Johannes Brahms was a deeply personal one when he composed his dubble concerto for violin and cello. It was an extended stråke for the violinist Joseph Joachim, his closest male friend and supporter after a long and painful break. You could not talk with each other, could perhaps the violin and cellon do it (Brahms had played the cello in his youth).
the Result was a unique and fully balanced reconciliation dialogue in the toner. Artonårige stjärnviolinisten Johan Dalene and close to forty years older cellomästaren Torleif Thedéen was as unusual as the brilliant combo in this brahmska brödradrama. Ranging from the outraged gruffande move over mellansatsens ”bromance” – in which the violin and cellon hooks the arm in the same warm melody to this playful dribblande.
ovation bear witness, and enough of the audience’s delight that, for once, get to meet the Swedish virtuosos in the ”big”, well-known repertoire. The few times that domestic soloists appear on our orkesterscener is always to make rare, ”less” works. An additional plus to the Norrköping symphony Orchestra, which actively monthly on the city’s young superstar, Johan Dalene.
Lithuanian Giedré Slekyté is a wave of young female conductors on the rise; many of them pass by in the Swedish concert hall this season. Here, she received two shorter English works on the conductor’s podium. Ingvar lidholm’s 40-talistiska early piece ”Toccata e Canto” deserved a more careful and tender phrasing, while Molly Kiens ”Pyramid”, inspired by Hilma af Klint, was a stately and färggnistrande stature.
Norrköpingssymfonikerna gave a powerful but well square framing to the Brahms dubbelsolister and answered, filling in the Slekytés precise directive in Igor stravinsky’s ingenious heeling ”Symphony in C”. But something really turn you didn’t.