Concert Review Under normal circumstances, Sauli Zinoviev’s piano concerto would have been enthusiastically received – now it is playing in an empty hall

A neo-romantic, audience-friendly novelty bursting with imagination.

Classic

Radio Symphony Orchestra at the Music Hall 7.1. Klaus Mäkelä, conductor, Víkingur Ólafsson, piano. – Zinoviev, Sibelius.

Sauli Zinoviev (b. 1988) the piano concerto had to wait more than two years for its premiere. It was completed in the early autumn of 2019 by order of the Radio Symphony Orchestra and the Swedish Radio Symphony Orchestra.

Now the RSO finally presented it – in an empty hall. Had the hall been full of audience, Zinoviev’s audience-friendly, neo-romantic concert would probably have received an enthusiastic reception.

The concert will follow the traditional three-part concert formula, and its ensemble with its varied mood characters is easy to outline.

There is nothing new and strange in the structure of the concert, nor, in fact, in the sounding material.

What is new and impressive, on the other hand, is the bursting imagination with which Zinoviev deals with his various traditional, exhaustive and inspiring material on music.

See also  Finnish and Swedish social democracies accelerate towards NATO

The concert mobilizes the listener’s emotions, it evokes a strong decision, a lyrical desire to dream and wild playfulness. It’s a grand and fast-paced virtuoso concerto that also has its meditative calm sides.

That is why it is grateful to play for both the soloist and the orchestra.

Orchestra resources Zinoviev often uses to the maximum, and he has performed the division of labor among the callers so evenly that no section of the RSO could have complained that he did not get enough to call.

Icelandic Víkingur Olafsson was allowed to demonstrate almost his entire arsenal of pianist arts. Technically, the solo part is a lot of debt Sergei Rachmaninoff to the poetic brilliance of piano concerts and the gleaming skill of light.

The grand piano’s entire keyboard was in heavy use, from a treble ringing to pounding deep bass.

The concert began the piano twinkled in the twinkling star mood, to which the sudden copper rhythms brought a slight sense of threat.

See also  Football | Liverpool fulfill Svennis Eriksson's 'last wish'

The first part of this expanded into a pathetic drama full of contrasts – but no conflicts. Zinoviev has the ability to blend his colorful materials into a skillfully integrated, organic whirlpool.

The second slow part, dominated by steady slow rhythms, was a moment of contemplation and loneliness. From the finals erupted a vulgar and sometimes rumbling virtuoso play that rolled like a perpetual motion and pounded toccata-like.

Fiery double octaves and furious chord crowns crowned Ólafsson’s spectacular performance.

Klaus Mäkelä is known for the delicate precision with which he extracts all the details and nuances of the works he directs. There were really enough of them in Zinoviev’s concerto. At the same time, he built a stunning, sparkling and crackling overall shape.

The lonely atmosphere of the empty hall suited Sibelius to the Fourth Symphony. Mäkelä seemed to conjure up the themes of the symphony as if out of some obscurity and silence.

The mood ranged from anxiety to a feeling of bliss. Mäkelä had a sensitive ear to the painful triotonus tensions of the symphony and the changes in the mystical harmony colors.

See also  Skiing After the medal ceremony, Iivo Niskanen raised a fierce dispute with Joni Mäki and told how the war axes were buried

The whole symphony was a dark play of mysterious metamorphoses. Thanks to Mäkelä’s skilful route planning, the often fragmentary course of the symphony seemed fatally inevitable.

.
#Concert #Review #normal #circumstances #Sauli #Zinovievs #piano #concerto #enthusiastically #received #playing #empty #hall

Related Posts

Next Post

Leave a Reply

Your email address will not be published. Required fields are marked *

Recommended