpretation of Copland's best symphony - his Third. It was not ideally precise from the trumpets and horns but at least the MPO played this with flair.

Awaiting Akiko Suwanai's Sibelius debut

Akiko Suwanai (Photo: Philips)

Akiko Suwanai makes her DFP debut with the Sibelius Violin Concerto on 8 and 9 March 2008. She was supposed to play the Dvorak Violin Concerto here a few years ago but was indisposed. She was the youngest winner at 18 years of age when she took the 1st first prize at the Tchaikovsky Violin Competition in Moscow (1990). I'm really looking forward to seeing her live in one of the great 20th century violin concertos.

Fabulous, fearless & flawless Feng Ning

23 Feb 2008 - MPO, Feng Ning, Matthias Bamert

The night really belonged to Feng Ning, who made his coruscating DFP debut in KL with Paganini's most famous Violin Concerto No 1, complete with the virtuosic Emile Sauret cadenza. The first of six violin concertos that were published, is notorious for its fiendish technically difficulties. Staggering feats of virtuosity is needed to play this concerto but to make it sound like a "mini-opera" for violin and orchestra despite the extreme technical hurdles [e.g. large arpeggio leaps, running parallel double-stops (like thirds, sixths and tenths), spiccato and ricochet bowings and the notorious double harmonic notes] was really proof that this is a major violinist & talent (who won the 2006 Paganini contest) is just embarking on his journey to the very top echelon of violinists currently performing. Given the typical rhythmic applause and a standing ovation that is only reserved for artists like Leonidas Kavakos here, he proceeded to play Paganini's God Save the King Variations Op.9 as an encore.

Feng Ning is not only flawless in his execution (pearl-like intonation with a sweet tone which is never under stress), but he plays with a daredevil-like intensity, which reminds me of Michael Rabin's manner in the 2 versions of that very same Paganini concerto from a 6-CD box set from EMI (my favourite CD version of the said piece!). He also performs with an expressive intensity of varying tonal colour (e.g. repeated phrases are played on different strings and subtle glissandi that also shade his fabulous playing).

The pieces that flanked the Paganini were Rossini's Il signor bruschino Overture - played with a lack of colour and wit and almost no famous crescendi at all. Poor orchestral playing (much maligned horn section were as usual - out of tune!) plagued Holst's The Planets and flat choral singing from the National Choir in Neptune was also apparent (almost a semitone out!). However, some movements (like Mars and Jupiter) were quite well played nevertheless. As mentioned above, the MPO and Bamert were much earth-bound but Feng Ning is certainly one of the brightest violinists performing in the sub-30 age category. Perhaps he could be persuaded to play either the Vieuxtemps Fifth Violin Concerto or Wieniawski's fiendishly difficult First Concerto for his next visit here?

The terrific Trpceski

12 Jan 2008, Simon Trpceski, MPO, Bakels

The Elgar Wand of Youth Suite No 2 made a charming musical entree to the highlight of the evening. Delightfully played by the MPO players (especially flautist Hristo Dobrinov in his solo), the Elgar made a welcome change from the "core repertoire" that has plagued most of Matthias Bamert's programming. It was also very good to welcome back former MPO MD, Kees Bakels at his sparkling best. I had not seen the famed Macedonian pianist at the DFP Hall before, having missed his prior 2 appearances. This time, with Rachmaninov's Piano Concerto No 1 on the programme, this proved to be an unmissable proposition. Rightly so, as his technical command is peerless, the tone is nice and rounded and his musical manner is straightforward (much like Andsnes but unlike Pogorelich and Toradze). After the interval, we were treated to a MPO premiere of Dvorak's Fifth Symphony. We had heard the symphony performed before by the La Scala PO under Riccardo Muti. However, maestro Bakels was not able to disguise the poor structural construction of the piece. Muti made the piece flow better and his interpretation was more coherent and enjoyable. Anyway, it was a fine night out - thanks to Trpceski's brilliant pianism.

Simply delightful Schubert from Bakels

19 Jan 2008 Markus Gundermann, MPO, Bakels

A second week in a row with Kees Bakels and the MPO revealed musical riches in the form of very nice (but off-beat) repertoire. The concert began with an evocative interpretation of the Calm Sea, Prosperous Voyage Overture by Mendelssohn. Another DFP premiere that we had was Robert Schumann's Violin Concerto. Written in his late years and put aside for about 100 years after his death, the piece is unwieldy in places and has some tawdry construction. It really needed a better violinist than MPO concertmaster Markus Gundermann, to do it justice. Although Markus played very well and was in tune mostly, the speeds tended to still be slightly sluggish and the lack of Schumann's musical inspiration showed through. (I had just listened to Kulenkampff's version on CD after the concert but before writing this review to realize what was missing in Markus' interpretation). Nevertheless, the highlight of the concert was a most deliciously played Schubert First Symphony led by the marvellous Kees Bakels. The interpretation was really wonderful for its light-heartedness and Austrian charm. Perhaps we could hear the Schubert Second and Third Symphonies by maestro Bakels in future concerts.

