That's why I can't understand why the Cultural Centre concert hall was just half-full earlier this month when he and his Kremerata Baltica gave a concert there.
Even the programme itself (apart from contemporary composer Šerkšnytė, whose name I have to use "copy and paste" function to put it correctly-spelt here) is not that scary or off-putting.
For example, minimalism devotee Arvo Part composed many easy-listening music which are chosen for many films as atmospheric background music, and his Fratres is perhaps one of his most popular and well-known piece that has many versions for different instruments and various ensembles. Its chant-like sacred melody on repetitive chord progressions may sound deceptively easy to play, however, the introductory segment with the rapid series of notes of the "dissected" chords played steadily by solo violin in gradual crescendo might already impose great technical challenge to any well-established violinist, not to mention some very high notes played by overtones and many multiple stops that need to be tackled later on. Besides the solo part, the sustain, the tone colour and dynamics of the Strings are also demanding as well, which need the utmost concentration from the members. However, the technical aspects aside, if played well and appropriately, this music is highly enjoyable and dauntingly beautiful, like what I experienced that evening.
The Fratres led perfectly into the next piece, the Midsummer Song by the relatively unknown contemporary composer I mentioned above. Though very new to me, the music was mostly atmospheric and was quite descriptive of the changes within the day of Summer Solace. It used various special techniques to create many sound effects on the strings, and members seem to be playing individually and separately most of the time to generate these effects. Without Kremer leading in this piece, this young ensemble proved its status and worth in interpreting new compositions. Overall, a very solid and absorbing ensemble playing there.
However, when Kremer returned as the soloist in Schubert's Rondo, it seemed like a bit of a let-down after those 2 contemporary pieces. Not that they played badly (in fact, without a conductor, Kremer and the ensemble had no difficulty at all in going in sync even at every tempo changes), but their playing might sound a bit too intense for Schubert's style. Also, it seemed to me that Kremer was doing sight-reading and almost playing "impromptu" in this one. So a minor flaw along the way was forgivable, I guess.......
Luckily, the highlight came after the intermission when they played the Tango music by Piazzolla. The whole audience was aroused and I even heard some "beats" and "motions" generated behind me in the third movement of this Suite. The energy of the ensemble was palpable and their music was infectious. The solo percussionist was having great fun himself there alongside Kremer and it showed in the music they generated.
Finally, and interestingly, they brought us the most famous and formal piece of music in the whole evening - Serenada Notturna by Mozart. Scored similar to a concerto grosso between the strings and a quartet of 2 violins, a viola and a double bass (where Kremer adopted the position of second violin supporting the first violin played by ensemble's concertmaster), they played this piece incredibly well and suitably Mozartian until the final Rondo movement where the quartet members improvised in the style of Jazz propagated by the plucking of double bass, or at one instant even a fragment of Tchaikovsky's concerto by the menacing Kremer! Not a traditional classical concert but definitely a great fun overall, as exemplified by the encore pieces including an extremely beautifully played Oblivion by Piazzolla, followed by the interesting excerpts of Heidrich's Happy Birthday variations......
13 November 2009 (Fri) 8pm
Concert Hall, Hong Kong Cultural Centre
Programme
Pärt- Fratres for Violin, Strings and Percussion
Šerkšnytė- Midsummer Song for Strings (commissioned work for Kremerata Baltica, 2009)
Schubert- Rondo for Violin and Strings
Piazzolla- Suite Punta del Este
Mozart- Serenata Notturna, K239
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