Culture|Concert review
Susanna Mälkki conducted Schönberg’s piano concerto with commanding and striking.
Classic. Helsinki City Orchestra at the Music Hall 3.12. Susanna Mälkki, conductor, Pierre-Laurent Aimard, piano. – Szymanowski, Schönberg, Dvorak.
Igor Stravinsky piti Arnold Schönbergin style in a flamboyant and unpretentious way. He apparently focused on Schönberg’s piano concerto (1942), which was heard at the HKO concert.
Admittedly, a piano concerto is not beautiful music. It can also be considered pompous.
Admittedly, the concert begins with a rather charming waltz. In its lightest melody, Schönberg recalled his happy Vienna times in Los Angeles, where he moved in 1933 to escape the persecution of the Jews.
The waltz is based on the key sequence of the 12-note system developed by Schönberg. What is admirable and amazing is that this line of 12 tones, which seems so fragile at first, develops four completely opposite parts of their characters. The concert is a masterpiece of architectural-theoretical composing skills.
Roll leads to an expressionist-Freudian rut, in which densely packed textures and explosive eruptions and chamber musical-lyrical episodes vary dramatically.
French pianist Pierre-Laurent Aimard forged his super-difficult and fiery episodes in a playful and bomb-proof manner. To breathe, he stopped in his cool poetic peaceful episodes and intelligent cadres.
The Rondo final surprised with its hilarity and traditional ingredients. It is like an attempt to revive the joy of life in Vienna in the midst of anxiety.
Susanna Mälkki conducted the concerto with commanding and striking grips, maintained high tension, and tensely articulated the pressurized and scorching, rather than black-and-white, flow of music.
Evening began with the Polish Karol Szymanowskin (1882-1937) With a concert overture, which is the first orchestral piece of its composer. Concert overture the first awesome gesture even brought to mind a little amusingly Richard Straussin Don Juan -Poem. The whole work was bubbling and glowing in the style of young Strauss with variations of bold drama and sensual atmosphere.
Mälkki led Concert overture airily and caused its Dionysian splendor of color to ignite the great intoxication of life.
Concert ended Dvorakin to the Eighth Symphony in G major. Its enchanting stream of melody flowed in Mälk’s direction as a stream, with ever-changing romantic bullshit colors, rising and falling.
The microclimate of the symphony remained a little cool in the first two parts, but the sweet waltz of the third part made the orchestra warm. The finale was an equally colorful and instrumental joy.
Special thanks must be given to the finale of the double bass pounding and the flaming rhythm of the horns.
Read more: HS interview with Pierre-Laurent Aimard from 2012.
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