A superb Swan Lake from Carl Davis

17 Nov 2007 - MPO, Carl Davis

Perennially popular conductor, Carl Davis returned to the DFP with Tchaikovsky's wonderful ballet - Swan Lake. This is my favourite ballet - in terms of story line, the drama and the surging Romantic music. Of course, I'd seen this in London at the Royal Ballet about 25 years ago; here the MPO accompanied a film of the 1989 Bolshoi Ballet production. The MPO were in fine form and the trumpets and horns (usually the weakest links in the orchestra) played with a sonorous depth of tone and surprisingly - some good intonation too, without any perceptible cracked notes. So, all in all, it was a very fine night out for me and my spouse. More Carl Davis for me please! Thanks, DFP.

Good Brahms VC but a boring Schumann

27 Oct 2007 Isabelle Faust, MPO, Bamert

Isabelle Faust made her DFP debut in the Brahms Violin Concerto. Unfortunately, the memory of previous great performances of the Brahms (in the DFP hall) was stuck in my mind. The virtuosic and brilliant rendition from Leonidas Kavakos and also the varied and subtly modulated/coloured performance by Joshua Bell were much better than Faust's rendition. Technically, she was up to scratch but in trying to be different, she drew attention onto herself (rather than Brahms). Tonally, she was not as brilliant as Kavakos or as subtly varied as Bell. Her playing was generally good but the tone was slightly ragged and ugly (when she had to do a heavy spiccato (or a colle stroke) at the heel of the bow). Bamert led the Robert Schumann Symphony No 2 with his usual boring & efficient manner - without imparting any great insights to this marvellous music.

The brilliant Berlin Barock Soloists (BBS)

16 & 17 Oct 2007 - BBS, Emmanuel Pahud, Rainer Kussmaul

One of the highlights of the 2007/08 season was the visit of the brilliant young flautist Emmanuel Pahud and the BBS under leader Rainer Kussmaul. At the pre-concert press conference, they were very kind and entertained the press with the musical experiences and anecdotes of the Berlin Philharmonic, Karajan and the BBS. At the concert, they gave stunning historically-informed period (HIP) performances (the tuning was still concert pitch of A=440 Hertz). The most enjoyable items all involved solo instruments with orchestra. I enjoyed the Vivaldi Flute Concerto RV428 - with Pahud's immaculate musicianship and golden flute tone particularly. Other superb performances of note were the Vivaldi Concerto for 2 violins (RV522) and 4 violins (RV553). Violist Wolfram Christ also starred in two viola concertos - Telemann's delightful Concerto in G major (with its lively rhythms) and also Vivaldi's Concerto for viola d'amore in D major. This was the most enriching experience of HIP performances that I'd seen in the DFP hall - far exceeding the poor English Concert event under Andrew Manze. They are certainly a welcome group anytime for me at the DFP in future seasons and I'd be the first to queue for their concert-tickets.

Sumi Jo steals the show at the 07/08 Gala

8 Sep 2007 - Sumi Jo, MPO, Bamert (MPO Gala 2007/08)

For the first time in 3 years, the MPO opening gala had a festive air about it. It opened with a poorly orchestrated version by Andre Caplet of Debussy's Children's Corner Suite. (The original piano version is far superior). Star guest artist was the superb Korean soprano Sumi Jo who was in very fine form. As an artist, she also has more personality than previous gala stars (Yvonne Kenny and Alexander Toradze). After a tentative start in Gounod's Je veux vivre (from Romeo & Juliette), she came into her own in Verdi's Sempre Libera (La Traviata) - a magnificent performance. Also very enjoyable was Meyerbeer's C'est bien lui (L'etiole du nord) with two flutes (in descant parts), adding to the already-florid soprano line. Best of all the songs that Sumi Jo sang was Offenbach's Olympia's Song (The Tales of Hoffmann) in which she sang magnificently (and also acted the part of a cranked-up doll). Bamert accompanied her very well in the Offenbach but did not offer any special insights into the last piece - Ravel's Daphnis & Chloe Suite No 2. But for once in the three years that Bamert had led this event, the audience thoroughly enjoyed themselves - thanks to the superb Sumi Jo!

Claus Peter Flor - an inspired choice of MD for the MPO

When the Kees Bakels reign as Music Director (MD) at the MPO came to end, the KL audience (myself included) felt very sad. Bakels had done great things with the MPO - like playing the core repertoire, introducing "new" (or rather) unusual pieces to the audience and conducting the bulk of a Mahler cycle here in KL. Bakels' replacement Matthias Bamert seemed to have a impressive CV but it was not reflected in his conducting and standards at the MPO went plunging swiftly . Repertoire that was played remained very "core" and audiences went away and numbers that appeared regularly at DFP, simply dwindled. When I heard that Claus Peter Flor was going to be the MPO's new MD, I was truly excited. Here was a major European talent that inspired the MPO to great heights in his guest stints here (like an unforgettable Prokofiev Romeo & Juliet and a great Bruckner Fifth remain in my mind!). I look forward to much more interesting music that maestro Flor will bring us and to rejuvenate the MPO's declining standards. Among the interesting pieces that I'd like to see at DFP are: Smetana's Ma Vlast, Khachaturian's Violin Concerto, Kabalevsky's Violin Concerto and Piano Concerto No. 3 and Mahler's Symphony No 3.

