With conductor Martijn Dendievel, Phion is extremely dynamic ★★★★☆

Bam! The final chord of Dvořáks Eighth Symphony is short and abrupt after a concerted and noisy build-up towards the end. Bows hang in the air as if frozen. A fist protrudes above the orchestra; that of conductor Martijn Dendievel (26).

The Belgian multi-musician (he is also a recorder player, percussionist, harpsichordist and composer) replaced French Ariane Matiakh at the last minute, who had to cancel due to corona. In the Parkzaal of Musis Arnhem, Dendievel will conduct Phion, orchestra from Gelderland and Overijssel on Saturday evening.

The concert night is not long. After two pieces and no break (corona measure) you are outside again an hour and a half later. But it still rages and dazzles on the eardrums and retinas. Not only was there a great deal of energy to make his debut on the stage, there was also a gold-clad clarinet magician who captivated the audience and orchestra: Annelien Van Wauwe (35).

Backstage she lets her instrument rip over the ghostly sounds of the orchestra in the first part of Saariaho’s clarinet concerto. The work is based on a medieval tapestry that depicts the senses. In L’Ouie (audience) the orchestra sounds like a gigantic, deeply inhaling and exhaling bellows of an organ.

In the constantly shifting sound worlds of elongated tones, Dendievel is the metronome on which the orchestra leans, beating stiffly. Van Wauwe, each time in a different place on the stage, meanders sensually in le toucher. In the sixth sense (Dendievel called it ’empathy’ in his fun introductory listening aid), she is plainly soft.

Lyrical melodies in Dvořáks Eighth Symphony Czech dances together. With Dendievel, Phion is extremely dynamic; deliciously pourable where possible, elegant where necessary.