EIF: KBS Symphony Orchestra
Usher Hall - 11/08/23
Korean Broadcasting System Symphony Orchestra - Pietari Inkinen, conductor | Jaemin Han, cello
The Usher Hall on the night of Friday 11th August played host to South Korea’s broadcaster’s KBS Symphony Orchestra, under their recently-appointed Finnish conductor Pietari Inkinen, in a programme of just two late Romantic works: Dvořák’s glorious 1895 Cello Concerto with 17-year old award-winning Korean cellist Jaemin Han, and Tchaikovsky’s fatalistic impassioned Fifth Symphony. To the eye, it is an impressively large orchestra with 8 desks each of the two violin lines and 8 double basses; it is also a youthful one. Though united under the epithet ‘late Romantic’, the two works were as chalk and cheese in performance.
Initial fears for the dynamic balance were quickly dispelled as Maestro Inkinen controlled it well and the Usher Hall’s celebrated acoustic contributed its unique magic. The orchestral introduction set the B-minor mood well with nice pace and a satisfying ensemble sound. The solo entry was confident and characterful, though I felt the instrument had a grainy, nasal tone which somewhat curtailed the Romantic lyricism I prefer in the Dvořák. Nonetheless, the solo line was virtuosic and characterful. However, I have reservations about the orchestral music-making as it unfolded. Yes, it was, for the most part, technically competent ‘accompaniment’. But Dvořák’s genius affords multiple opportunities for dialogue between the solo instrument and the instruments of the orchestra, notably with solo winds. These passed by unmarked by any mutually responsive phrasing; Dvořák’s generosity was left unacknowledged. Indeed, at times I was left wondering whether the orchestral musicians, in particular the principal clarinet, were listening to each other, let alone the soloist. Perhaps they were under-rehearsed and anxious? This marred the first movement in particular. A slightly early bassoon entry at the beginning of the slow movement did no damage to the serenity of the introduction and there were some elements of lyricism, though not much exploitation of the opportunities for chamber music that the great orchestras relish. The brass chorale minor-key interruption heralding to the central section was excellent, though the subsequent dialogue between clarinets and solo cello was disappointingly sloppy. The horns restored the major key serenity of the first theme very beautifully and the rest of the movement was fine. The finale launched attacca and was mostly free of the issues that had plagued the earlier movements. The wistful, nostalgic episodes were particularly lovely, as was the brass chorale that heralds the closing pages. A dialogue between the solo cello and concert-master was delicious. Almost enough to forget the earlier issues.
During the interval, I wondered whether the orchestra is attuned to Romantic repertoire and feared for the Tchaikovsky. I need not have done so. As I have remarked, chalk and cheese. Not that there were no peculiarities. It is the first time I have heard Tchaikovsky’s Fifth Symphony performed with quadruple winds. And there was quite a bit of sentimental wallowing. But this is Tchaikovsky, who wears his heart on his sleeve, and in my book, that’s to be allowed, if not encouraged. They produced a magnificent sound, full of expressive and dynamic contrasts, catching the self-pity of the recurring Fate motif perfectly, as well as the short-lived stoicism, the heartbreak of unrequited passion in the slow movement, the vain attempts at self-care in the waltz of the third movement, and the self-mockery of the supercharged finale. This was not a reading that would be everybody’s cup of tea, but I’m a fan. So, it would seem, was the packed Usher Hall.
I confess to being 100% ignorant of the music of Ari Raine and mention her only because the encore was an orchestral arrangement of one of her songs. Nice enough, I suppose.
Cover photo: Andrew Perry