Wednesday, May 26, 2010

Frankfurt RSO/Paavo Järvi: Gustav Mahler, Symphony No2

Katie Boucher
The National
May 25, 2010



Virgin Classics

This live recording of one of Mahler’s best-known symphonies brings together a show-stopping team of performers.

The Frankfurt Symphony Orchestra, a well-known Mahler Orchestra since the 1970s, has, under the leadership of the Estonian conductor Paavo Järvi, shown a new, more subtle approach to Mahler’s famously expansive oeuvre. Here, it is joined by the brilliant British mezzo-soprano Alice Coote and the highly sought-after French soprano Natalie Dessay. To top things off (Mahler never was one to do things by halves), the celebrated Basque choir Orfeón Donostiarra provides the mixed chorus in the final movement.

The result is magnificent. This is an epic work, full of giant structures and a complexity of musical language as yet unseen during the Romantic era. Yet in these hands, which deftly negotiate the Austrian composer’s penchant for multiple layers of sound, it feels entirely instinctive.

Particularly impressive are the choir’s haunting vocals in the final movement, which hum and then soar before fading out in a din of percussion. Mahler was often said to be drained by the sheer magnitude of his own work following a performance. Jarvi’s interpretation of this juggernaut of a work, though less bombastic and sentimental than some of his predecessors, is nonetheless guaranteed to have left him sprawled in a chair, dripping with sweat.


See article here:
http://www.thenational.ae/apps/pbcs.dll/article?AID=/20100526/ART/705259972/1007/rss

Tuesday, May 25, 2010

Paavo Järvi mit seinem Frankfurter Orchester auf Asien-Tournee

Baltische Rundschau

Veröffentlicht von Aino Siebert on Mai 22nd, 2010 und gespeichert unter Estland, Kultur, Musik. Sie können Kommentare über die Artikel hier mitverfolgen: RSS 2.0. Sie können einen Kommentar oder einen Trackback zu diesem Artikel erstellen



Das hr-Sinfonieorchester vertritt bei der EXPO 2010 in Shanghai die große klassische Tradition Deutschlands. Mit seinem estnischen Chefdirigenten Paavo Järvi startet das Orchester des Hessischen Rundfunks (hr) am 22. Mai zu einer Konzertreise nach China und erstmals auch nach Südkorea.

Auf www.hr-Sinfonieorchester.de ist die Tournee vom 22. Mai an in aktuellen Berichten und Bildern mitzuerleben.

Auf dem Programm stehen Werke von Brahms, Bruckner, Mozart, Weber und Dvorák. Die Aufführungen werden offiziell vom Auswärtigen Amt der Bundesrepublik Deutschland, von der FrankfurtRheinMain GmbH, der Helaba, der Hertie-Stiftung sowie der Gesellschaft der Freunde und Förderer des hr-Sinfonieorchesters unterstützt. Schirmherrin der Konzerttournee ist Petra Roth, Oberbürgermeisterin der Stadt Frankfurt.

„Dass unser Sinfonieorchester im Ausland so ein hohes Prestige genießt, macht uns sehr stolz. Es ist der beste Kulturbotschafter unseres Landes, den man sich denken kann. Mit Unterstützung der Sponsoren können wir auch sicherstellen, dass keine Rundfunkgebühren für die Tournee aufgewendet werden müssen“, sagt hr-Intendant Dr. Helmut Reitze.

70 Millionen Menschen werden in Shanghai zur EXPO 2010 erwartet. Die Megaevent der Staaten der Welt, die gerade staunenswert eröffnet wurde, dauert bis Oktober und verspricht so hervorragend zu werden wie nie zuvor.

Am 26. Mai präsentiert das hr-Sinfonieorchester im Shanghai Oriental Arts Center Webers Ouvertüre zu „Euryanthe“, Mozarts Sinfonie D-Dur KV 504 und Bruckners 6. Sinfonie als Teil des offiziellen deutschen Kulturprogramms im Rahmen der EXPO.

