Friday, August 26, 2016
This DVD gives us an opportunity to hear pianist Denis Matsuev at the Royal Concertgebouw in Amsterdam. He performs works by Tchaikovsky – Schumann – Stravinsky, and more: Liadov: A Musical Snuffbox, Op. 32 Schumann: Kreisleriana, Op. 16 Scriabin: Étude Op. 8 No. 12 in D sharp minor Sibelius: Etude, Op. 76, No. 2 Stravinsky: Three Movements from Petrushka Tchaikovsky: The Seasons, Op. 37b Méditation (No. 5 from Morceaux, Op. 72) plus: Matsuev jazz-improvisation Denis Matsuev gave this remarkable recital at the Concertgebouw in Amsterdam, conducted by Sebastien Glas. Here is Denis Matsuev, performing the Rhapsody on a Theme of Paganini by Sergei Rachmaninov:
Usher Hall, Edinburgh The mid-west orchestra returned to the European stage with a thrilling new edge, while violinist Pekka Kuusisto proved he’s a rare performer for our timesTwo years ago, the Minnesota Orchestra emerged from a bitter lockout, during which its music director, Osmo Vänskä, resigned in protest. (He was later rehired.) Now here they all are, touring Europe again, and that plush, super-charged Minnesota sound is back with a new edge of tenacity. They played Beethoven’s Fifth Symphony as if it were a resounding declaration, and Vänskä took big pride in those classic ringing trumpets, sleek winds and gloriously bottom-heavy strings. The match here has always been thrilling – the conductor’s dynamism on the podium plus the powerful engine of this band – and now there seems something irrepressibly triumphant about it. Sibelius’s brooding tone poem Pohjola’s Daughter opened the concert and the surging energy was immense. Also tremendously moving was the performance of Sibelius’s Violin Concerto by Pekka Kuusisto. His account was questioning and troubled: the opening phrase unfolded as if in mid-conversation, cadenzas were cracked and exploratory, the slow movement was plain and the finale unruly. Kuusisto made no pretence that the concerto should sound safe – in fact, he made it sound downright vulnerable, a brave antithesis to the romantic showpiece it often becomes. As an encore, he played a sad Swedish folk tune called We Sold Our Homes, with Vänskä duetting on clarinet and the orchestra humming the harmonies. He spoke of the lockout and about global homelessness and migration. Here is a classical performer who genuinely connects what goes on inside the concert hall with the world outside – and that makes him a rare and important performer for our times. Continue reading...
In the fourth in our series, we look at the Finnish capital and its music. Next up: Prague – leave your suggestions for the Czech city belowI chose Helsinki as our next port of call on a whim. I was just putting the finishing touches to Venice, the third in this series of post-Brexit love letters to Europe’s musical centres, when news came through that the Finnish composer Einojuhani Rautavaara had died. Some recognition of the fact seemed to be in order, though @Napoleon Bonaparte – one of the commenters on the Venice article, in which I invited suggestions for Helsinki – immediately saw the flaw in my choice. “The trouble … is that not a lot of Finnish music has an urban feel to it. Of course one can go with the premieres of famous works, but there’s little in, say, Sibelius’s output that says ‘Helsinki’.” Continue reading...
Lauri Porra’s new work “Kohta” for rapper, symphony orchestra and omniwerk was premiered on Friday by the Finnish radio orchestra, conductor Dalia Stasevska. Porra is the son of Sibelius’ granddaughter and bassist of a heavy metal band, Stratovarius. You can watch the performance by clicking here. Lauri Porra [r] with rapper Paperi T:
Prom 23 with John Storgårds and the BBC Philharmonic Orchestra, began with an extremely eclectic programme : Jörg Widmann's Armonica, with Robert Schumann's Violin Concerto in D minor, followed by the Overture to Sibelius The Tempest and Carl Nielsen's Symphony no 5. The glass harmonica (seen at right being played by soloist Christa Schönfeldinger ) is an instrument, consisting of 20 to 54 blown crystal or quartz bowls fitted concentrically onto a rotating rod controlled by a pedal reminiscent of a treadle sewing machine. Sound is created by the player rubbing their wetted fingers on the edges of these. It can be tuned, but its distinctive wailing drone is so strange that it can be used to suggest sounds that suggest forces beyond the control of nature. Mozart heard it performed by a blind musician, Marianne Davies, who specialized in its use, being introduced to her by her opera-singer sister whilst he was rehearsing Idomeneo. He went on to create the short solo work Adagio K356/617a from which Widmann took his inspiration. Thus Widmann instructs the soloist to sing into the sound waves produced by rubbing the instrument, so the singing voice itself distorts, much in the way a voice sounds strange when you blow into a bowl. Widmann amplifies the effect of glass harmonica and voice with an accordion with Teodoro Anzellotti, the accordionist of choice these days. Like the glass harmonica, the accordion transform invisible airwaves into sound : both instruments "breathing" and singing like strange alien beings. Indeed, the glass harmonica was believed by many to induce insanity and even demonic possession. Donizetti employed it in Lucia di Lammermoor, where its surreal drone would have added an extra frisson of danger to early performances, enhancing dramatic impact. The full impact may be lost on modern audiences used to horror movies and the ondes martenot, but the glass harmonicas still serve to suggest alien