Concert review|Kazutaka Morita, the drum drummer of the Radio Symphony Orchestra, played the concerto written for him by Richard Ayres as a soloist.
Classic
The Radio Symphony Orchestra at Musiikkitalo on September 4. Nicholas Collon, conductor, Louise Alder, soprano, Kazutaka Morita, kettledrums. – Ayres, Strauss, Shostakovich.
With RSO’s happy with a cauldron wizard, born in Japan With Kazutaka Morita has the ability to make cauldrons rumble magically.
British composer Richard Ayres has composed a custom-made, funny cauldron drum concerto for Morita K’s Strange Daywhich brought out the whole range of Morita’s skill and tonal range.
At the same time, Morita’s playful nature became visible. At the beginning of the concert, Morita was seen waking up from his sleep, drinking morning coffee, eating a banana and brushing his teeth.
Towards the end of the concert, Morita seemed to have had enough of the job: he put on a beanie and a hat and disappeared from the stage – to soon return through a side door, happily waving his clubs.
The concert in the beginning, the boiler drums also woke up from the unte lands. Morita extracted magically quiet tones from the pot drums, which created a mysterious cinematic atmosphere accompanied by the glissandos of the strings.
Soon the boiler drums began to roar aggressively, and of Nicholas Collon The orchestra led by
Ayres is a master at mixing a jubilant sopa from different genres. Morita had many bravura periods as a soloist, but sometimes he had to settle for the role of an orchestra musician. As a good friend, he got a small-sized tuba, whose tone resonates particularly well with pot drums.
The ending was a big pathetic romantic rise, like music from old Hollywood movies. The whole concert is a crazy fun story that evokes visual images.
by Richard Strauss Four songs op. 27 got the ideal interpreter, a British soprano by Louise Alder. Here is a very beautiful lyrical voice, whose shimmer can grow into passionate, solid rises.
In the first song, the soloist longed for peace from the storms of the world. The second was an emotional storm overflowing with love. In the third, the soloist lured his beloved from the party frenzy to the night garden, and the fourth radiated a quiet, enchantingly beautiful feeling of happiness.
Dmitri Shostakovich the fifth symphony in D minor was defined as an “optimistic tragedy” in the Soviet Union of 1937. In this way, the party was able to accept the performances of the symphony, which was hugely popular.
A tragic atmosphere prevailed in the first part, which spread an atmosphere of terror and where the brutal march of the violence machine roared.
Collon led the symphony in his gracefully precise style with neoclassical clarity. Colossal climaxes rumbled in the first part and the finale.
I strongly remembered the sad, lyrical one Tchaikovsky-a kinship that Collon found along the way throughout the symphony.
A great concertmaster Yoonshin Song was on loan from Texas, the Houston Symphony.
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