/ world in the present day information/ The Finnish harpsichordist Marianna Henriksson opened the Tenth Version of the “Baroque Artwork” competition with a live performance devoted to Italian music by composers from the primary half of the seventeenth century.
Affections & dances (emotions and dances) – the title of this system, defines and summarizes the character of the performs, requiring mobility and suppleness within the interpretive strategy. Henriksson is a musician with exceptional instinct and an consciousness of a nuanced to filigree studying of early texts. Quiet, profound artwork! At this time, the Bulgarian listener has a uncommon alternative to close up, to take heed to the sort of significant sound “messages”. To strategy the interior stress and emotional power of a tradition that respects and acts with the burden and authority of its historical past and expertise relationship again 400 years. Henriksson interprets the works of Giovanni Picci, Tarquinio Merula, an important piano grasp of the age Girolamo Frescobaldi, Bernardo Storace, Michelangelo Rossi and Gregorio Strozzi with out awe at their longevity. She performs with them as a up to date who has found related messages that make his life extra fulfilling. Her piano taking part in challenges the thoughts to achieve for long-forgotten private areas, to realize braveness to focus in them, to discover their capacity to maneuver, to mirror the actual emotion of those messages, being lengthy undisturbed. That is my first encounter with Henriksson’s artwork; it conquers with a seemingly infinite instrumental useful resource that permits the musical textual content to sound with a mysterious and unpredictable mobility, bringing it emotionally nearer to the psyche of the up to date. Which stays true to a primary precept of the Baroque period – to point out that life isn’t one thing that can not be modified; life isn’t a factum, one thing accomplished, it’s a course of, fieri, one thing being accomplished. Therefore the unobtrusive improvisation within the written textual content, expressed within the strategy to the phrase, within the number of timbres and within the number of strokes. Therefore the magnificently realized chance of approaching a world that solely statistically appears distant and lengthy gone.
The opening of the season of the radio orchestra underneath the baton of its chief conductor Rosen Gergov the following night supplied me an aesthetic distinction that definitely makes life diverse, however not essentially richer, extra significant, or happier. The live performance started with the quick symphonic piece “Thrace” by Dobrinka Tabakova, an early opus of hers. The supporting thematic materials corresponds to the Bulgarian folklore of the precept of a reasonable timbre-polyphonic strategy, as a result of assertion of which the orchestra sounds by means of the mixture of its separate teams. The music paints a Bulgarian panorama, Tabakova writes in this system that she was impressed by “the character of the Thracian area and the intense distinction of the lowland surrounded by mountains.” The then 19-year-old scholar determined the event of the piece by means of the mixture of timbres energetic of their theme, that are positioned in a pedal atmosphere of different teams – in a peaceful, elegiac-mood-creating tempo. Developmental coloration may have been extra clearly articulated dynamically. However this didn’t occur – the fascinating timbral discoveries within the rating and the cell nature of the sound mixtures weren’t distinct within the basic, largely robust, flat efficiency, ignoring the probabilities of nuance. Rachmaninoff’s second concerto was entrusted to the Austrian pianist Julian Hedenborg. As may be seen from his biography, he’s a laureate of competitions and a musician with broad pursuits and prospects – he experiments with different genres, performs as a bass guitarist, combines completely different types of artwork or realizes tasks for the event of recent artwork. Maybe this “broad curiosity” of the musician by some means affected his view of Rachmaninov’s concerto – particularly by way of the dimensions in defending the shape and the corresponding piano sound. His fast, dexterous fingers fulfilled just one, the passage-motor a part of the work’s necessities. They didn’t reveal the ability, the symphonic sweep of the work (even the primary chords-bells within the piano introduction sounded pale, with out the required crescendo previous the doorway of the orchestra), even much less the richness of sound that the rating provides. To this I add Gergov’s particular understanding of partnership with the soloist, which he demonstrates – when the orchestra performs a number one theme and the pianist is with him, the piano, at the very least as a timbre, should nonetheless be heard – the composer didn’t unintentionally proceed his half. Within the adagio, on the very starting, the dialog between the solo instrument and the clarinet was reworked solely as a clarinet solo, as a result of the soloist determined to easily “prelude” the arpeggio moments, relatively than harmonically and tonally coloring the clarinet and “predicting” the addition of the flute. This strategy is smart of the dramatic change of roles – the piano performs the theme and the clarinet performs its half. A lot of such “small” particulars had been absent from the imaginative and prescient of the soloist and the conductor for the live performance. The cadenza solo moments had been additionally too chosen by way of colours and sound prospects. The concerto was merely carried out with a variety of energetic gesticulation, with few concepts per learn and once more fairly robust.
There was a joke wherein a musician stated: “The louder the higher”. I do not know why, I all the time consider him at Gergov’s live shows. Justice calls for that I specify that it’s not solely he who doesn’t present the persistence to immerse the orchestra within the silences of the music. However in “Petrushka” by Stravinsky, one other of his issues manifested itself – the shortcoming to repair the vital breaths, caesuras within the textual content, to emphasise, as in each phrase, the factors of the exposition, to optimize the transitions within the play. He was conducting by coronary heart, however from what I may hear from the orchestra, I did not get the sensation that he understood what he was “reciting” with the baton. The entire play went like an extended sentence with out punctuation. In truth, they had been primarily within the wonderful solos of the flutist Yavor Zhelev, the clarinetists Dancho Radevski and Atanas Iliev, the trumpeter Petar Makedonski, within the plastic piano “commentary” of Mario Angelov. However quite a few vital musical episodes from the ballet merely handed “within the warmth of the overall”. It is a disgrace that this play carries its personal success, however that alone should not be relied upon.
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