Japanese conductor Hide Shindori has made a big impact on the classical music scene in Bangkok in his half-dozen or so appearances with the Royal Bangkok Symphony Orchestra in recent seasons. His positive relationship with the entire ensemble of instrumentalists was developed even further at the Thailand Cultural Centre earlier this month, with a captivating evening of excellent music-making entitled "RBSO Classical Concert No.4".
It is customary in this particular series to showcase one of the RBSO's own core members, and this evening it was the turn of long-serving flute/piccolo player Kalaya Phongsathorn to take centre stage (in an otherwise totally string-orchestra programme) in Vivaldi's sparkling Piccolo Concerto In C Major. Since 2011, audiences here have become very accustomed to her most tasteful musicianship and attractive tone.
For example, one can recall very clearly her exquisite solo flute contribution in Bizet's L'Arlesienne as long ago as 2014. In the outer movements of the Vivaldi piccolo concerto, however, sheer technical wizardry was the order of the day. After a sprightly orchestral introduction Kalaya entered with a dazzling opening statement of a rapid, filigree nature. Neat harpsichord playing provided a secure foundation of simple harmonic structure, atop which the RBSO and soloist alternated in a charming conversational manner. C major can be the brightest of all keys, and the 1st violins especially seemed to be in friendly competition with the piccolo here, almost as if to see who could project the purest tone. The playful and often carefree character of Vivaldi is, of course, always matched by the absolute need for focused attention on the accuracy of detail in his crystalline material. The continuo combination of solo cellist and harpsichordist did extremely well in this department.
The elegiac slow Largo then cast a spell with hypnotising harmonic progressions. Long-held notes in all voices created an emotional web of suspensions and resolutions which evoke so powerfully the intoxicating atmosphere of Vivaldi's home city of Venice. Out of this sublime calm then came the Allegro molto finale, once again revealing the extent of Kalaya's virtuosic facility. The acrobatic challenges increased steadily right through the movement, culminating in swirls of scale/arpeggio bravura which crowned a truly remarkable performance.
Villa-Lobos' Bachianas Brasileiras No.9 had started the concert in starkly contrasting, South American style. Its breathtaking fusion of Brazilian nightclub swagger and the formality of J.S. Bach's fugal language was interpreted with complete conviction and commitment by Shindori, who had obviously responded to the multinational-cultural aspect of the programme by dressing in an instantly eye-catching, intriguing costume. Certainly not the regular "penguin suit" we normally associate with maestros, it added beautifully to the sense of drama that is central to his persona and balletic presence on the podium.
Vaughan Williams' Fantasia On A Theme by Thomas Tallis rounded off the first half by transporting us all the way to pastoral England, and more specifically the echoey expanse of Gloucester Cathedral, where this masterwork was premiered just over a century ago. In the dry acoustic of the Small Hall of the TCC, it is impossible to re-create completely the composer's original vision, with the antiphonal second orchestra in this instance sat right in the middle of the main ensemble. It was nonetheless a powerfully delivered account, with a cool-headed contribution from Sarawut Phalacheewa in the completely exposed viola solo. A generally impressive sheen across the entire string section certainly did ample justice to the score, with the audience rewarding the players at the end with enthusiastic applause.
Following the interval, the impressive RBSO string section then took us to Germany for a repertoire which is notoriously difficult to pull off. When the genius Mendelssohn wrote his String Symphony No.11 In F Major aged only 14, one has to wonder whether he really appreciated just how difficult the violin writing in particular can be for the average tutti player. The extended length of this five-movement work adds to the skill-set required in terms of stamina, but the players genuinely gave their all in a competent rendition, which was once again directed with passion and gusto by Shindori.
A Turkish Percussion section of timpani/triangle/cymbals made a brief and colourful appearance in the second movement, while the lovely Adagio featured some commendable moments worthy of a fine chamber orchestra. The violas are split into two distinct sections for the entire piece, and, on the whole, play a very prominent role in the orchestration. There was plenty of opportunity here for them to emerge from the texture, and they clearly relished their fleeting moments in the spotlight. Perhaps because the violas also featured in the Villa-Lobos and Vaughan-Williams earlier, Shindori made a special point of bringing them to their feet at the end for special acknowledgment.
'RBSO Classical Concert No.4'. RBSO
