Culture|Concert review
The Tapiola Sinfonietta plays fantastically colorful. The surprise number of the rest was heard by the Ukrainian Valentin Silvestrov’s Anthem for string orchestra – a sad memory of happy days.
Classic
Tapiola Sinfonietta at the Espoo Cultural Center 4.3. John Storgårds, conductor, Ismo Eskelinen, guitar. – Stravinsky, Fagerlund, Ravel, Silvestrov.
Sebastian Fagerlund is a resident artist at the Tapiola Sinfonietta in the period 2021–2022. She finds the contact inspiring and enjoys a musical journey together and an exciting dialogue.
Fagerlund received its premiere on Friday Chamber Symphony. In it, Fagerlund takes all the power and skills out of the orchestra’s resources, players and instrumental groups.
In the slow first part of the three-part work, Fagerlund often lets all sections of the orchestra roar at the same time. In such a mixing sound, there is a risk that the sound will become clogged and too thick.
The fact that Fagerlund’s composing skills speak a lot is that John Storgårdsin under the leadership of the Tapiola Sinfonietta also breathed freely in the embrace of a full-fledged path. It glowed with a deep, wide and high stream of color.
The first part is dominated by a long, romantic-toned melodic line that is sometimes broken by rhythmic rhythms. Individual solo instruments began to emerge from the chord stream.
The pounding of the big drum created a dramatic vibe. There was a waiting mood during the first part: some exciting event was coming.
The excitement unleashed in the glorious and joyful rhythmic fast middle part.
The energy stocks had been used up for a while. The third, slow part began in a paused silence, in which a fantastic, translucent, squeaky, and vibrating world of sound began to unfold little by little from the basic material of the symphony.
Fagerlundia is characterized as a “postmodern impressionist”. Postmodernism is also a kind of double coding of works.
Chamber Symphony it was easy to receive, it could be experienced as colorful images of nature, and its three-part, rather classical arch shape was easy to grasp as well.
On the other hand Chamber Symphony the skillful organic structure has levels and subtleties that interest music experts.
Kimmo Eskelinen was Fagerlund as a skilled and poetic soloist Transitin the guitar concerto (2013). In it, Fagerlund has tuned the sound so airy and hovering that the course of the guitar was always clearly audible.
The six-part concert was a fascinating journey into an Andalusian-inspired playing environment where you heard exotic tones of Arabic music. The sound catalogs changed from the initially quiet keystrokes to dancing rhythmic patterns, flashing arabesques, fiery fast runs and rhythmic, flamenco-like explosions.
Fagerlund has developed his guitar concerto very well from its basic cells. It guarantees the close logic of varying moods and metamorphoses.
Concert started Stravinsky With eight instrument miniatures, based on piano pieces written by the composer for children. Without them, they moved and danced gently and wisely.
Ravel composed Tombeau de Couperin in memory of his friends who died in World War I. Behind these charming baroque dances one should hear deep sorrow – which did not come very clear this time.
An extraordinary number of surprises was heard by a contemporary Ukrainian composer Valentin Silvestrovin romantically beautiful and fragile Anthem for string orchestra. It was a sad memory of happy days past.
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