Under the Royal Patronage of Her Royal Highness Princess Sirivannavari Nariratana Rajakanya, the Royal Bangkok Symphony Orchestra (RBSO) presented two masterpieces of the Romantic repertoire recently at Chulalongkorn University Auditorium.
Conducted by Vanich Potavanich, a capacity audience filled this historic hall for a resoundingly successful programme of Tchaikovsky's Piano Concerto No.1 In B-Flat Minor and Rachmaninoff's Symphony No.2 In E Minor.
Special appreciation must be expressed to Chulalongkorn University and B.Grimm for their assistance in making this a memorable event.
Thai pianist Jayanat Wisaijorn was the star attraction, and once again proved himself to be amply equipped to chart a fully satisfying journey through Tchaikovsky's ultimate warhorse of a concerto. His imposing stage-presence, powers of projection, and artistic confidence were much in evidence.
The orchestra played their role well throughout, that iconic horn opening ushering in the full tutti followed by those epic piano chords. These modulate swiftly for the impassioned first theme, displaying the RBSO's vibrant, huge string section. Its lush tone filled every inch of the auditorium with a delicious sonic sheen, just one of many such melodic outbursts in both the concerto and the symphony.
Notably, that monumental melody only has the function of introductory material, not appearing again as the lengthy movement's trajectory unfolds. The opus is somewhat unconventional in other respects too, and Tchaikovsky's undisputed masterpiece was famously ridiculed by Nikolai Rubenstein when he first heard it at a private soirée in 1874.
However, the initial incomprehension of his Moscow Conservatory colleague did of course undergo a 180-degree turn following the successful early public performances.
It was the sheer technical demands which so unnerved early detractors, until the musical community realised that late-Romantic period virtuosos could in fact rise to new challenges.
And Jayanat Wisaijorn himself certainly did that, reflecting the words of his own mentor and teacher Emile Naoumoff, who has written of his protégé: "From the utmost whisper and sigh to the vibrantly generous roar of temperamental resonant waves, Jayanat's evocative palette of sound shades is as subtle as seemingly infinite."
Maestro Vanich has precisely the right temperament for Rachmaninoff's second symphony, and the hushed opening of the symphony instantly cast an intense atmosphere, then building to a texture of almost Wagnerian weight.
The ensuing Allegro moderato, initiated by delicate zephyr-like murmurings in the violas, then featured some tastefully executed violin rubato in the principal theme, setting the stage for alternating episodes of turbulent, epic climax, juxtaposed with passages of sublime calm.
An Allegro molto scherzo movement reveals Rachmaninoff at his most playful, and the RBSO captured nicely the glittering nature of his colourful orchestrations, whilst the infamously knotty central fugato only suffered a little rhythmic instability.
Perhaps Rachmaninoff's most beloved slow movement, the Adagio featured an exquisite clarinet solo by Yos Vaneesorn, and an excellently projected violin solo by guest concertmaster Thanatat Sriaranyakul, which was both sweet and soulful.
The explosively joyous Allegro vivace finale then brought this triumphant evening to its resounding conclusion, prompting enthusiastic cheers and prolonged applause.
