Hong Kong Philharmonic and Paavo Järvi’s shattering Shostakovich 5 caps all-Ru

SCMP

Christopher Halls

1 April 2024

From the exuberance of a fiesta to expressions of profound despair, the Hong Kong Philharmonic hit the mark at the Hong Kong Cultural Centre on Good Friday.

Returning after last year’s Sibelius and Liszt concert, Estonian maestro Paavo Järvi led a diverse, all-Russian programme featuring Stravinsky’s violin concerto with soloist Alena Baeva, and two popular orchestral works by Rimsky-Korsakov and Shostakovich.

Rimsky-Korsakov sought musical inspiration from the sunny South just as compatriots Glinka and Tchaikovsky did before him, and unlike them he had actually visited Spain.

In 1887, he decided to “upgrade” an earlier Spanish-themed piece he wrote for solo violin solo and orchestra into five-movement romp for the whole orchestra with splashes of festive flair.

And a romp it was in the hands of Järvi and the orchestra as they began the concert with the Capriccio Espagnol.

The “morning song” motto launches the piece with a jolt in the initial Alboradamovement, which soon gives way to a plethora of orchestral colours and some lightly intoxicated swagger in the ensuing solos.

The solo violin passages that pepper the score, a clear echo of Rimsky-Korsakov’s original piece, are laden with virtuosic ricochets and harmonics that were skilfully executed by concertmaster Jing Wang, even if some, like the lively exchange with John Schertle’s clarinet, were more expressive than others.

Järvi’s cool demeanour belied the tight rein he had on the orchestra, and he unleashed ample doses of bravura where needed.

If all that capriciousness left little chance for bathing in lusher tones, the encore, Grazyna Bacewicz’s Polish Caprice)) provided enough of that, plus more dazzling pyrotechnics.

Anything that remotely hinted at capriciousness came with biting sarcasm after the interval, as Järvi and the orchestra gave a chilling account of Dimitri Shostakovich’s Symphony no. 5.

Not long into the opening Moderato, it was clear that this musical journey wouldn’t be a walk in the park.

Tender passages, such as the second section with harp and strings, were treated with restraint by Järvi as he coaxed sounds from the strings that were noticeably more vulnerable and lower on vibrato “heat” than was usual for the orchestra.

The metallic sounding piano signalled the start of a middle section that quickly gained in momentum and terror, with death-like screams and brilliant ferocity from brass and percussion.

The ending, with wonderful tinkles from the celesta and a heartfelt violin solo from Wang over hushed brass, afforded an eerie calm, although it was far from a happy one.

 next piece also opened with a jolt – this time in the form of a widely spaced violin chord that is the pass code to all four movements of Stravinsky’s neoclassical Violin Concerto.

Moscow-born soloist Alena Baeva impressed with her depth of tone and articulation that carried right up to the concert hall’s rafters.

Even with an unfortunate ear infection, she danced and weaved with the violin, nimbly navigating the percussion and brass interjections in the opening Toccata.

The Toccata’s conclusion was not unanimous between soloist and orchestra, but the ethereal flautando sounds that Baeva conjured in the Aria II were deliciously seductive on the 1738 Guarneri del Gesu instrument that she plays.

Baeva’s commanding technique was on full show in the Capriccio finale, where her strong and savvy up-bow spiccato was particularly awe-inspiring. violins impressed with the banjo-like strums of pizzicati and strong playing up high on the G string in the Scena a canto gitano movement, as did the whole orchestra as they let loose with a Fandango finale that sparkled in its frenzy.

Violinist Alena Baeva and the Hong Kong Philharmonic Orchestra conductor Paavo Järvi with during a performance of Stravinsky’s Violin Concerto at the Hong Kong Cultural Centre on March 29, 2024. Photo: Keith Hiro/HK PhilIn the Allegretto movement that followed, gruff and gutsy marcato playing from the cellos and double basses set an angry and angular mood, with fabulous, military-like jabs from the wind and brass that mockingly enhanced a dark, circus-like mood.

Anguish and despair prevailed throughout the Largo, which was quite apt on Good Friday. Icy string tremolos that shimmered below Michael Wilson’s searching oboe created a disturbing state of desolation that eventually led to overwhelmingly intense, impassioned triple forte string playing.

Peace arrived, but was again brusquely dismissed by the outburst of an Allegro non troppo finale that was nothing short of harrowing. It began with woodwind trills of death and power-packed pounding from James Boznos on timpani.

Not even the upward string movements and the return of heavenly harp sounds really brought comfort, as finely balanced dark tonalities in the wind and brass chorales signalled more doom and gloom to come.

The piece finished with brilliant brass fanfares. But did they mark true victory or mocking bravado? Given Järvi’s shattering rendition, the latter is more likely.

“Hong Kong Philharmonic Swire Maestro Series: Paavo Järvi & Alena Baeva”, Hong Kong Cultural Centre Concert Hall. Reviewed: March 29.

https://www.scmp.com/lifestyle/arts-culture/article/3257434/hong-kong-philharmonic-and-paavo-jarvis-shattering-shostakovich-5-caps-all-russian-programme