Concert Review Debussy’s unpredictable sea was kind and harsh, interpreted by RSO chief conductor Nicholas Collon

Sivan Magen sovereignly played the premiere of Lotta Wennäkoski’s harp concerto.

Classic

Radio Symphony Orchestra at the Music Hall 18.5. Lead. Nicholas Collon, sol. Sivan Magen. Debussy, Wennäkoski, Sibelius.

Radio Symphony Orchestra two classics were heard at the closing concert of the season, Debussyn La Mer and Sibelius Fifth Symphony, and premiere Lotta Wennäkoski from the harp concerto Siglaplayed by RSO’s own harpist Sivan Magen. In the hand program, Wennäkoski said that Magen had a significant effect on the solo part.

Wennäkoski is downright specialized in concerts for more specialized instruments such as the recorder and juggler. The number of harp concerts is not huge either, although there are more great concerts than one could infer from the orchestra’s repertoire.

Siglan the name means a different thing in different languages: in Italian, a jingle, or in Icelandic, sailing, and in Tagalog, liveliness and enthusiasm. Different meanings can be found in each section.

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This is not very approachable music, which is invigorating in a world saturated with neo-romantic expression. Both melodically, rhythmically and harmoniously, the work requires the listener to agree to its own logic. The limits of instrumental expression are stretched in many directions – both for the harp and for other instruments. (Egg cutters are also played.) The orchestra and harp hum and rumble.

If anything Sigla voluntarily defines what a harp and orchestra may sound like. For me, the most impressive was the second part of the work, the silence of which took its listeners like to an ancient cave to listen to the steam condense into water droplets.

Sivan Magen played sovereignly and expressively. The RSO also performed convincingly. Encorena Magen introduced Debussy Jardins sur la pluiewhich revealed even new aspects of the variance of his expression.

Sibelius The Fifth Symphony was born on both sides of the Civil War. The composer was apparently stressed. In January 1918, her daughter wrote in her diary, “Dad whispers and speaks German.”

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Nevertheless, the Fifth Symphony is a life-affirming work compared to the Fourth Symphony, as stated in the handbook – although I don’t realize what a miracle a “more objective perspective” means in the context of music. (I also recently read that a conductor is “objective,” the meaning of which is impossible to understand.)

The radio symphony orchestra played with great sound and relaxed. However, I did not understand where Nicholas Collon sought to interpret. As for the third part, I found myself thinking: yes, the rugged soundscapes are convincing and make the cold ripples run along the spine – I just don’t know how it got here. The matter seemed to be resolved without it being clear what the solution was based on.

A little the same the problem was also with Debussy In La Merwho started the concert. The rest of the parts in particular were fine and reached their maximum (it is also worth mentioning the woodwinds and the lively active cello section, Petri Aarnion not forgetting the solos).

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Yet in the work, which makes it possible to create new realities through the orchestra, there were too many sections that came to mind: where is the tension? What is important here? Instead of the unpredictability of the sea, the interpretation as a whole remained shaky and harsh.

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