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Straits Times

Concert review: SSO scales majestic An Alpine Symphony, soars with Korngold Violin Concerto

An Alpine Symphony In Images + Korngold Violin Concerto Singapore Symphony Orchestra Esplanade Concert Hall July 18, 7.30pm The Singapore Symphony Orchestra (SSO) performing music with the accompaniment of projected visuals is not something novel. Back in 2010, the orchestra under Shui Lan's direction played Claude Debussy's La Mer (The Sea) against stunning imagery of marine life provided by SSO first violinist William Tan, who is well-known as a diving photographer. Romantic German composer Richard Strauss' tone poem Eine Alpensinfonie or An Alpine Symphony (1915), at almost 50 minutes, is double the length of Debussy. Sometimes criticised for bombast and self-indulgence, the work has weathered well in concerts and on record. Now add some 400 photographic stills on-screen by German photographer and film-maker Tobias Melle, himself a professional cellist, and the overall experienced is enhanced. A resident of Munich, his views of the Bavarian Alps near Berchtesgaden, heard alongside music director Hans Graf's taut direction of the orchestra, made for a visual and aural spectacle. The hall was cloaked in darkness for the opening of this dawn-to-dusk experience in the mountains. The moon, sunlight creeping over the crags and panoramic vistas defined the transition from Night to Sunrise. This early climax matched Strauss' ambition, if not quite as memorable as the corresponding sequence in his earlier Also Sprach Zarathustra. The music follows a group of mountaineers from their ascent, through the terrain of woods, waterfalls, meadows (with cows aplenty) and glaciers, encountering risks and doubts before reaching the summit for the work's biggest climax. If there were a composer who could vividly illustrate all this musically, Strauss was the man. The subsequent thunderstorm, safe descent and sunset with a return to darkness was no less enthralling. The orchestra responded magnificently, with special mention going to the brass, for its overtime efforts both onstage and offstage. Top stories Swipe. Select. Stay informed. Singapore A deadly cocktail: Easy access, lax attitudes driving Kpod scourge in S'pore Singapore 'I thought it was an April Fool's joke': Teen addicted to Kpods on news that friend died Asia Cool photo spots, viral food videos: Malaysia plans to woo Chinese tourists via social media Asia From propaganda to passion: N. Korean TV show mimics K-drama to fend off banned media from the South Singapore New auto pet wash service in Buona Vista draws flak, but firm stands by its safety Singapore 314 suicides reported in Singapore in 2024, remains leading cause of youth deaths Asia 'Guardian angels': Taiwan's dementia-friendly village promotes ageing in place Life US tech firm launches probe into Coldplay 'kiss cam' couple after clip goes viral The concert's cinematic arc began much earlier with Austrian composer Erich Wolfgang Korngold's Violin Concerto (1947) which began SSO's season opener. One of the most popular 20th-century violin concertos, it was famously premiered by great Lithuania-born virtuoso Jascha Heifetz with music drawn from four of Korngold's Hollywood movie scores. Violinist Daniel Lozakovich (left) performing the Korngold Violin Concerto with the Singapore Symphony Orchestra. PHOTO: CHRIS P. LIM It did not matter whether these films - Another Dawn (1937), Juarez (1939), Anthony Adverse (1936) and The Prince And The Pauper (1937) – have more or less been forgotten, as the music lives on in this masterpiece. The sumptuous melodies and lush scoring through its three movements was well realised by the orchestra and young Swedish violinist Daniel Lozakovich. His is not a fire-breathing virtuosity which gets in your face, but one more intimate and subtle. As such, there were moments in the first and third movements where he risked being overwhelmed, despite the restrained accompaniment kept on a tight leash. There were no worries, however, in the slow movement's Romance, where his refined and sweet tone clearly shone through. As if to make up for an earlier reticence, his generous and no-holds-barred encore of Johann Sebastian Bach's Fugue from the unaccompanied Violin Sonata No.1 in G minor (BWV.1001) showed where his sympathies truly lay.