Sweden's Johan Dalene beautifully interpreted Korngold's violin concerto, one of the most important composers of symphonic film music.
Classic
Helsinki City Orchestra at Musiikkitalo 16.2. Michael Sanderling, conductor, Johan Dalene, violin. – Korngold, Tchaikovsky.
Helsinki the city orchestra's concert started on Friday by Erich Wolfgang Korngold with a violin concerto from 1945.
Korngold (1897 –1957), who started his career as a successful child prodigy, moved from Austria to the United States in Hollywood in 1934, where he became one of the most important composers and founders of symphonic film music.
Korngold considered himself a Viennese until Hitler announced that he was Jewish. After settling in Hollywood, Korngold vowed to compose only film music until Hitler was overthrown. The reason was also practical: Korngold supported his family with film music.
Korngold scored and won awards for sixteen Hollywood adventure films of the 1930s and 1940s. The violin concerto is based on Korngold's film scores, and from them you can get a good idea of his style, even if you have never seen the films.
with Korngold had the skill to develop long-winded lyrical melodies. A young Swedish star violinist who performed as a soloist at the HKO concert Johan Dalene (b. 2000) weaved from his Stradivarius violin radiating gold dust, singing beautifully and light melody lines, which by Michael Sanderling led by HKO followed with refined and delicious, downright luxurious late romantic orchestrations.
Korngold also had an excellent sense of drama. Each of the three parts of the concerto is a story in which the main character played by the violinist goes through his romantic adventure. A deep sense of destiny emanated from the low strings.
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The violin concerto is based on Korngold's film compositions.
The folk dance riot of the finale was a sharp contrast to the yearnings of the previous two parts. Dalene's bow virtuoso bounced back and forth with the strings of the violin.
Pyotr Tchaikovsky Sanderling conducted the fourth symphony so rousingly that the audience burst into cheers after the performance.
Solomon Volkov says Seppo Heikinheimon translating into Finnish Peter– in his book, that in his fourth symphony, especially in its finale, Tchaikovsky brings the individual into conflict with society.
At the beginning of the first movement, Sanderling powerfully echoed the symphony's brassy “force of fate preventing happiness”, which rushes to the fore in the important turns of the piece. Hopelessness, joy, dreams of happiness, the drug of the moment and heavy-heartedness varied in the sometimes lushly dramatic, sometimes lyrically dance phases of this soul drama.
Sanderling led the course of the symphony with clear and sinewy, sometimes striking gestures, and conjured up the fantastic instrumental richness of the work, the alternation of strings and woodwinds and their glowing, colorful harmony.
In the jubilantly booming and dreamy finale, the unhappy individual finds a moment of happiness in the communal effervescence of the folk festival. It is a good therapy for those suffering from depression.
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