The final concert given by the Malta Philharmonic Orchestra at the Manoel Theatre demonstrated the romantic side of the orchestra. Two iconic works of the romantic period were performed.
Dvořàk’s Cello Concerto was performed by the acclaimed Italian cellist Enrico Dindo, one of the great virtuosos of this genre.
Dindo was for many years the principal cellist of the orchestra of La Scala, Milan, now a celebrated conductor, soloist and teacher.
The orchestra, under the direction of the Greek-born conductor, Michalis Economou, supported the soloist outstandingly, maintaining an intimate interaction between them.
The concerto starts with a long orchestral opening which introduces the main themes of the movement. This builds up a tension prior to the entry of the cello. It was not only possible to hear this build-up of tension but it could be seen physically in the soloist; this was then transferred to the opening notes on the cello with, what seemed, spontaneous gusto.
The performer and instrument acted as one, conveying the emotions of the music to the audience. The interpretation was one of passion and emotion transmitted though the use of the whole range of tone colours of the instrument.
These simple melodies were performed with emotional power
The music contains many attractive melodies in which the soloist and orchestra displayed bravura and sensitivity. These simple melodies were performed with emotional power and, at times, providing ‘spine-chilling’ moments.
The slow second movement, which Dvořàk wrote while his sister-in-law lay dying, has a gentle, melancholic mood. Dindo performed this with a sensitive and sincere reading.
Dindo’s 1717 Rogeri cello produced a deep sonorous tone but had a lightness of touch in the more passionate passages.
The performance was one of sensitivity, combining a sense of power and emotion.
Although this is one of the most popular and most played cello concertos, Dindo’s interpretation gave new breath and fresh air to the work, drawing out the passion and emotion in a sensitive manner.
Following a well-deserved ovation Dindo enthralled the audience with a rendering of a Bach Allemande from one of the solo suites.
Following the interval the MPO performed one of the period’s great works: Brahms’ Symphony No.2.
The work is written in a pastoral mood, often compared with Beethoven’s Sixth Symphony (Pastoral). The main theme depicts an arcadian scene.
The first movement begins with three notes in the cellos and basses that constitute a motto theme heard repeatedly throughout the work. There follows a pastoral second theme introduced by the horns and completed by the woodwinds. These two themes and a gentle third theme are then extended and developed at length throughout the movement. A tranquil coda features an extraordinarily expressive solo for the horn and a restatement of the opening theme.
The second movement develops some darker moments performed with solemnity with the utilisation of tuba and trombones. The second movement also makes use of three principal themes. The first two are heard simultaneously – one descends in the cellos, while the other ascends in the bassoons. The remaining theme, syncopated and scored for the woodwinds, is lighter in style and character.
The third movement was in the form of an intermezzo. Here the first theme is presented by the oboe with pizzicato accompaniment. Two trios follow, separated by a restatement of the principal theme.
The final movement begins with a quiet transparent melody in the strings. After repetitions in the woodwinds, a triumphant setting of the theme for the full orchestra dominates the texture to the end. The work reaches a climax in a fortissimo chord played by the trombones.
The work was performed with a buoyancy and liveliness at a pace that was perfect for each of the moods conveyed.
Brahms commented to his publisher that this work was “...so melancholy... I have never written anything so sad”. Despite this, the Symphony No. 2 in D major is one of the most cheerful of Brahms’ mature works. Its bucolic nature may be due to the fact that it was composed during Brahms’ summer holiday in 1877 while living on the shores of a beautiful Austrian lake.