forces and the breakdown of tonality. Thus it's not surprising thatn there are quite a few players around these days, and new repertoire for the instrument. Widmann's Armonica makes the most of the instrument's ability to create long lines, wailing and probing space, buffeted by the wheeze of the accordion. Armonica is a well integrated piece you can enjoy as music regardless of instrumentation. It is more convincing than Michael Berkeley's Violin Concerto, heard earlier this week. Berkeley used tabla and other exotic instruments for a genuine purpose, in memory of his late wife, but I suspect the piece was somewhat ambitious. Clara Schumann, Brahms and Joseph Joachim, thought that Robert Schumann's Violin Concerto WoO23 (1853) should be suppressed for 100 years after the composer's death. . Perhaps they were right, because its bizarre sonics and wailing timbre might have seemed disturbing at the time, especially given the fear of mental illness that prevailed before modern psychiatry Bizarrely, it was revived after Joachim's grand nieces were supposedly contacted by Schumann's ghost in a seance in 1933. In comparison the strangeness of the Violin Concerto might not be so mad after all. Certainly, nowadays we can better appreciate its quirky originality and mystical strangeness. Thomas Zehetmair played it exquisitely, letting its legato flow with seductive - and dangerous - langour. It's a remarkable work, a tantalizing insight as to where Schumann might have headed creatively had time, and health, been on his side. More electic music followed. Sibelius's The Tempest Op90 (1926) is, in its own way, every bit as singular as his Symphony no 7 and Tapiola. It is music of such character that Eric Tawaststjerna has suggested that part of the reason Sibelius suppressed what might have been his Symphony no.8 was that his creative visions were raised so high that he couldn't be satisfied with anything but ultimate perfection. The Overture, which we heard here, sets the stage so to speak for the a play based on Shakespeare's The Tempest. Large orchestral forces, describing the driving winds of the storm at sea which throws Prospero and Caliban together - a storm of supernatural, cosmic forces, strings swirling with demonic violence, rolling percussion, wailing brass, undercut by shafts of brightness, suggesting magic and caprice. As the "storm" clears, shimmering strings suggest swathes of diaphanous light, rising heavenwards, floating as if propelled by invisible winds. But the "storm" returns, even more savagely, trumpets and brass ablaze, timpani thundering, strings screaming fury. John Storgårds conducted the BBC Philharmonic Orchestra with such clean definition that the colours shone, intensifying the dramatic contrasts inherent in the music. The adaptation of the play can't have lived up to its incidental music. For Storgårds, the BBC PO play better than they do for almost any other conductor, and this is his core repertoire. The only full recording of Sibelius The Tempest conducted by Osmo Vänskä. doesn't even come close. Until Storgårds or someone of his calibre does the full Tempest, we won't be hearing its full impact. Storgårds is also a specialist in the works of Carl Neilsen, so his account of Nielsen's Symphony no 5 Op 50 1922 was something to look forward to after a somewhat pallid performance in 2012 (Vänskä0 and a somewhat better one in 2014. (Søndergård). The first movement begins in relative peace soon interrupted with drumbeats and a march, interspersed with fragile flickering figures which suggest tension. Although Denmark was neutral in the First World War, Nielsen, despite his sunny disposition, had no illusions about the way the war had changed things. This movement ends with a chill, which hangs over the relatively more expansive passages that follow. The flickering figures stll haunt the piece, and the hollow beating of drums. Trumpets call, from a distance, the drums ricochet like machine gun fire. The strings soar upwards and silence descends again heralded by a solemn oboe, singing a plaintive lament. For a moment, we hold a breath, before the orchestra explodes with a wild scherzo which introduces the second movement. Tense, jagged angles flailing across the strings : as if fields were being mowed with a giant scythe, the crop not wheat nor corn. So much for the notion of Neilsen as pastoralist. Crashing timpani, whizzing figure speed past with demented fury. A new theme emerges, like a grotesque dance, squat and crude, mocking the angular driving measures. Yet again, diminuendos descend. For a moment, a kind of chill calm prevails, but the strings rise upwards again, but there is no resolution. The pounding percussion and angular chords return and the pace once again becomes manic. I thought about the famous photo of Nielsen knitting, the repetitive rhythm soothing his nerves and slowing his heart rate. Astonishingly good performance - Storgårds is a tonic for the BBC Philharmonic Orchestra. He raises the bar for them, and they respond.
From the review: This is one the world has been waiting for. The Minnesota Orchestra’s partnership with the Finnish conductor Osmo Vänskä is a treasure of our times, especially when they play music of the frozen north. Minnesota is sufficiently remote from the rest of musical America to maintain its own sound and Vänskä, ever the iconoclast, has his own particular way of refreshing familiar scores. The start of their Sibelius cycle hit the decks with a whoosh five years ago. Then, disaster… Read on here . Or here.
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