Shani Diluka/SOSL concert: A class act
Shani Diluka: Full of passion and grace. Pic by Sagara Lakmal de Mel
Beethoven wrote his fifth and final piano concerto in 1809, the year that Vienna was besieged by Napoleon’s armies. The bombardment was so relentless that in August the composer wrote to his publisher: “Since May 4, I have produced very little coherent work, at most a fragment here and there. The whole course of events has in my case affected both body and soul … What a disorderly, destructive life I see and hear around me: nothing but drums, cannons, and human misery in every form.” How the concerto came to be known as Emperor is something of a mystery as Beethoven was not a fan of Napoleon’s.
Emperor is generally viewed as one of Beethoven’s most monumental and heroic works even though by then, his hearing had become seriously impaired. Perhaps it is because Vienna was under siege when he was writing this iconic concerto that he chose to imbue it with a militaristic flavour. From time to time the music, propelled by heroic drumbeats, is so dramatic that one can imagine how Beethoven must have felt when he realized that soon the dreaded French army would be marching through the deserted streets of Vienna.
In the realm of piano concertos, Emperor represents a point of departure not only because of its propulsive and impetuous nature but also because of some bold and innovative features, such as the first movement (Allegro in E-flat major) commencing with three emphatic orchestral chords and three lively cadenzas (dominated by runs, trills, and arpeggios) alternating with one another. This momentous opening flourish, which precedes the orchestral introduction of the main theme, is almost two minutes long. The first movement (with its elaborate three-theme sonata structure) is embellished with many other cadenzas, the last of which sets the stage for a robust coda.
The dreamy second movement (Adagio in B major), in contrast to the majestic first movement, is imbued with the serene and wistful quality of a nocturne where the piano engages in a tender dialogue with muted strings and winds. Of all the slow movements composed by Beethoven for piano and orchestra, perhaps this is the most divine.
A plangent bassoon note leads directly into the third movement (Rondo in E-flat major). In contrast to the first movement, the piano introduces the main theme in the third. The solo piece begins slowly and softy before suddenly morphing into an allegro. The main theme is then vigorously affirmed by the orchestra. The 7-part rondo form (ABACABA) is lively and exuberant with the recurring main theme undergoing subtle variation. Standout features of the third movement are the jaunty introduction, the mischievous mood, and the triumphant conclusion.
Shani Diluka is one of Europe’s most eminent and sought-after musicians, averaging over 80 concerts a year. Though she is to all intents and purposes, French, her DNA is 100% Sri Lankan. Diluka’s forte is her unique blend of virtuoso pianism and commanding stage presence. Here is a pianist who plays with such power and grace that she sends the audience into raptures every time she performs. Her rendition of the Emperor Concerto (Lionel Wendt, July 8, 2023) in partnership with the Symphony Orchestra of Sri Lanka (SOSL) was so compelling as to leave an indelible impression on the mind. The audience was mesmerised by the effortless manner in which she wove the three complex movements into a cogent and coherent whole.
The fluency of technique and transcendental power that she displayed in the opening flourish was breathtaking. It unleashed a burst of kinetic energy that empowered the orchestra (which included a couple of renowned guest artists) to deliver a high-octane performance. The conductor, Dushyanthi Perera, performed her role with quiet dignity and succeeded in achieving a delicate balance between cohesive team work and individual genius. Her overall direction in respect of volume, tempi, and mood, was impressive.
Shani Diluka conveyed the heroic ambience of the first movement, especially in the cadenzas, the double octave passage, the piano and violin pizzicati phrases, and the coda, with consummate ease. The tuneful adagio was played with such depth of feeling that it held the audience spellbound. As the second movement moved seamlessly into the third, mood and tempi changed dramatically. It was a joy to observe how skilfully the pianist navigated the inventive architecture of the playful rondo with her superior technical and aesthetic skills. The finale, which was performed with plenty of elan by the orchestra and soloist, ended on an emphatic note.
When Shani Diluka rose to her feet, the audience gave her such a rapturous and extended ovation that she had to play two encores: Falla’s rhythmic Ritual Fire Dance (piano transcription) followed by Debussy’s ethereal Clair de Lune. Both were performed with great composure and finesse. The soloist enriched the Falla piece with her granitic strength of rhythm and took the Debussy piece to lofty heights with her brilliant musicianship.
All in all, Shani Diluka’s blend of pianistic authority and artistic flair was sublime across all three movements of the Emperor concerto. This was a stellar performance, imbued with poetic imagery, technical artistry, controlled passion, and clarity of expression. The SOSL, which has come a long way since its inception 65 years ago, provided excellent accompaniment to the soloist.
The concerto came after the interval. Prior to the interval, the orchestra played two well-known pieces: Beethoven’s Egmont Overture followed by Schubert’s Symphony No. 8. Egmont (based on an eponymous play by Goethe) comprises an overture followed by nine incidental music pieces for soprano, male narrator and full symphony orchestra. The play is about the sacrifice of a man (Count Egmont, a Flemish nobleman) who made a heroic stand against political oppression.
The overture, written in the sonata form, explores several themes, including trials, tribulations, tragedy, and triumph. The orchestra captured these thematic configurations and modified harmonies with grace and clarity. It is heartening to note that the imbalance which existed between strings and winds for decades (in respect of technical fluency and depth of sonority) seems to have diminished considerably.
Schubert’s Symphony No. 8 in B minor (also known as the “Unfinished” Symphony because the composer omitted the third movement) is noted for its Bruckner-like mystical quality, of which not even a trace can be found in his previous symphonies. This is one of Schubert’s most challenging works, which the orchestra performed with a high degree of competence and self-assurance. If the first movement is deeply pessimistic, then the second is profoundly optimistic. The orchestra should be commended for its keen grasp of this gradual progression from darkness to light.
In sum, the concert, viewed in its entirety, was exceptionally good. In this regard, the pivotal role the conductor played in creating a strong rapport between solo pianist and orchestra deserves special praise. Kudos must also go to the Chairperson of the SOSL, Sharmini Wettimuny, for transforming the orchestra into a highly disciplined, professional outfit with the support of various individuals as well as institutions, in particular, Nations Trust Bank (NTB) – principal sponsor of the above event. The prospect of an enduring partnership between SOSL and NTB augurs well for the future of western classical music in Sri Lanka.
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