Northern Reflections: Sibelius and Shostakovich
Thursday 20 April 2023, Hamer Hall
To say Christian Li possesses a musical maturity beyond his years feels unoriginal, but after watching him take to the stage with such mastery yet again, what’s left to say? The 15 year-old prodigy soloist joined the MSO and conductor Umberto Clerici on Thursday night for Sibelius’ violin concerto, and transported the audience to a faraway Nordic land from the first note.
The Sibelius violin concerto is, and I quote the program, ‘really difficult!’ Written with a violinist’s knowledge of the instrument, it contains every possible technical feat: double stops, flying leaps, breakneck speed. Li navigated them all with remarkable facility, but this was not just a performance of pyrotechnics. He had total command of the space and delivered his musical intent with utter conviction.
Unfortunately some of Li’s barrelling phrases left Clerici and the orchestra in the dust. The orchestra was not at their most sprightly, and with energy lagging towards the back desks it risked feeling a little bit like just another Thursday night for the MSO.
Thankfully Rossini’s William Tell Overture injected some more oomph into the second half. The opening cello section solo blended well and the phrases breathed beautifully. After the arrival of the famous rollicking theme, the highlight was watching the percussion section – the bass drum and cymbal players were having a particularly good time.
Hearing Shostakovich’s sixth symphony was a real treat. Being sandwiched between the fearsomely reputed symphonies five and seven, it is often overlooked. But it is a dense and exciting work despite its smaller scope, and made an excellent pairing with the Rossini.
Its first movement is longer than the other two movements combined, and a true smorgasbord of orchestral writing. Clerici guided the orchestra through powerful tutti sections and unusual chamber moments (horn with celeste, for example) with deft direction. Prudence Davis’ flute solos and the searing tone of Owen Morris’ trumpet deserve a mention, too.
The final movement, Presto, was a brilliant finale. Opening with a distinctly Rossinian melody, it galloped along like a slightly manic piece of fairground music. Clerici was literally bouncing on the podium, to some amused audience chuckles.
Christian Li stole the show – as by soloist rights he should – and despite a want for more synergy from the orchestra, there were some truly standout solos and moments of chamber music. All in all a satisfying program, and a wunderkind to remember.
