The passion of Nishimura
An evening of classical and choral music was presented at the Lionel Wendt on December 5 by the Chamber Music Society of Colombo (CMSC).
The guest star was Mika Nishimura – a lovely, award-winning, Japanese-born violinist currently attached to the Zubin and Mehli Metha Foundation in Mumbai and proud owner of a Giovanni Francesco Pressenda violin, with its pure pedigree and rich timbre.
We learned from CMSC concertmaster Lakshman Joseph de Saram (a fine violinist in his own right) that the hot and humid Colombo climate was playing havoc with the instrument and that it could “burst” any moment.
Thankfully, this did not happen. If the soloist was nervous about this, she showed no signs of it, for so lively and engaging was her performance and so infectious, her winsome smile. Curiously, it was the concertmaster and a few others who had to tune their violins from time to time and not the soloist!
The concert began with Bach’s Concerto for Three violins in D major, originally written for three harpsichords. The three soloists were Nishimura, de Saram, and Sulara Nanayakkara in that order.
The concerto has a familiar tripartite structure with two lively allegros flanking a melodious adagio tinged with sadness. The soloists take turns in performing brief cadenzas that illuminate the stage like flashes of lightning.
The music overall is exceedingly complex – a mosaic of contrapuntal sounds, intense solo passages, and rich chromatic embellishments woven around a main theme and its derivatives.
This technically demanding piece was performed with verve and clarity by the three soloists who struck a delicate balance between cohesive team work and individual brilliance.
What was fascinating to observe was the timbre, which varied from one solo violin to another. I particularly enjoyed the challenging slow movement, which was rendered with great sensibility and poetic refinement.
At times the tension was almost palpable. Overall, this was a compelling performance where a healthy rapport was maintained at all times between the orchestra and the three soloists.
Sadly, there were some unenlightened listeners in the audience whose behaviour was irksome at times.
It is time they learned that one does not clap between movements, or cough like an imbecile, or take pictures with flash during a performance. (Most of the culprits were in the balcony.)
Vivaldi’s iconic Le quattro stagioni (The Four Seasons) came next, where each season is represented by a stand-alone concerto.
This was the concert’s showpiece and what a treat it was. The manner in which the soloist blended imperceptibly with the orchestra was magical.
Of the four concertos, the first (Spring) is perhaps the most famous but my favourite is the third (Autumn), with its delightful pas de basque rhythm (to use a ballet term).
This is a prime example of baroque programme music, where the composer attempts to capture through music the imagery of a vivid text or painting.
In this case, the composer derived his inspiration from twelve sonnets – one for each movement. Whether they were written by the composer himself is not clear.
(The author is unknown.) But what is clear is the close relationship between the music and the accompanying narrative element. No two concertos are alike, and each possesses distinctive moods as well as hauntingly beautiful, recurring melodies.
Natural sounds (birdsong, barking dog, howling wind, thunder, raindrops, to name a few) are evoked by the awesomely versatile string instruments.
To perform four concertos (each with three movements) back to back is no easy task for a solo violinist, who must possess a variety of skills, including stamina, technique, and artistry, not to mention a robust temperament. (The piece in its entirety is over 40 minutes long.)
Nishimura is blessed with all these attributes (especially a virtuoso technique imbued with inborn passion) and she captured all the shades and nuances of The Four Seasons with consummate ease.
She is one of the most stylish and eloquent violinists to have graced the stage in Sri Lanka, and with her lovely stage presence, succeeded in capturing the hearts of the audience.
There was power as well as grace in her playing, augmented by masterly execution of the solo passage work.
What stood out were the warm colours, the subtle embellishments, and delicate textures; and what Nishimura gave to The Four Seasons was a luminous interpretation of its complex emotional template.
Here was a fine illustration of how to meld the play of the imagination with brilliant musicianship. And full marks to the orchestra for a polished, near-flawless performance.
This delightful ensemble has grown from its humble beginnings into a highly disciplined and professional outfit which collaborates with renowned foreign artists and guest conductors on a regular basis.
The orchestra swelled visibly for the next item – excerpts from part 1 of Handel’s Messiah – to accommodate additional instruments.
For the first time a conductor appeared on the stage to direct the singers of the Colombo Philharmonic Choir (CPC), backed by the CMSC. Manilal Weerakoon (director of the CPC) played this role with panache.
However, the performance failed to live up to expectations. There was no spark or lustre in the singing, nor was there much synergy between the choir and the orchestra.
There were also a few hiccups that did not go unnoticed. On the other hand the two soloists, Laknath Seneviratne (bass) and Anagi Perera (soprano), gave a good account of themselves.
The gala concert ended with some glorious Christmas carols, performed with lively audience participation. In sum this was a most enjoyable evening, highlighted by those moments where the passion of Nishimura matched the pristine sounds of her Pressenda violin.