The New York Philharmonic marked the occasion of American Independence Day with a captivating concert at the Hong Kong Cultural Centre. With a long-standing reputation as one of the world’s finest and oldest orchestras (founded in 1842), their performance was nothing short of a musical spectacle.
Star violinist Hilary Hahn delivered a masterclass performance, mesmerizing the audience with her highly polished rendition of Brahms’ Violin Concerto. The New York Philharmonic’s Music Director Jaap van Zweden, who is also the current conductor of the Hong Kong Philharmonic, skillfully guided the orchestra. The concert’s second half presented an electrifying interpretation of Tchaikovsky’s Symphony No. 6, the “Pathétique”, which resonated with raw emotion and audacious dynamism.
From the moment the orchestra played the first notes of the introduction to Brahms’ Violin Concerto in D, their exceptional control and meticulous articulation were abundantly clear. The earthy and polished tone of Hahn’s performance dovetailed perfectly with the orchestra, forming an exceptional collaboration that was both technically superb and emotionally compelling.
Hahn’s interpretation of the first movement, Allegro non troppo, was unhurried and profoundly expressive, skillfully weaving her violin’s voice through the orchestral textures. Her technical skills were showcased in her delivery of the concerto’s intricate double stops, maintaining balance and depth during both the high-energy and calmer passages.
Hahn chose the most well-known version of the solo cadenza, written by renowned violinist Joseph Joachim. Joachim not only debuted the concerto in 1879 but also provided significant input to Brahms during its composition. The expressive and reflective quality of her 1685 Jean-Baptiste Vuillaume violin was evident in her performance.
The principal oboist, Liang Wang, also delivered a strikingly robust interpretation of the opening theme in the Adagio. This formed an intriguing counterpoint to Hahn’s playing, culminating in a sensuous duet. The enchanting Adagio was gorgeously executed, although some may have wished for a slightly more ethereal quality to Hahn’s tone.
The audience responded enthusiastically to the energetic finale, reveling in the shared joy between conductor and soloist. If left to the audience’s devices, Hahn would have had to return for a multitude of encores. The additional pieces, one from Bach’s Violin Partita No. 2 and Steven Banks’ Through My Mother’s Eyes, were both heartfelt and poignant.
Post intermission, the concert continued with a passionate rendition of Tchaikovsky’s “Pathétique”. Led by Van Zweden, the orchestra masterfully captured the symphony’s emotional depth. They transitioned from whimsical and light sequences to intense surges of pathos with absolute finesse. The concert concluded with Tchaikovsky’s final symphonic movement – a lament filled with sorrow and acceptance that, under the expertise of the New York Philharmonic, was a profound testament to the power of music.
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