Concert evaluation Pianist Conrad Tao hummed and partyed – but could the world of classical music already stop talking about prodigies?

Although the RSO’s playing occasionally included fatigue in the coronary situation, the concert was a varied and in places a great ensemble.

Classical music

Radio Symphony Orchestra at the Music Hall. Stravinsky, Beethoven, Ligeti. Head. Hannu Lintu, sol. Conrad Tao. Estimated streaming.

RSO the theme of the friday concert was a concert. There were only those in the program: Stravinsky a concert for strings with an additional name Basel, Beethoven fourth piano concerto and Ligetin Romanian concert for orchestra.

Still, it was quite clear that the focus of the evening was on the most traditional of these concerts, Beethoven’s fourth piano concerto. The 26-year-old played as a soloist Conrad Tao, which debuted as a soloist at the RSO in 2018 and has since been expected to return. That’s when he called John Adamsin piano concerto Century Rolls.

During this visit, Tao had to play in as many as five concerts, but the number has had to be reduced to three due to the corona pandemic.

Taosta it is always remembered to mention that he is a prodigy. So now. I find it stressful to emphasize such things when it comes to a clearly adult artist; young, of course, but still an adult. “From a Wonder Child to an Adult Artist,” the handbook reads, after which the stages of Tao’s early childhood are repeated piece by piece.

A laconic mention would suffice. Everyone would win if classical music discourses could approach people’s age and the conclusions drawn from them with greater variance. People are like plants: some bloom sooner and some later. A giant eagle may not bloom in a greenhouse until it is 70 years old.

On a general level, one can also think about where the fetish comes from talking about miracle childhood repeatedly, and on a banal level, also for musicians who have grown up.

Beethoven the fourth piano concerto begins exceptionally with its time of composition in the early 19th century: with a replica of a piano soloist. Supplier Lotta Emanuelsson in an interesting interview, Tao said the concert is if not unmelodic so much less narrative than many other concerts, and that when played it feels like moving in different dimensions.

In the first Allegro moderato part of the concert, it came to mind that Tao’s playing is like an accurate Figurative painting with an extremely small brush: long-lasting, lyrical and multi-nuanced. Above all, the listener felt that everything was considered, even with the slightest emphasis.

In cadence, Tao was released. It was improvised by him himself, as was the custom during Beethoven’s time.

I’ve been thinking koronaviruspandemian time, what virtues through awaken listened to the concerts is. There are a lot of downsides: the charge of the orchestra is lower when there is no audience. It is self-evident and nothing can be done about it. Especially after the situation has continued for a frustratingly long time, the issue cannot go unnoticed, although to a large extent the general public forgets about the RSO’s high integrity and Hannu Linnun due to expressive leadership. Acoustic issues are, of course, another matter. The feeling of space is missing. And in general, not physically moving to another state. Even then, the mental transition is often more difficult.

But yesterday when Tao played both of his cadences, I thought this was a good side. For the Tao hummed in them as Glenn Gould as he was, and he hummed loudly. At times it sounded as if he had accompanied his own humming. At least this would not have been so clearly distinguished if he had listened in the hall. Hardly at all.

The second part of Beethoven’s fourth piano concerto is hugely stunning, enigmatic. It bumps and squeaks, giving a hint of where Beethoven would end up in his late season. Beethoven researcher John Suchet has called the part 21st Century Music.

In the third part of the rondo, the rhythm turned into a party. Tao jammaili. Listening was pure joy. The RSO accompanied Tao elegantly.

Concert began Stravinsky’s concert for string orchestra, “in D”. It is a work composed for the Basel Chamber Orchestra. Although it is easy to listen to Stravinsky, the work distinguishes many moods and the fact that nothing in this music is unambiguous. The eye is struck against the background of gravity. Maybe this is the rumble of salon music to hell, or is it something else, absurd, that cannot be explained by any dichotomies?

In the first part, robustius and arrogance were combined with singing, which, however, had a witty tone of better knowledge: this is not quite that simple. The atmosphere of the second part of the salon came to the chatter of the third part. In it, the material would have allowed for an even more enthusiastic atmosphere, which would probably have come true under normal circumstances from this line-up.

Ligetin Romanian concert is an earlier production by the composer, dating from 1951. It is a four-part work with strong folk influences. The first two parts were originally composed for violin duo, which were later orchestrated by the composer. The work was intended for an army orchestra, but did not pass censorship. It was not recorded until 50 years after its completion.

Ligeti himself was not happy with his work. He called it his “last compromise,” but surprisingly “bad and good at the same time”.

The interpretation of the first part emphasized broad tone and reflection. The rusticness of the second part progressed to the mysteries of the third part, to which a lone horn playing in the loft brought its own part. The RSO is too precise an orchestra to sit in the folk musical fireworks and racing playing of the fourth movement to the extent the texture would allow, but it didn’t take an imagination to get into the dance atmosphere.

Hannu Lintu has met to hold discussion events after the concerts. On Friday, the guest was the mayor of Helsinki Jan Vapaavuori. The reason was obvious: corona restrictions have punished the cultural sector in an unprecedented way. The bird wanted to ask if it could already be admitted that the occasions are different: in the concerts, the security measures have been arranged relatively nicely. The message seemed to be that the restrictions should be lifted.

But was the time right for such an inquiry? Not enough is known about the spread of a highly contagious virus variant in Finland. The situation may worsen rapidly. In principle, I believe that certain cultural institutions like the many orchestras and theaters are handled responsibly house in order so that seems absurd, when absolutely everything is canceled. Still, right now, before we get more information about the spread of the virus variant, it seems irresponsible to demand the lifting of restrictions.

This is how it will be for some time now. Freshmen study alone at a distance. And high school students. Benches have been canceled in the metropolitan area. Old dances move on. In many prisons, family reunions cannot be arranged at all due to the risk of infection.

The bird listed the figures: how much the cultural industry has even taken its coat financially. It is true. But compensation has also come. If that is not enough, it is precisely in this situation that it might be worth demanding more money and not milder restrictions. However, the crisis is the most serious in the West since World War II.


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