Seoul Philharmonic
Orpheum Theatre
Sunday night
VANCOUVER — Conductor Myung-Whun Chung and the Seoul Philharmonic launched a West Coast tour Sunday evening at the Orpheum, a gratifying demonstration of an orchestra to be reckoned with.
The concert began with a delicate, finely nuanced performance of Ravel’s Ma Mere l’Oye. Here Chung proved himself a knowing and sensitive interpreter of the sophisticated French orchestral idiom. Conducting a slightly reduced orchestra with economical, understated elegance, Chung conjured up an exquisite performance of this marvel of the early 20th century. His players were flexible and responsive to Chung’s every indication, precise and yet full of character. It would be hard to determine whether near perfect wind blend or subtle string effects played the greater role in the success of French music delivered in the best style, with polish and authority.
Tchaikovsky’s Pathetique Symphony, the main work of the evening, was given a taut and carefully conceived reading, with an impassioned, intense interpretation of the Adagio lamentoso finale. The SPO is a rather big band, and extremely well disciplined playing combined with Chung’s emotional intensity brought out the darkness of Tchaikovsky’s string writing.
In the program’s first half Chung shone a welcome spotlight on contemporary composer Unsuk Chin and her Su, a concerto for Chinese sheng and very large orchestra. Conceived especially for sheng virtuoso Wu Wei, Su is a cracking good piece combining old-school concerto rhetoric with a kaleidoscope of brilliant contemporary orchestral effects. Here is a new work of fierce integrity and real purpose, without the slightest hint of coy east/west sentimentality. Wu Wei is a charismatic master of his ancient instrument and able to hold his own in any context; composer Chin has created a marvellous showcase for his astonishing talent and his beguiling instrument.
Special to the Sun