Magnificent LSO, FP Zimmermann & Harding concerts

2 & 3 May 2007 (FP Zimmermann, LSO, Daniel Harding)

Another 2 international concerts of pith and moment! Thank goodness, Lang Lang was given a music award in London! He cancelled, I was pleased but there were many ticket returns from "lots of Malaysians that had musically-deficient ears". Dvorak's The Golden Spinning Wheel Op 109 (with the magnificent LSO horns, led by the superb David Pyatt) was the piece that replaced Mozart's Piano Concerto No 17. Our MPO horn players certainly could learn a thing or two from David Pyatt and company. Not only were the LSO horns superb, the excellent guest concertmaster was Andrew Haveron and he made some sweet and delightful sounds in the Dvorak. Another superbly played Mahler Symphony No 5 concluded the first night's programme (It was one of the very best Mahler 5s heard at the DFP hall!).

On the 2nd night, we had the privilege to watch Frank Peter Zimmermann in Alban Berg’s Violin Concerto (which was given a very poor showing by Chantal Juillet, Matthias Bamert and the MPO earlier in the season). This was how Berg should be played – technically secure and emotionally involving (unlike the uncertain Juillet/Bamert performance). The LSO and Harding gave yet another virtuoso showing in Berlioz’s Symphonie Fantastique with The Star Wars (Main Title) theme for the encore (on both nights). The audience truly enjoyed themselves.

24 March 2007 (Viviane Hagner, MPO, Matthais Bamert)

A typical boring German programme that we'd come to expect from Bamert! Though Hagner (she met me "pre-concert" and stated her favourite version of the Beethoven Violin Concerto was the quite swift Heifetz & Toscanini one) gave me the impression she'd play in a less traditional manner, this was a more usual interpretation (with rubato and tempi changes in the 1st movement complete with the Kreisler cadenza). After the interval, we had a normal (even boring!) interpretation of Brahms' Symphony No 4 - which was redeemed by some magnificent flute playing (Hristo Dubrinov) in the fourth movement.

Rich-toned Renee Fleming recital

20 March 2007 (Renee Fleming, Hartmut Holl)

I was most fortunate to meet both these artists (Pre-concert). Renee was particularly charming and kind. Renee sung magnificently (and she was superbly accompanied by Hartmut). 2 Handel pieces from Semele, a Schubert set of 4 songs, Renee's signature piece (Dvorak's Song to the Moon from Rusalka), a Brahms set of 5 pieces, Korngold's Die Kathrin Op 28, R Strauss's Cacilie Op 27 No 2 and Puccini's O, Mio Babbino caro and Vissi d'arte were delightfully sung with superb breath control, marvellous diction and great care for the language. Renee gave 3 encores including a wonderful R Strauss song Morgen (time stood still here!). One of the best vocal recitals ever given at DFP! Renee & Hartmut should be invited back for a return recital at the DFP in the near future.

Vogt/MPO/Bamert give less convincing accounts

Well, a very busy work schedule took me away from reviewing concerts at the DFP for most of 2007. So, as the 2008 holiday season gave me a few days off, I wrote these belated comments on the concerts (some were magnificent, others less so).

3 March 2007 (Lars Vogt, MPO, Matthais Bamert)

Bamert began the concert with Beethoven's Creatures of Prometheus Overture with a slightly over-sized MPO. The interpretation seemed to lumber along before a slightly turgid Lars Vogt DFP debut in Beethoven's Third Piano Concerto. After the interval, we had a less-than-inspiring interpretation of R Strauss's Aus Italien (with some flat tuning from the flute section). Kees Bakels's recording of the very same piece seemed better than Bamert's live interpretation.

Mozart birthday (27 Jan) is a good day to start blog

Well, I began this blog on 27 Jan 2008. 27 Jan, being Mozart's birthday (and also an uncle's birthday in the family) brings me to talk about that man's genius. A fantastic haul of masterworks (over 600 Kochel numbers) and most of them masterpieces - written before he was 20 years old. My general favourite Mozartians are Grumiaux (VC, VS, String Quintets, Divertimento K 563 etc), Haskil (Piano Concertos) and Vegh (Serenades and Divertimentos with the CAMS). Generally, my opinions and critically loved versions are by those performers who do not "add value" to Mozart's works but play them in a more Urtext manner.

Hello - new to blogging

Hi friends - I'm new to blogging. Will try to publish one soon. Regards - RabinFan