Tuesday, January 27, 2015

Ravishing Ravel of Dechosa and Petrushka’s abrupt ending

Pianist Ariel Dechosa and conductor Olivier Ochanine

Featuring:
Ariel Dechosa, piano
Olivier Ochanine, conductor

Programme:
Franz Joseph Haydn
     Symphony No. 100 in G major, Hob. 1/100 Military
Maurice Ravel
     Piano Concerto in G
Igor Stravinsky
     Petrouchka

The Philippine Philharmonic Orchestra greeted the year 2015 with a concert that featured a ravishing Ravel by pianist Ariel Dechosa and a Petrushka that ended rather abruptly. With the concert staged at the Meralco Theater once again due to the Cultural Center of the Philippinesbeing home to yet another touring musical for the most of January, I had no choice but to endure the horror of traveling along EDSA. But after the Christmas break and the papal visit, it was really nice to be back at the symphony.

The concert opener, Franz Joseph Haydn’s Symphony No. 100 in G major, Hob. 1/100 Military, had a rather tentative start by the orchestra led by music director and principal conductor Olivier Ochanine. I guess that it’s harder to begin a quiet, soft and unassuming introduction than a loud, strong phrase like that of Beethoven’s Fifth. Thankfully, everything went smooth sailing once the winds kicked in at the Allegro. One of the most interesting aspects of this symphony was the use of “Turkish” instruments namely the bass drum, cymbals and triangle at the second and fourth movements. While I was watching, I couldn’t help but be amused upon remembering that this caused quite a sensation back then when it is nothing out of the ordinary right now.

Oddly, Ariel Dechosa’s take on Maurice Ravel’s Piano Concerto in G also had an incoherent start by the orchestra. The whip/slapstick that should’ve jolted an unprepared member of the audience sounded so distant as if the percussion section were offstage. And in yet another head scratching moment for me, the Dechosa on the piano overpowered the orchestra which is usually the other way around especially at performances at the CCP Main Theater. But I wasn’t complaining since I no longer had to struggle trying to hear the piano parts which were played magnificently especially during the dreamy second movement. I wish that this reverie would never end but Ravel decided to bring us back to the frenzy of the first movement in the all too brief closing section of the piece. Dechosa impressed the audience with such an energetic finish that he continued on with his encore of George Gershwin’s Prelude No. 1 in B flat major.



The second half of the concert was devoted to Igor Stravinsky’s Petrushka, which was a nice contrast to the Haydn opener. Familiarity with the ballet from which this music was from benefited me greatly while listening to the orchestra. As they went on from each tableau, I had no trouble imagining the story of Petrushka unfold and couldn’t help but feel torn since I’m not sure whether to root or feel sorry for the puppet. As the orchestra neared the part where Petrushka dies at the hands of the Moor, his rival for the ballerina’s affections, the orchestra suddenly stopped. Then, there was a stray applause. But Olivier relaxed, releasing the tension in his shoulders, which is a sign that the piece has ended. I could only join the applause in confusion, checking the souvenir program once again confirming that the omission of the final parts of Petrushka wasn’t a misprint. The abrupt end definitely rattled me as my favorite moment, the mocking trumpet dialogue in the keys of C and F# during apparition of Petrushka followed by quiet pizzicato notes to end the piece wasn’t played at all.

RAd with Ariel Dechosa and Olivier Ochanine

I couldn’t recall being bothered like this at a concert. The omission left an itchy feeling that I desperately needed to scratch. And to get this off me, I had to play the omitted parts from a recording that I have as soon as I got home.

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