Kalevi Aho’s cadences captured attention when pianist Anika Vavic’s skill came to the fore.
Helsinki City Orchestra at the Music Hall, as a virtual concert. Anika Vavic, piano. Conductor Jukka-Pekka Saraste. – Stravinsky, Mozart, Schumann.
Crown period concerts have their sides and their sides.
It is safe to settle in a listening position at a familiar time, looking at the orchestra. Insecurity is created when a concert streamed from the Music Hall to the Helsinki Canal jerks forward; three different web browsers or two internet connections do not change the situation.
Only a quick download of the Hko Screen application to a mobile phone, and even with that certainty, only the orchestral image shrunk in a vertical position will allow you to focus Jukka-Pekka Saraste to lead the Helsinki City Orchestra concert.
Igor Stravinsky appoint Symphonies for fan for short prayers. They shouldn’t be that short, because all the heard pieces and openings of the fan groups are so beautiful!
Wolfgang Amadeus Mozartin Classical Piano Concerto No. 21 glows together with the joy of making music. Everything is light and airy. The well-known slow part of the concerto, nicknamed “Elvira Madigan,” sounds like a soft jazz standard.
Pianist Anika Vavic uses Steinway’s own sound in a unique way. Avoiding the pedal brings out Mozart’s virtuoso text as it is. The focus is on dialogue, parts development episodes, Mozart’s jokes. Also, good camera control carries the essentials, through the concert.
Reason to return to this recording is its surprise: Kalevi Ahon handsome cadres composed by! The first has highlighted several opera loans. The latter as a cubist composition makes a nuance. At the same time, Vavic’s musicianship shows the skill of cadences.
Robert Schumannin the first symphony, in B major, is thought to have been inspired Alfred Böttingen Spring-poem. Saraste and the orchestra continue the same airy, acoustically emphasized airy line as the overall look of the interpretation.
Manifestations of the arrival of spring can be easily painted in the work, or just focus on melodic ingenuity. The beginning of the third part is one that the conductor can shape according to his own handwriting and surprise, as now.
And when the orchestra and conductor know how to build the rest in the best possible way, the listener gets their physical aftershock after the last note – even from a virtual concert.