Another critique of sorts
It almost seemed a little odd. With his beetle-back to us, Matthias Bamert threw his arms this way and that, using his fingers in grabbing motions to clutch the sound out of the first violins with his left hand as his right poked the violas with his baton, and his head dipped in exaggerated actions to the woodwind. He turned this side and that, and played the orchestra as though it was an instrument all of his own. Brahms First Symphony was being extracted perfectly with all the diligence of a master who knew his music without need for the book. But what was that about the tempo?
The tempo… it was just perfect too, but there was something funny going on. The baton moved… and then the note was played. We caught it every time… the little part-second lag, like a syncopated dance, a little secret shared between conductor and conducted. But what a performance! Brahms was certainly a genius, as the Schumanns had proclaimed, and our own national orchestra did him justice on the night.
And then there was Chopin. It was a good night for tempo, Chopin with his characteristic way of stringing his innovations together by slowing down or speeding up the right hand while the left hand accompaniment stayed constant. Ever since I managed the Minute Waltz in nearly 60 seconds flat (although I might have missed a bar or two) I have loved Chopin with his chromatic scales and fancy frilly bits. Joseph Kalichstein is an absolute master on the keys, a pianist of huge talent and versatility. What’s more, he smiles as he plays. He enjoys his work, a happy seeming soul.
The elderly lady sitting just along from me, whose name I still don’t know although it doesn’t really matter, the same one who another night declared the oboe player to be so dishy, was delighted when she could claim the pianist as her own. “Oh, he is Israeli just like me!” she announced. “And brilliant too!” I teased her back. She gave a little choke on some sudden modesty.
Hubby wasn’t quite so sure… about Chopin, that is. He couldn’t quite figure where Chopin’s No 1 was going. “But that’s easy,” I explained. “When he’s right up the treble clef, there is only one other way, and that is right down to the bass clef. Likewise, when he is right down the bass clef…” Hubby catching on quickly figured the rest, “…he canters right up to the treble clef!” Well, more or less so, in rather general terms. A layman’s description of course.
Next time I might just have to take a needle and thread with me, though. The concertmaster, as gorgeous as he is, still has not stitched up the lower hem of his trousers. I know these things, sitting right up the front in the cheapy-cheap seats.
And dare I mention the brief introductory modern piece? Although the whole orchestra appeared to be playing, what I think really had happened was that some rogue had tossed a handful of lighted fire crackers into a revolving oil drum attended by a dance party of myoclonic clarinets. But I did like little parts of it. It certainly was lively, I’ll give it that. The Israeli lady would give it nothing, and nor did hubby. I don’t think either of them liked being s-t-r-e-t-c-h-e-d.








