This evening is under the Heading of “late works”, so there is music of the late men. Whether early or late, Winter or summer time, all of this is of course a matter of perspective, Dvorák wrote anyway, his Symphonic poem “The noon witch” is already with his mid fifties, but died a few years later, Ligeti composed his violin Concerto, with almost seventy, reached, however, the eighty-three.
bartók’s Concerto for orchestra was not, in fact, in the last two years of his life, he decided as Mittsechziger, still really old, like all his music this evening in the Philharmonie like best, so alive, she charges forward, sent the composer, has orchestrated them, for example, with a thick chorale in the sheet metal via smart drum accompaniment. Even more interesting, however, than the question of whether late works are more likely to be ripe or already half rotten and why the early works of repute is so often bad, is the constellation in which the German Symphony orchestra presents: the American Karina Cannelakis on the console, which takes on the program with a repertoire of Movement made from steel and determination in equal Parts. And the Finnish violinist Pekka Kuusisto, who plays the Solo part in Ligeti’s Concerto and as an encore, “a Romanian folk song,” argues, by taking the violin as a guitar, and a gentle Geschrabbel a fun song to whistle. Incidentally, it is a tool, he gets them quickly from the ranks of the orchestra, because the own had taken under the requirements of Ligeti’s violin Concerto in damage.
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Houston Symphony at the Konzerthaus in Texas to be a guest in Berlin
Hans Ackermann
Kuusistos unpretentious, almost hoarse tone, the fearless Abfiedeln of Repetitions and chord plunge in Pianissimo, followed by the screams (in the last Solo Passage of the “Appassionato. Allegro molto“) – all this is suitable to give Ligeti’s already a special solo concert a special taste. A strange evening, in the best sense.