The Saturday night found us back with the strings. The first half was the ‘Sacha and Qian show’. Which, as you know, I will go a long way to see. We had the Saint-Saens Rondo Capriccioso from Mr S, and the Chopin no2 Piano Concerto from Mrs S. Two pieces I actually know, two pieces written in the era when composers for piano and violin seemed to vie with each other to see who could put the most part-notes into a bar. They are nothing if not pieces of music for virtuoso performers, and tonight that was certainly what we had. The Saint-Saens skitters and trips through its tuneful measures in a shower of tiny notes, and watching the violinist’s fingers and bow dance around the instrument is quite a task. It was wholly and frothily melodious and enjoyable. The Chopin is a rather stronger work. I wrote last time round about Qian’s ‘gentle’ playing. Well, that adjective wasn’t suitable tonight. Once the pianist starts on this concerto, she is full on for nearly the entire work, and some of it is distinctly well-muscled. Our pianist encompassed the strong and sinewy portions with as much élan and success as the rollingly lyrical pieces, again, amid a positive battery of what I assume were semi- or demi-semi-quavers. The orchestra sort of faded into the background, as she accomplished her very starry performance. Another winner. Part two was Tschaikowsky. A piece I didn’t know called ‘Souvenir de Florence’. But I always like Tschaikowsky. The string group of 15 players were attractively arranged, standing, except for celli and bass, and Matthias Wollong, who did duty as lead violin and conductor when needed, led the group from the front. You know, I can only wonder what Tschaikowsky was remembering about Florence. Apart from a bit that sounded like Respighi, I didn’t hear much that was traditionally Italianate. There was one bit that even sounded like a reminiscence of ‘Swan Lake’. And the work didn’t hold me. I found myself losing concentration and thinking ‘why does the cellist always have the best-looking dress’, ‘the bassist is cute’ or ‘the first violin looks like my niece’. It was all charming, all pretty, all unobjectionable, but it just didn’t grab me. Maybe I was just a bit stringed-out. I needed some wind and brass to vary my diet. To end the Festival with a big flourish. Or ‘God Save ..’ whoever they save in Jersey, sung by Miss Bevan. But the whole festival has been a joy. I knew it would be, which is why I came. And why I will come back (please, fate) next year. My abiding memories? The Sacha and Qian show, in all its manifestations, Miss Bevan and her ‘Gloria’, and guess what … the Gorecki. I don’t pretend to be able to hum it, but that performance will definitely stay with me for a long time. Thank you Liberation Festival, it’s been huge fun listening to your music and meeting old musical friends and a whole lot of new ones. Now, A few days R&R, and then I’ll swap hats and turn back to writing about, guess what? Horse-racing! Postscript: The choir tells me that the unexpected Gorecki is called 'Totus tuus'. Unfortunately they didn't leave an email (mine is ganzl@xtra.co.nz) so I could write back and says 'thanks'.
Monday, May 14, 2012
"The Festival is over..", or "Will ye no come back again"
The Saturday night found us back with the strings. The first half was the ‘Sacha and Qian show’. Which, as you know, I will go a long way to see. We had the Saint-Saens Rondo Capriccioso from Mr S, and the Chopin no2 Piano Concerto from Mrs S. Two pieces I actually know, two pieces written in the era when composers for piano and violin seemed to vie with each other to see who could put the most part-notes into a bar. They are nothing if not pieces of music for virtuoso performers, and tonight that was certainly what we had. The Saint-Saens skitters and trips through its tuneful measures in a shower of tiny notes, and watching the violinist’s fingers and bow dance around the instrument is quite a task. It was wholly and frothily melodious and enjoyable. The Chopin is a rather stronger work. I wrote last time round about Qian’s ‘gentle’ playing. Well, that adjective wasn’t suitable tonight. Once the pianist starts on this concerto, she is full on for nearly the entire work, and some of it is distinctly well-muscled. Our pianist encompassed the strong and sinewy portions with as much élan and success as the rollingly lyrical pieces, again, amid a positive battery of what I assume were semi- or demi-semi-quavers. The orchestra sort of faded into the background, as she accomplished her very starry performance. Another winner. Part two was Tschaikowsky. A piece I didn’t know called ‘Souvenir de Florence’. But I always like Tschaikowsky. The string group of 15 players were attractively arranged, standing, except for celli and bass, and Matthias Wollong, who did duty as lead violin and conductor when needed, led the group from the front. You know, I can only wonder what Tschaikowsky was remembering about Florence. Apart from a bit that sounded like Respighi, I didn’t hear much that was traditionally Italianate. There was one bit that even sounded like a reminiscence of ‘Swan Lake’. And the work didn’t hold me. I found myself losing concentration and thinking ‘why does the cellist always have the best-looking dress’, ‘the bassist is cute’ or ‘the first violin looks like my niece’. It was all charming, all pretty, all unobjectionable, but it just didn’t grab me. Maybe I was just a bit stringed-out. I needed some wind and brass to vary my diet. To end the Festival with a big flourish. Or ‘God Save ..’ whoever they save in Jersey, sung by Miss Bevan. But the whole festival has been a joy. I knew it would be, which is why I came. And why I will come back (please, fate) next year. My abiding memories? The Sacha and Qian show, in all its manifestations, Miss Bevan and her ‘Gloria’, and guess what … the Gorecki. I don’t pretend to be able to hum it, but that performance will definitely stay with me for a long time. Thank you Liberation Festival, it’s been huge fun listening to your music and meeting old musical friends and a whole lot of new ones. Now, A few days R&R, and then I’ll swap hats and turn back to writing about, guess what? Horse-racing! Postscript: The choir tells me that the unexpected Gorecki is called 'Totus tuus'. Unfortunately they didn't leave an email (mine is ganzl@xtra.co.nz) so I could write back and says 'thanks'.
Many thanks for your kind words about the choir! We had a great weekend too.
ReplyDeleteThe Gorecki piece we sang is called Totus Tuus. You're spot on about the Marias. It's a prayer to Mary.
Thanks again. Hope to see you there again next year.