Im Anschluss fliegen die Musiker zu ihrem ersten Besuch nach Südkorea weiter, wo sie mit Paavo Järvi neben Webers „Euryanthe“-Ouvertüre Brahms‘ 1. Klavierkonzert (mit dem südkoreanischen Pianisten Kun-Woo Paik) und Dvoráks 9. Sinfonie präsentieren. Die Konzerte werden vor Ort von Radio- und Fernsehensendern medial begleitet.

hr-Sinfonieorchester
Das hr-Sinfonieorchester ist eines der innovativsten und flexibelsten sinfonischen Ensembles in Deutschland. Mit seinem breiten stilistischen Repertoire und seinen vielfältigen Konzert- und CD-Produktionen genießt das Sinfonieorchester mit Sitz in Frankfurt am Main internationales Renommee. Experimente und Entdeckungen im Bereich Neuer und Alter Musik sowie die Zusammenarbeit mit hochkarätigen Dirigenten und Solisten gehören dabei ebenso selbstverständlich zu seiner künstlerischen Arbeit wie zahlreiche Kinder- und Jugendprojekte.

Dirigent Paavo Järvi
ist seit 2006 Chefdirigent des hr-Sinfonieorchesters und hat seinen Vertrag mit dem Hessischen Rundfunk im vergangenen Jahr bis ins Jahr 2013 verlängert.

Bereits mit zwei „Grammys“ ausgezeichnet, gehört der Este heute zu den erfolgreichsten Dirigenten im internationalen Musikleben. Bei allen renommierten Orchestern in Europa, Amerika und Japan ist er inzwischen ein begehrter Gast. In Tallinn geboren, studierte Järvi Schlagzeug und Dirigieren und setzte ab 1980 seine Ausbildung in den USA unter anderem bei Leonard Bernstein fort. Nach Positionen als Erster Gastdirigent der Königlichen Philharmonie Stockholm und des City of Birmingham Symphony Orchestra wurde er 2001 Chefdirigent des Cincinnati Symphony Orchestra, eine Tätigkeit, die er neben seiner Arbeit beim hr-Sinfonieorchester bis heute weiterführt. Mit der Saison 2010/11 übernimmt Paavo Järvi die musikalische Leitung des Orchestre de Paris.

ast / hr-Sinfonieorchester
Fotos: Werner Siebert

Frankfurt orchestra performs

By Nie Xin | 2010-5-24
Shanghai Daily


Under the baton of Grammy award-winning conductor Paavo Jarvi, the Frankfurt Radio Symphony Orchestra will perform at Shanghai Oriental Art Center to celebrate its birthday as well as World Expo 2010 in Shanghai.
ONE of the most innovative and flexible ensembles of its kind in Germany, the Frankfurt Radio Symphony Orchestra is celebrating its 80th anniversary this season.

Under the baton of Grammy award-winning conductor Paavo Jarvi, the orchestra will perform at Shanghai Oriental Art Center on Wednesday to celebrate its birthday as well as World Expo 2010 in Shanghai.

The concert will feature Weber's overture to "Euryanthe," Mozart's "Symphony No. 38 in D Major" ("Prague Symphony") and Bruckner's "Symphony No. 6 in A Major."

The orchestra is known for its broad repertoire and its wide range of concert and CD activities. It is also known for experiments and discoveries in both old and new music in its Music Discovery Project and numerous music projects for children and young people.

Jarvi has been chief conductor since 2006 and his new contract extends through 2013.

Noted Shanghai music critic Li Yanhuan calls the Estonian-born conductor "one of the most sought-after conductors of his generation."

As one of the most important performance venues for the Expo, the Shanghai Oriental Art Center will hold almost 100 concerts during the six-month event ending on October 31.

The entire month of May is Expo month at the center and 15 major concerts will be staged. Performances have been given by the Radio Symphony Orchestra of Stuttgart, the Philharmonia Orchestra from London, the Philadelphia Orchestra collaborating with Swiss conductor Charles Dutoit and Argentinian pianist Martha Argerich and the BBC Symphony Orchestra collaborating with Czech conductor Jiri Belohlovek.

The Swedish Radio Symphony Orchestra and its new conductor Daniel Harding from England will perform in June.

Date: May 26, 7:30pm

Venue: Concert Hall, Shanghai Oriental Art Center, 425 Dingxiang Rd, Pudong

Friday, May 21, 2010

Brahms: Piano Concerto No 2; Klavierstücke Op 76, CD review

By Geoffrey Norris
Published: 3:48PM BST 21 May 2010
Telegraph.co.uk

Virgin Classics 266349 2, £13.99

The young American pianist Nicholas Angelich was born to play Brahms, and he has been wise to capitalise on the fact. All his Virgin Classics discs so far have been of Brahms’s music, be it works for solo piano or the chamber repertoire in which has collaborated superbly with the string-playing brothers Renaud and Gautier Capuçon. Angelich now follows up his exceptional recording of Brahms’s First Concerto (518998 2) with this commanding one of the Second.

