Friday, January 20, 2017
From the Lebrecht Album of the Week: With devastating precision, Giltburg — Moscow-born and winner of the Reine Elisabeth prize (first claimed by Emil Gilels) — has interpolated between the (Shostakovich) concertos his own piano reductions of one movement of the second string quartet and the entirety of the eight quartet, contemporaneous with the two piano concertos, exposing the composer’s seditious inner thoughts. This is a constantly illuminating, almost faultless project. Read on here and here.
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
A conscientious editor has sent us the booklet cover of DG’s 75th birthday compendium for the 75th birthday of the celebrated pianist. Ah well, at least they got the right number of ls in his surname. Celebrating his 75th birthday in 2017, this luxurious 55CD set presents Pollini’s complete recordings on Deutsche Grammophon with their original covers, including the first ever release of Prokofiev’s Third Piano Concerto with the NHK Symphony Orchestra under Maxim Shostakovich (recorded in Tokyo in 1974).
At last, green shoots of Spring emerging from the gloom. The Barbican Spring schedule offers plenty if hope First off from 13-15 January, Simon Rattle conducts György Ligeti Le Grand Macabre, with the LSO and a strong cast that headed by Peter Hoare as Piet the Pot. I love Ligeti's quirky music and enjoyed then ENO production by Alex Ollé and Las furas del Baus back in 2009 Read more here That was the one with the giant woman whose body "was" the stage. Le Grand Macabre is as frustrating as it is inventive, so staging it takes some doing But I'm not sure what Peter Sellars will do to it No doubt it attracts the mega trendy crowd as it's selling fast though very expensive. On 19/1, however, and just as high profile, Rattle is conducting Mahler Symphony no 6 together with the world premiere of Mark-Anthony Turnage's Remembering 'in memoriam Evan Scofield. This is a keynote concert, which will also be streamed on the LSO website, a wonderful development, since it brings the orchestra to the world Another Britisn music world premiere the next day, 201, Philip Cashian's The Book of Ingenious Devices, conducted by Oliver Knussen, together with Strauss Macbeth and Elgar Falstaff An intriguing programme in true Ollie style - will Cashian's piece have Shakespearean connections ? Huw Watkins is the soloist so presumably it's a piano concerto of some sort A big threme this season is "Russian Revolutionaries", so plenty of Shostakovich, but more unusually, Galina Ustvolskaya's Symphony no 2 with the Melos Ensemble at LSO St Luke's on Jan 21st That weekend, a Philip Glass Total Immersion with better choices than some recent Total Immersions. All ears and eyes alert for Jonas Kaufmann's four day residency at the Barbican at the beginning of February That's been sold out for months, so hopefully, he'll be well enough Wagner, Strauss (Vier letzte Lieder, nach !) he's also doing an "in conversation" Sakari Oramo with the BBCSO and Antonio Pappano with the LSO, both interesting non standard programmes, and Daniel Harding weithn the LSO on 15/1 with Rachmaninov Symphony no 2 and another Mark-Anthony Turnage premiere, Håkan with dedicatee Håkan Hrdenberger as soloist. Yet another British composer premiere, Nicola LeFanu's The Crimson Bird for soprano (Rachel Nicholls) and the LSO, conducted by Ilan Volkov on 17/2 and a Detlev Glanert premiere on 3/3 with Oramo and the BBC SO. An extended Nash Ensemble residency at LSO St Lukes (lots of RVW chamber music) and and Andreas Scholl on 14/3 Then two concerts with Fabio Luisi on 16th and 19th March I'm opting for the second, with Brahms German Requiem François-Xavier Roth starts another After Romanticism series on 30/3 with the LSO - Debussy Jeux, Bartok Piano Concerto no 3 and Mahler Symphony no 1. Then a 3 concert series with the New York Philharmonic and Alan Gilbert - John Adams, Mahler, and the European premiere of Esa-Pekka Salonen's Cello Concerto. Janine Jansen, Murray Perahia and Mariss Jansens with the Bavarian Radio Symphony Orchestra and a keynote Dvořák Requiem on 13/4 with Jiří Bělohlávek, the BBC SO, the BBC Symphony Chorus, Brindley Sherratt, Ricahrd Samek, Jennifer Johnston and Katerina Kněžíková Then Easter is upon us !
Time and again, Dmitri Shostakovich deftly managed to dodge the artistic bullet when it came to the expected political conformity of the day. His two piano concertos bear his distinctive musical voice, despite Soviet diktats. Cheeky banter and effervescence characterise the works, offset by a sublime movement in the second concerto that soloist Boris Giltburg Read More ...
Recently, before going to sleep, I have been listening to the music of Johann Sebastian Bach, as performed by Frank Peter Zimmerman. On the CD of the Month for January 2017, the same violinist plays for you music by Shostakovich: Violin Concerto No. 1 in A minor, Op. 99 Violin Concerto No. 2 in C sharp minor, Op. 129 Performed by Frank Peter Zimmermann (violin), with the NDR Elbphilharmonie Orchester, Alan Gilbert conducting. Composed almost 20 years apart, the two violin concertos by Dmitri Shostakovich were both conceived with the great violinist David Oistrakh in mind and dedicated to him. Shostakovich completed Concerto No. 1 in 1948, at a time when he had fallen out of grace with the Soviet authorities and it seemed uncertain if the work would ever be performed in public. This is reflected in the concerto which begins with a dark and solitary violin song over gloomy cellos and double basses. Throughout the work there are allusions to the composer’s situation, such as the D-S-C-H motif that appears in so many of his works and which in the second movement is closely related to a theme reminiscent of Jewish popular music, as a symbol of Shostakovich’s identification with the sup¬pressed Jewish culture. In the same movement there is also a theme derived from the opera Lady Macbeth of Mstsensk which in 1936 had caused the composer’s first denunciation by the Soviet regime. In 1967 Shostakovich wrote to Oistrakh, telling him about the completion of his Violin Concerto No. 2. The composer’s health had been failing for several years, and only the year before he had suffered a heart attack. In several of his late works there is a preoccupation with mortality, and the concerto exhibits a similar dark, introspective tone, especially in the central Adagio. Performing these two great works of the mid-20th century is one of the finest violinists of our own time, Frank Peter Zimmermann. The recordings were made at public concerts at the Hamburg Laeiszhalle, with the eminent support of the NDR Elbphilharmonie Orchester – formerly known as the NDR Sinfonieorchester – conducted by Alan Gilbert, the orchestra’s principal guest conductor for more than a decade. Here is Mr. Zimmermann in the Concerto number 2 by Shostakovich:
Dmitri Shostakovich (25 September 1906 - 9 August 1975) was a Soviet Russian composer and one of the most celebrated composers of the 20th century. Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky's chief of staff, but later had a complex and difficult relationship with the Stalinist bureaucracy. In 1936, the government, most probably under orders from Stalin, harshly criticized his opera Lady Macbeth of the Mtsensk District, causing him to withdraw the Fourth Symphony during its rehearsal stages. Shostakovich's music was officially denounced twice, in 1936 and 1948, and was periodically banned. After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single work juxtaposed a wide variety of trends, including the neo-classical style (showing the influence of Stravinsky) and post-Romanticism (after Gustav Mahler). Shostakovich's orchestral works include 15 symphonies and six concerti. His symphonic work is typically complex and requires large scale orchestras. Music for chamber ensembles includes 15 string quartets, a piano quintet, two pieces for a string octet, and two piano trios. For the piano he composed two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include two operas, and a substantial quantity of film music.
Great composers of classical music