Date: February 20 & 21, 2014
Location: Hong Kong Cultural Centre, Hong Kong.
Scottish Chamber Orchestra
Robin Ticciati, conductor
Maria João Pires, piano
In two concerts during the Arts Festival, the Hong Kong audience had a chance to hear Lisboeta pianist Maria João Pires play two concertos with the Scottish Chamber Orchestra: Schumann (Op. 54), and Chopin No. 2 (Op. 21). In the first concert, Pires committed herself with measured eloquence, and showed no signs of impatience in unveiling Schumann’s melodic fabric in a slow but sure fashion. In both opening and final movements, her playing infused an aura of nobility and grandeur in the concert hall, though at times her generous pedal work obscured some fine details, especially in those book-ending movements. In the second concert, Chopin’s tricky fingering did not faze the 69-year-old pianist, who delighted with a sympathetic, almost cerebral insight to the piece. Pires’ articulation, unruffled and full of small details and ideas, would easily earn the composer’s approval. That said, Pires seemed just short of providing a requisite level of emotive fervor and broad dynamic range demanded by the piece, especially in the all-hell-breaks-loose Allegro vivace movement. On balance, Pires remains a world-class pianist despite her age, but the choice of the Chopin was less than desirable. Perhaps the Hong Kong audience would be better served with the sort of Schubert and Brahms chamber works – well featured in Pires’ recent recordings with DG – that are more appropriate at this stage in her career. Also programmed in the two concerts were two symphonies: Schumann No. 2 and Beethoven No. 5. The chamber group as a whole was careful with detailing. The first bassoon could have been less dynamically protruding, especially during the Beethoven, but overall the musicians did fine under Robin Ticciati’s animated conducting. The Glyndebourne director-designate’s arm movements, vivid with broad motions, were exciting and fun to watch. The baroque horns (in the Beethoven) had a few dirty moments, but when the archaic instruments were in control, they gave the sort of regal spaciousness and metallic splendor that regular French horns could not easily reproduce.