Culture|Concert review
The theme of the music festival is a return to the future, which can be interpreted as referring to the post-pandemic period but also to a new way of thinking about the future.
Classic
Central Ostrobothnia Chamber Orchestra in the New Pavilion. Head. & sol. Jan Söderblom. Hartikainen, Byström, Andrée, Mendelssohn.
Beauties at the same time, the opening concert of the music festival reflected the whole theme of the music festival, which is “Back to the Future”. I interpreted it as referring not only to the post-pandemic period, but also to a new way of thinking about what the future could be.
Through it, the theme of the festival is related to, for example, an artistic director Jan Söderblomin to the home orchestra’s HKO NOTE project, in which the orchestra delves into the music of forgotten composers.
Concert acted as a mirror where new music from the first half got its counterpart Elfrida Andréen and Fanny Mendelssohnin compositions. Jarkko Hartikainen trees was only premiered the day before, violinist Malin Bromanille composed Britta Byström Im Freien in 2020. Now Söderblom played as a soloist.
Hartikainen trees could also be called a dissertation on voice. The work is about noise, squeaking and pounding. At best, the boundaries of the instruments blur. The experience cannot be verbalized: one has to agree to become part of the sound, to think about what a twist of evolution it is because the high scream at the end of the work makes the cold ripples run on the spine as if pulling a blackboard with its fingernails.
When Söderblom started Byström Im Freienin, a bird coming out of the cage, fluttering its wings, came to mind. Something is being strived for here, even though the composer says in the hand program that he thought of music during the pandemic as freedom.
The work skillfully alternates between lyrical questioning and, in places, static rhythm resembling American minimalism. Listener-friendly contemporary music: touching melodic snippets, enough catchy harmonies, even an atypical swing and mood for art music. At the same time, the work is looking for something new.
Söderblom and the orchestra played wonderfully.
Second halfway started with the dreamy Andante quasi recitativo of the Swedish Elfrida Andrée (1841–1929), which began as a concertmaster Reetta Katajan with a great solo.
Fanny Mendelssohn was then heard String Quartet Es as an orchestral arrangement. The first part, Adagio ma non troppo, was an intense performance by an orchestra larger in size. The quick parts included the joy of playing. A couple of times I wondered if I could have enjoyed even more in quieter tones.
It is said of the quartet that Fanny’s brother Felix did not appreciate the work because of its deviating form from the convention. But it wasn’t the form side – the composer just was ahead of his time. In the future.
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