Orchestra of the Music Makers: Tchaikovsky's Fourth

TCHAIKOVKSY’S FOURTH

ORCHESTRA OF THE MUSIC MAKERS

SCHOOL OF THE ARTS CONCERT HALL

15 JUNE 2013

An edited version of this review was published in The Straits Times on 17th June 2013 under the title "Youth and inexperience"

The Orchestra Of The Music Makers' meteoric rise in less than 5 years of existence has been well-documented. While phenomenal performances of repertoire that cripples even seasoned orchestras have enhanced its stature, they have also disguised the fact that a large number of its members are still in their teens.

However, the downside of being a young orchestra relying on young players is that the level consistency that comes with experience is missing. This concert led by Principal Guest Conductor Christopher Adey was ample proof of that, with highs and lows in equal abundance. While the orchestra has made its name with the music of Mahler and Rachmaninoff, it was venturing into relatively unchartered waters attempting Mozart's Symphony No. 40 in G minor.

The strings, often the pillar of Singaporean orchestras, were surprisingly muted and the unorthodox seating arrangement of having the woodwind section in the front row did not help. Basking in the limelight for a change, there were some exquisitely captivating playing from the bassoons and clarinets which was a welcomed distraction from the woefully out-of-sorts French horns. The pedantic pace of the first movement marked Molto Allegro (very quick) was puzzling and it made the two-note slurs, a staple of classical works, sound rather heavy and deliberate.

Grace and tranquillity was the order of the day in the middle two movements, although some rhythmic confusion in the Minuet third movement resulted in a pulse that plodded along. The orchestra’s youth and inexperience was most pronounced in the finale, where its propensity to push ahead in passages of staccato (detached) or semiquaver notes made it a messy affair.

Buoyed by a full-sized orchestra for the second half, their confidence returned. Or perhaps it was the familiarity of repertoire they were more at home with, but the performance of Tchaikovsky’s Symphony No. 4 was one more in line with their reputed abilities.

The opening brass fanfare was powerful in precision and execution, with the trombones and trumpets in particularly offering up a remarkable showing that would make any professional orchestra proud. The strings finally shed their inhibition and let loose, especially in the fortissimo sections which shook the hall from its foundations. The tricky third movement, played almost entirely pizzicato (plucking on strings) by the strings, was a show of masterful ensemble-work and direction from Maestro Adey. With crescendos sweeping seamlessly across the sections, it was an absolute gem to witness.

The finale offered up the chance for the orchestra to exult in Tchaikovsky’s over-the-top writing and orchestration and they did not disappoint, even though the reprisal of the first movement opening theme could have used a little more sarcasm for its satirical effect.

Credit has to be given to the unsung heroes of the orchestra, in particular the impressive principal cellist Loh Hsiao Shan, who gave a masterclass in sectional leadership and whose confidence and seasoned performance belies the fact that she is still only a student at the School of The Arts.

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