Tuesday, January 24, 2017
St David’s Hall, Cardiff Mahler’s extremes of shrill, manic violence and tender pastoral idyll spoke directly of the world’s predicament and made for a shattering experienceTragic and catastrophic are the words most often used to describe Mahler’s Sixth Symphony. Yet, in this performance by the BBC National Orchestra of Wales, and in the context of the US presidential inauguration just hours earlier, the work carried a newly cataclysmic resonance and foreboding that made for a shattering experience. In conversation with Sibelius in Helsinki in 1907, the year after his revision of his sixth, Mahler expressed the belief that “the symphony must be like the world. It must encompass everything”. He could not have envisaged the way this particular symphony – with its extremes of violence and tender pastoral idyll – would speak so directly of the world’s predicament over the next century and beyond. Nor could Thomas Søndergård, BBC NOW’s principal conductor, when first embarking on this Mahler cycle, have predicted how potently the shrill, insistent, manic instability of the Scherzo (following the consoling Andante) would here mirror the present. Søndergård’s controlled sustaining of the long finale made it unremitting, with the two fateful hammer-blows and the trombone and tuba’s funerary tones sounding all the more nihilistic. The orchestra played out of their skins. Continue reading...
The formidable choral composer Veljo Tormis died on January 21 at the age of 86. More performed in his homeland than his famous contemporary Arvo Pärt, Tormis rooted his work in pre-Christian, shamanistic rituals, evading the worst excesses of Soviet censorship and oppression. Some maintain that he was as important for Estonia as Sibelius was for Finland.
By the time to read this the season will be over. So here are the parting shots divided in two articles each covering five events. A Monday benefit concert provided the unexpected pleasure of witnessing a piano recital by one of the remaining great veterans: the Brazilian Nelson Freire, an old friend of this theatre, in his middle seventies still a redoubtable virtuoso of magnificent technique and style. Presented by Dar Cultura, Fundación de Acción Social de Jabad, Freire gave a masterclass, so to speak, in his traversals of two fundamental Nineteenth Century Sonatas: Brahms´ Third, Op.5, and Chopin´s Second, Op.58. The Sonatas were played with scrupulous respect for the composers´ indications, readings of marvelous continuity, tonal beauty and control, which revealed the transcendent quality of both composers at their best. Before Brahms, some Bach (an Organ Prelude) arranged by Siloti; and before Chopin, Freire´s ideal way with the music of Villalobos: the beautiful Prelude from Bachianas Brasileiras Nº4 and three pieces from "A prole do bebé" ("The baby´s family"). Encores: a lovely performance of an especially expressive Chopin Mazurka (Op.17/4) and a brilliant one of Grieg´s "Wedding Day in Troldhaugen", one of his most joyous pieces (he lived there). The penultimate concert (Nº 14) of the Buenos Aires Philharmonic was one of the best. We had the revelation of a talented conductor, Carl St Clair, and the best Argentine pianist of his generation, Nelson Goerner, playing Tchaikovsky´s First concerto with amazing firmness. St Clair is a Texan disciple of Bernstein and in his early sixties (I believe) he conducts with the intensity and concentration of his mentor. His career has had two very different high points: Principal Conductor in Weimar and in Berlin´s Komische Oper; and for twenty years the PC of the Pacific Symphony; plus guest conductor with a host of first-rank orchestras. And he has recorded all the Villalobos symphonies. He started with what may be a local première, Bernstein´s "Slava!", subtitled "a political overture", a 4-minute dazzling homage to the composer´s great friend nicknamed Slava, cellist and conductor Mstislav Rostropovich, revered here in both capacities. Why political? Because his being named PC of Washington´s National Symphony was a way to recognize both his musical talent and courageous anti-Stalin attitude; and at the time the Cold War was still on. St Clair made the Phil sound like a top rank USA orchestra. Goerner, as unassuming and non-charismatic as ever, played a supervirtuoso concert with such aplomb and exactness that one could only hear open-mouthed at such a display, always very musical; in some passages the only thing lacking for perfection was the mercurial hobgoblin touch of Argerich. And St Clair galvanizing the Phil to offer Goerner the right give-and-take and rhythmic strength he needed to shine as he did. The encore was a beautiful performance of Chopin´s Nocturne Nº15, Op.55/1. St Clair talked to the audience after the interval, an impassioned defense of Shostakovich´s Tenth Symphony as the expression of his pent-up suffering during the Stalin years. And the conductor then proceeded to prove it with an enormously concentrated and beautifully played performance of what is arguably the composer´s most important symphony. The impact of this great work in St Clair´s reading was one of the great moments of the year. He should come back. An unfortunate medical delay allowed me to hear only the second part of Leonid Grin´s concert with the Phil (last of the season, Nº 