Review | Violinist Midori shines in Bernstein’s Serenade with Tongyeong Festival Orchestra under Christoph Eschenbach
Japanese soloist’s technical prowess and sweet tone were in full evidence in American’s composition about Platonic love, and orchestra and conductor excelled in Korean ‘sound composition’ and Dvorák’s ‘New World’ symphony
Leonard Bernstein’s Serenade proved the ideal vehicle for Japanese violinist Midori to demonstrate her technical prowess and wonderful purity of sound in this concert with the Tongyeong Festival Orchestra. The 1954 work, although scored for violin, strings, harp and various percussion instruments, is justifiably considered a violin concerto.
The Osaka-born Midori’s sweet tone and rhythmic precision were fully evident in Phaedrus; Pausanias (Lento; Allegro marcato), the first movement of Bernstein’s work inspired by Platonic dialogues about the nature of love.
Conductor Christoph Eschenbach on his inspirations, and how good Hong Kong Phil is, ahead of concert
There was playfulness aplenty from both soloist and orchestra – an international ensemble that includes 25 members from the Hong Kong Sinfonietta – in Aristophanes (Allegretto) and the third movement, Eryximachus (Presto), depicting a hot-headed doctor, which was brilliant in its virtuosity.
The most moving “dialogue” was undoubtedly found in Agathon (Adagio) where Midori’s transcendental solo playing oozed warmth and focus. Typical of Bernstein, the jazz-inspired Socrates; Alcibiade (Molto tenuto; Allegro molto vivace) was infectious.
Rapturous applause drew an encore from Midori – a movement from Bach’s delightful solo Partita in E major.
The concert began with South Korean composer Isang Yun’s Bara, a symphonic work and “sound composition” dating from 1960 and inspired by the Korean cymbal used in a Buddhist ceremony. It employs a wide palette of techniques – glissandi, string pizzicati, portamento, tremolo – and a vast array of ornamentation, and is described by the composer as “little brush strokes from individual instruments [that] make up a whole painting”.
