Friday November 24, 2006 SGN.org |
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Volume 34 Issue 47 |
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Saturday, Aug 30, 2008
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Seattle Symphony Orchestra: Two memorable concerts at Benaroya |
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| Seattle Symphony Orchestra: Two memorable concerts at Benaroya | ||
| by Rod Parke -
SGN A&E Writer The Seattle Symphony arranged two wildly dissimilar concerts last week, each with challenging modern works combined with easy, popular pieces. The first brought another chance to explore the riches of Bartok's genius, this time in his 'Sonata for Solo Violin' in a concert by Gidon Kremer. In Latvia of the 1950's Kremer was a dazzling whiz kid and friends with a kid named Mikhail Baryshnikov. Kremer is still known for his dazzle and "far out" programming. He recently joined Baryshnikov and gave a recital at the latter's new intimate Howard Gilman Performance Space in NYC. He brought that same wild program to Benaroya Hall. Most of the works were related to J.S. Bach's cannon, beginning with a treatment of Bach's "Fuga Canonica" from the 'Musical Offering' that reminded one of the Modern Jazz Quartet's explorations of Bach. Indeed, it was scored for violin and vibraphone, played here by Andrei Pushkarev (looking rather like a young George Clooney). The result was a lovely, entirely tonal beginning to an evening of much more daring tonal adventures. Jumping abruptly out such comfortable if somewhat novel waters, Kremer and Pushkarev then articulated Czech composer Lubos Fiser's "Crux" for violin, three timpani and tubular chimes. No obvious connection to Bach here other than the thematic repetition and transformations. Pushkarev began at the kettle drums and then progressed to the chimes, at first softly and then louder. From such unusual tonalities, we then retreated to solo piano, as Andrius Zlabys gave limpid, shimmering voice to piano transcriptions of two Bach chorales. This proved a welcome repose before launching into Kremer's awesome performance of Bela Bartok's brilliant 'Sonata for Solo Violin.' This lengthy work began with a reference to Bach's most famous "Chaconne" for violin and included fugal elements, but one could hardly wander farther from baroque sonorities. It was the real "meat" of the evening, constantly surprising, even startling us with original changes. Kremer seemed to revel in its technical demands, often playing with bent knees and a vitality that belied his grey hair and craggy face. Stevan Kovacs Tickmayer's 'Three Variations on a Hymn of J.S. Bach' (2005) opened the second half, with all three musicians involved. It was interesting but not exactly memorable to these ears. More engaging were the three arrangements by vibraphonist Pushkarev of Bach's 'Two-part Inventions.' Each of the three were arranged "in the mood of" Bill Evans, Oscar Peterson, and Dave Brubeck respectively. All were very easy to enjoy, displaying the soloist's great virtuosity to awesome effect. The recital closed with stunning performances of "Grand Tango" and 'Three Milongas' by Argentine Astor Piazzolla. From Bach and Bartok we emerged into the intoxicating tango rhythms of modern jazz, and our performers could not have looked more at home. This was no awkward crossover trick, but an affectionate delivery of loveable, sophisticated music. If the Seattle Symphony persists in bringing such brilliant guest conductors for us all to hear, the decision of whether to go with those players who wish to dump long-time Music Director Gerard Schwarz will become "Like DUHH!" After two weeks of excitement with guest conductor Lawrence Renes, we got only one week's visit by Norwegian Arild Remmereit, whose genius was of a very different sort but perhaps as impressive as Renes'. Few works are more familiar than Edvard Grieg's music from 'Peer Gynt,' but Remmereit forced ears, tired of overexposure, to re-evaluate Grieg's genius. Not only was this reading elegant; it was daring and extremely poetic. And how the Orchestra played for this man! The softest pianissimo's, the best-sustained tension over extremely slow tempi, the warmest string sound&these were just a few of the miracles Remmereit worked with the players. His affection for the music was contagious. It was obvious that everyone was having a terrific time. Remmereit's conducting manner is so "out there" that I would want more exposure to be confident that it works equally well in a broad range of musical styles. That it worked perfectly in the Grieg was obvious. He used no score. His movements were as extravagant as Leonard Bernstein's. He seemed never to miss a cue. Like Renes, his feet often left the podium. He leaned into the orchestra and made very clear which orchestra sections he was addressing. And he did all this with facial expressions that made emotions almost embarrassingly exposed. Genius or madness? I'd sure love to see more! |
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