15). So I missed Weber´s "Oberon" Overture and Tchaikovsky´s Concerto with the Phil´s concertino Pablo Saraví, but I could hear a thrilling interpretation of the best Glazunov Symphony, Nº 5 (1895), warm, melodic and admirably structured music. Grin is Ukrainian, a disciple of Kyril Kondrashin, now in his early sixties. He has held posts at Saarbrücken, Tampere (Finland), San José Symphony (California) and currently at Santiago de Chile. Two decades ago he visited the Phil repeatedly. His solid métier and natural empathy with the Russian repertoire provided an exhilarating ending to the symphonic year. The special interest of the National Symphony´s concert at the Blue Whale conducted by Christian Baldini was the inclusion of essential Sibelius: his last Symphony, Nº7 (1925), rarely done here; just one vast movement of consumate organic cohesion dominated by an unforgettable trombone theme, it crowns the career of the most eminent Nordic symphonist. After good performances of two standards (Beethoven´s Violin Concerto with the National´s concertino Luis Roggero and Sibelius´ "Finland"), Baldini showed his insight and fine technique in the Seventh, abetted by a great trombone player and a responsive orchestra. The final concert of the National Symphony was conducted by the Chilean Francisco Rettig, much appreciated as a Mahlerian. He closed the season with some of Mahler´s extraordinary Lieder with orchestra, certainly the best in history. The orchestral work and Rettig´s sensitive conducting gave much pleasure, but alas, the baritone Luciano Garay showed a startling decline of his vocal means both in the wonderful "Songs of a wayfarer" ("Lieder eines fahrenden Gesellen") and in the songs allotted to him in the endlessly varied "Des Knaben Wunderhorn" ("The magic horn of youth"). Mezzo Alejandra Malvino was her reliable, musicianly self both in her participation in "DKW" and in the "Rückert Songs" that end with a marvel, "Ich bin der Welt abhanden gekommen" ("I have retired from the World"), though more volume came amiss at several points. A sour note: the unacceptable policies of having no comments on the hand programme and even worse, no subtitles; this is the CCK´s fault, not the NS´, and I hope it is revised next year. For Buenos Aires Herald
Finley/Bergen PO/Gardner (Chandos)As well as being one of the 20th century’s supreme orchestral composers, Sibelius produced around 100 songs. Yet he wrote very little original music for voice and orchestra. The shining exception is Luonnotar, for soprano and orchestra, which is one of his greatest achievements in any genre, but nothing else in his vocal output comes close to matching that work’s dramatic power and originality. As a result, the 14 songs with orchestra that bass-baritone Gerald Finley sings with the Bergen Philharmonic include just one, the rather ballad-like and melodramatic Koskenlaskijan Morsiamet (The Rapids-Rider’s Bride) from 1897, that was conceived with orchestra. It’s also the only song here with a text in Finnish; there are single settings of German and English, but the great majority are in Swedish, Sibelius’s first language.Finley also includes three songs the composer did orchestrate himself, one a haunting setting of Shakespeare’s Come Away, Death, from Twelfth Night (in Swedish), which Sibelius arranged a few months before he died in 1957. There are arrangements by others, too, but the centrepiece is The Stream of Life, a sequence of seven songs that Einojuhani Rautavaara arranged especially for Finley, who gave the first performance in Bergen in 2014. Continue reading...
http://www.zlinmasterclass.com The 2017 Zlin Conducting Masterclass aims to provide an ideal learning environment for aspiring professional orchestral conductors. Over eight days, fourteen participants will be given expert tuition by Atso Almila, Professor of Conducting at the Sibelius Academy, and Luke Dollman, Lecturer in Conducting at the Elder Conservatorium of Music. The orchestra for the masterclass, […]
Jean Sibelius (8 December 1865 - 20 September 1957) was a Finnish composer of the later Romantic period whose music played an important role in the formation of the Finnish national identity. His mastery of the orchestra has been described as "prodigious". The core of Sibelius's oeuvre is his set of seven symphonies. Like Beethoven, Sibelius used each successive work to further develop his own personal compositional style. His works continue to be performed frequently in the concert hall and are often recorded. In addition to the symphonies, Sibelius's best-known compositions include Finlandia, the Karelia Suite, Valse triste, the Violin Concerto in D minor and The Swan of Tuonela (one of the four movements of the Lemminkäinen Suite). Other works include pieces inspired by the Finnish national epic, the Kalevala; over 100 songs for voice and piano; incidental music for 13 plays; the opera Jungfrun i tornet (The Maiden in the Tower); chamber music; piano music; Masonic ritual music; and 21 separate publications of choral music. Sibelius composed prolifically until the mid-1920s. However, after completing his Seventh Symphony (1924), the incidental music to The Tempest (1926), and the tone poem Tapiola (1926), he produced no large scale works for the remaining thirty years of his life.
Great composers of classical music