In what must surely rank as a standout concert in the entire four-plus decades of the Royal Bangkok Symphony Orchestra, the ensemble was joined recently by acclaimed Austrian violinist Daniel Froschauer at the Thailand Cultural Centre for a resoundingly successful collaborative performance of Beethoven's genial Septet In E-flat Major Opus 20 and Brahms' mighty Symphony No.1 In C Minor Opus 68.
Among other factors, what made this particular performance memorable and special was that the esteemed guest star musician -- principal violinist and current chairman of the legendary Vienna Philharmonic Orchestra -- assumed the role of RBSO concertmaster, leading from his priceless Stradivari instrument for the delightfully entertaining chamber work in the first half and the powerfully moving symphony following the interval.
Resident conductor Vanich Potavanich once again directed proceedings with impressive authority for an epic rendition of Brahms, while the Beethoven afforded an exciting opportunity for no less than six principals of the RBSO to join Froschauer as soloists themselves in this ultimate, crowning gem of the Classical divertimento/serenade repertoire.
Violist Atjayut Sangkasem, cellist Apichai Leamthong, double-bassist Nattawut Sangkassaro, clarinettist Yos Vaneesorn, bassoonist Thanawat Ngosawang and French horn player Supreeti Ansvananda were indeed privileged to share this unique experience, with each of them rising to the occasion impressively as they worked their way through this challenging cornerstone of the string/wind catalogue.
The attractively accessible Beethoven Septet from 1799 is not a short piece, as the six fully worked-out movements last a good three-quarters of an hour. In structure, length and tonality, this work is clearly modelled on Mozart's monumental String Trio from 1788. Given such a transparently composed, exacting style over such a structurally extended opus, the demands in regard to managing performance nerves and ensemble focus are therefore not inconsiderable. Whilst the clarinet part is indeed largely equal in prominence to that of the violin, it is nevertheless to the great credit of the entire team of supporting players that their individual and collective stage-craft was copiously evident -- "Bravissimo" indeed!
However, the noticeably busy lead violin part itself bears the full dimensions of a concerto -- replete with a virtuosic cadenza in the finale, certainly serving as an excellent showcase for Daniel Froschauer's own instrumental excellence. By any measure a serious technical workout for any violinist, what was also clearly evident in his playing was that universally admired, elusive Viennese sound and subtle phrasing, which is so widely lauded the world over.
The 1727 Ex-Benvenuti–Ex-Halphen Stradivari on which Froschauer plays certainly exhibited the loveliest, sweetest of tones, projecting easily into the large TCC auditorium -- a modern space certainly much larger than the famed shoe-box Musikverein, which is his usual home venue. But it is also well known that the Vienna Philharmonic's tradition of string playing boasts its very own historic mystique and awe-inspiring, silky-smooth delivery, which is passed on in an organic manner to each new member that is fortunate enough to be accepted into this A-list orchestra.
Of course, few composers are as closely related to the legendary Vienna Philharmonic (established in 1842) and the Musikverein Golden Hall (opened in 1870) as Johannes Brahms. Although his groundbreaking 1st Symphony premiered in the German city of Karlsruhe by another orchestra in 1876, his strongest association naturally remains with Vienna itself, and this culturally/historically significant connection bestowed an especially heart-warming atmosphere upon the RBSO's performance of Brahms' titanic creation on this occasion, as maestro Daniel Froschauer generously shared his lifelong experience with Bangkok's own oldest, if comparatively fledgling, orchestra.
Although the RBSO's string section has undoubtedly been sounding consistently better and better over recent seasons, there is no denying that having Herr Froschauer in the so-called hot-seat on this occasion encouraged what can safely be referred to in contemporary parlance as next-level. His extended solo in the Andante sostenuto movement in particular, gave all assembled amongst the orchestra ranks a precious, rare taste of what life might just feel like in what many expert connoisseurs still consider to be the world's finest-sounding orchestra -- the Wiener Philharmoniker.
This level of excellence is most certainly something that all orchestral musicians in Bangkok can now increasingly aspire to. What is more, the promise of further collaborations in the future with other such eminent visiting musicians is to be wholeheartedly celebrated and embraced.
