The Hong Kong Philharmonic Orchestra
is the first, and only, fully professional orchestra in Hong Kong giving
200 performances annually in their own concert hall and throughout the
world; this concert was part of their current European tour.
Samuel Wong first came to international
prominence when he deputised for Leonard Bernstein with the New York
Philharmonic in 1990. Recognised for his "clarity,
confidence and passion" (Washington
Post), Wong was appointed Music Director of the HKPO in September
2000. It is evidently a vibrant partnership – indeed, my initial reaction
to their playing was how unusual and refreshing it was to hear an orchestra
really in tune for once; something glaringly rare among London orchestras
of late.
The evening began with a great concert
rarity: three sections from Busoni’s short two-act opera Turandot,
the synopsis of which is similar to that adopted by Puccini in his unfinished
opera (of which the third act Berio completion can be heard at the Barbican
in March - ed). Scene 1: The Execution, The City Gate
and The Departure, mounts to a frenetic crescendo over a timpani
ostinato. HKPO timpanist James Boznos played this atmospheric opening
with a suave style and rhythmic bite, keeping his eyes firmly on the
conductor. Scene 8: Quasi-Funeral March and Finale alla Turca
opened with the most sublime pianissimo string playing (only to be sabotaged
by a mobile phone). The sensitive percussion section also shone, playing
with rhythmic exactitude and complete togetherness, listening and looking
attentively at the rest of the orchestra. Wong’s disciplined direction
brought out great delicacy, lyricism and poetry from his players, giving
a sublime and sensitive account of this neglected, if rather hybrid,
score. (Wong’s HKPO studio account of Busoni’s Turandot Suite Op.41
(1905), coupled with Sarabande and Cortège: Two Studies
for Doktor Faust Op.51 (1919), Berceuse élégiaque
Op.42, is on Naxos 8.555373.)
Last September, I reviewed Helen
Heung’s playing of Mozart’s 23rd Piano Concerto (under
Kurt Masur and the LPO) as "a
model of computerised perfection - Lara Croft plays Mozac."
The same could be said for her clinical performance of Mozart’s
20th Piano Concerto. Heung treated all three movements on
the same superficial level, producing a hard, clangourous tone. Her
mechanical technique was akin to a speed typist as she whizzed up and
down the keyboard. There was something very disturbing about her soulless,
hard toned playing; all the notes were there but some-how she was absent:
there was no gradation, no idea of contour, no drama. Indeed, there
was no interpretation, no performance. What saved this touch-typing
travesty from complete oblivion was the very fine accompaniment from
the HKPO and Wong, who evoked the darkness and pathos so lacking in
Heung’s heavy and hollow playing.
John Chen’s original version of
Dragon Wings was composed for the father-son team, Lung Heung-Wing
and Mark Lung, for the opening of the 2000 Vancouver Festival. Originally
composed for percussion and string orchestra the version performed here
was for full orchestra. Dressed in matching braces and bow ties, father
and son performed this decidedly camp work with great panache and humour,
performing their hand and stick-drumming duo as a ritualistic war-dance
like dialogue.
Under Wong’s precisely paced direction,
Dvorak 6th Symphony was not interpreted as a superficial
showpiece but as an unfolding musical argument. The conductor clearly
grasped the structure, dynamics and drama of this great symphony. Wong
got sound of great depth and weight from the HKPO, notably in the first
movement where ‘cellos and double basses played with great gusto, with
the conductor constantly cueing them.
The Adagio was a very moving
experience, with Wong eliciting playing of great passion, notably from
the sonorous horns and wonderful flute solos (Linda Stuckey). In the
Scherzo (Furiant), timpanist James Boznos got the complex cross-rhythms
spot on, while Wong conjured up incredible woodwind detailing not often
heard clearly in this manic movement. In the Finale the conductor
really demonstrated the momentum, the energy, the drive and drama of
what, for me, was one of the most satisfying performances of this under-performed
symphony. By way of an encore, Wong treated us to a Brahms Hungarian
Dance, which received rapturous applause.
The HKPO is a world class orchestra,
sounding far more musical and individual than most of the big streamlined,
and homogenised, American symphony orchestras; indeed, their dark, warm
sonorous tone sounded more akin to the Concertgebouw Orchestra – and
I can think of no finer complement.
Samuel Wong showed himself to be
a first rate conductor and it was his authoritative and charismatic
direction that made this evening a very special occasion.
Alex Russell
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