MEMETERIA by Thomas May

Music & the Arts

Patricia Kopatchinskaja in Lucerne

More musical revelations at Lucerne Festival: thrilling Bartók Violin Concerto No. 2 featuring Patricia Kopatchinskaja in an unimprovable program of Bartók and Haydn by Mahler Chamber Orchestra led by the impeccable François-Xaver Roth.
The Haydn (Symphonies 22 and 96) was sleek and proto-Modernist in Roth’s interpretation, overflowing in invention and brought to life by the exquisitely fine-tuned playing of the Mahler Chamber Orchestra.

The Bartók Second — nicely complemented by the Dance Suite — spurred all Kopatchinskaja has to give: from her feistiest, most earth-rooted playing to star-drunk lyricism.

And then there was a post-concert treat in the “Interval,” from Kopatchinskaja plus her parents (dad Viktor on cimbalom and mom Emilia playing violin), with Venezuelan double-bassist Johane Gonzales: incisive Kúrtag and wonderful folk music arrangements.

Last night brought out still another side of Kopatchinskaja’s all-embracing artistry, in a Late Night concert with the Lucerne Festival Academy Orchestra led by Matthias Pintscher.

It’s clear that the Moldovan soloist regards Ligeti’s Violin Concerto as one of the ultimate masterpieces of the repertoire. Hearing her play it, you feel this is the only music in the world that matters, a world within world of where the concept of  virtuosity itself is reimagined from the ground up.

Kopatchinskaja is the perfect violinist to advocate Ligeti’s wildly imaginative ideas, but also the formal ingenuity and, yes, melodic grace of this score. She also brought out the best from the incredibly gifted young Academy musicians. I can’t wait to hear the full ensemble shine in Monday’s all-Cerha concert.

The program also included fascinating performances of composer-in-residence Michel van der Aa’s Hysteresis for clarinet, ensemble, and tape, with Martin Adámek  as the soloist and Ligeti’s Piano Concerto, with pianist Dimitri Vassilakis.

Filed under: Bartók, Haydn, Ligeti, Lucerne Festival, violinists

Pablo Rus Broseta’s Big Night with Seattle Symphony

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Last night’s concert with Pablo Rus Broseta and soloist Yo-Yo Ma was a delightful confirmation that experiencing an orchestra in live performance can provide a high like no other. It doesn’t need to be a Mahlerian epic or a program of revolutionary breakthroughs — those offer up unique experiences of their own — but it does require the unwavering commitment of the musicians.

This was a modest-sized Seattle Symphony, as some of the players are now on duty in the pit for Seattle Opera’s about-to-open production of Hansel and Gretel. And the program of Bartók, early Mozart, and Haydn offered a straightforward menu. But nothing sounded rote, and the evident pleasure taken by the musicians proved to be infectious for the sold-out hall.

Drawing the large crowd, of course, was Yo-Yo Ma’s presence on the evening’s second half, but SSO Associate Conductor Pablo Rus Broseta led achieved some captivating results of his own from the podium. In the rapid succession of Romanian Folk Dances, — featuring excellent clarinet and flute solos — he elicited a touch of melancholy to spice Bartók’s vivid rhythms.

A pair of youthful Mozart symphonies followed: K. 201 in A major and a true rarity, K. 196 in D major (both from the end of the composer’s teenage years, in the mid-1770s). Rus Broseta approached these scores as if Mozart had just turned them in to fulfill an SSO commission. And it was possible to hear evidence of the young conductor’s experience with new music in the mindful focus on texture and balance.

If the opening movement of the A major symphony could have benefited from more-incisive attacks, Rus Broseta showed his sensitivity to Mozart’s spellbinding way of phrasing melody as well as to his expert comic timing. In his hands the spirited finale of K. 201  was made to sound exhilaratingly fresh, almost proto-Beethovenian. The strings played with superb ensemble.

And then Yo-Yo Ma emerged onstage with his glistening cello to give his first Seattle performance (as far as I’m aware) since last year’s memorable accounts of three of Bach’s Cello Suites and other fare at the University of Washington.

Haydn’s long-hidden-away C major Cello Concerto dates from when Mozart was still a young child (though already embarking on his first tour of Europe). Ma’s performance was a study in how to make a phrase and its subsequent repetitions rivet the attention.

While it’s hard not to thrill at the cellist’s technical mastery of intonation, articulation, rapid-fire scales — you name it —  Ma’s musical imagination is what really calls the shots, making whatever he plays so compelling. The finale in particular, with its sudden shifts in mood, became downright suspenseful.  From the podium Rus Broseta’s confident partnership ensured a lucid orchestral balance.

Ma offered a pair of encores: an elastic Prelude from the G major Cello Suite and Mark O’Connor’s poignant Appalachia Waltz (both in response to vociferous requests shouted from the audience). But with every bow he made his admiration of the orchestra and conductor clear, insisting that they share in the acclaim.

–(c)2016 Thomas May. All rights reserved.

Filed under: Haydn, Mozart, review, Seattle Symphony

Happy Haydn Day

Here’s a symphony I’m delighting in at the moment:

Filed under: Haydn

Happy Earth Day

Since I’ve been on a Haydn kick, my thoughts turn musically to the two great oratorios from the end of his career: The Creation and The Seasons.

Filed under: Haydn

Happy April Fools’ Day

And, for good measure:

Filed under: fun, Haydn

Haydn Turns 283

In honor of Haydn, one of the greatest of the greats, who “may” have been born on this date in 1732, give or take a few days. For its 2015 Summer Festival, which focuses on the theme of “humor” (in the widest possible sense), the Lucerne Festival will open with a program pairing Haydn and Mahler (Bernard Haitink will conduct the Lucerne Festival Orchestra): specifically, Mahler 4 and Haydn’s Symphony in C, (“Il distratto,” aka “Der Zerstreute”), which originated as incidental music for the stage. I’m going to be listening closely to a lot of Haydn in the near future as I prepare program essays for the Festival.

Filed under: anniversary, Haydn, Lucerne Festival

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