Angelich has the titanic technique that has to be the first port of call in tackling music of this magnitude and power. The tone he produces here has weight, depth and richness throughout the range, with an especially compelling resonance in the lower registers. Whatever instrument he selected for this performance, it suits and complements his manner of playing ideally. Equally, the Frankfurt orchestra under Paavo Järvi has full measure of the music’s seriousness of utterance. The balance is good, the playing strong and firmly grounded rhythmically though at the same time alert to lyrical finesse. The strings possess warmth as well as sinew, the prominent solos for horn and cello emerging naturally from the texture, and the whole orchestra establishing a cohesive, animated ensemble.

Angelich does not make things sound easy, and it would be wrong if he did. There is a thrilling element of struggle and of energy being expended here, while he also has the poetic impulse to grace the slow movement with exquisite phrasing and contemplative mellowness. These qualities are no less evident and rewarding in the solo Klavierstücke Op 76, the more outgoing capriccios set in sharp contrast to the more inward intermezzos, but with all eight forming a unified span.

This is a magnificent disc, and deserves pride of place in any Brahms-lover’s library.

Tuesday, May 18, 2010

Frankfurt Radio Symphony Orchestra Hangzhou Concert




Time: 24th May, 19:30
Venue: HangZhou Grand Theatre 杭州大剧院. 66 ZhiJiang Dong Road 之江东路66号
Ticket price: 1599, 999, 699, 399, 299, 199 yuan

The Frankfurt Radio Symphony Orchestra is one of the most innovative and flexible ensembles of its kind in Germany. With an extraordinarily broad repertoire, an impressive number of CDs under its belt, and a breath-taking range of concerts each year, the orchestra of the German Public Radio of Hessen has built up an outstanding international reputation since its foundation more than 75 years ago. A regular collaborator with the world’s best conductors and soloists, it is equally at home unearthing old, nearly forgotten repertoire as it is in exploring new, experimental music. It also sees children and youth work as one of its top priorities.

It was the orchestra’s first conductor in 1929, Hans Rosbaud, with his emphasis on both traditional romantic repertoire and contemporary music, who forged the path the orchestra has trodden ever since. Following the end of World War II, Kurt Schröder and Winfried Zillig set about rebuilding the orchestra, but it was Dean Dixon, Eliahu Inbal, Dmitri Kitaenko and Hugh Wolff, who have established and carried on the orchestra’s truly international reputation in subsequent decades. Estonian-born Paavo Järvi has been the new Chief Conductor of the Frankfurt Radio Symphony Orchestra since 2006. Järvi is one of the prominent conductors of his generation and musical variety will again be one of the watchwords of his tenureship. Under his baton, the orchestra continues to enjoy an outstanding reputation worldwide.

http://english.inhangzhou.com/?p=6958

Monday, May 17, 2010

Listening Post--Bruckner review

The Buffalo News
Published: May 16, 2010

Bruckner, Symphony No. 7 and Symphony No. 9, both performed by the Frankfurt Radio Symphony conducted by Paavo Jarvi (both discs from SONY/RCA). “I love Bruckner,” reports the great 47-year-old Estonian/American conductor at the beginning of these discs of his new Bruckner cycle. “I have an affinity for his music.” And you can print all that in italics or neon or whatever accentuating device you wish because these two Bruckner recordings are absolutely extraordinary— and helped in no small measure by the Super Audio sound. The seventh symphony was the most acclaimed during Bruckner’s lifetime and the ninth was left unfinished (its fourth and final movement) when the composer died in 1896. Everything about Jarvi’s Bruckner is spectacular, from opening pianissimos to the “dancing mountains” of the magnificent scherzo of the ninth. These two discs augur a remarkable cycle from a composer who has already engendered more than a few. ★★★★(Jeff Simon)

http://www.buffalonews.com/2010/05/16/1051918/listening-post-brief-reviews-of.html

Sunday, May 09, 2010

CSO ends season on familiar notes

Mary Ellyn Hutton • Cincinnati Enquirer contributor • May 7, 2010

http://nky.cincinnati.com/article/AB/20100507/ENT03/305070041/0/ENT01/CSO-ends-season-on-familiar-notes

Music that you knew – or thought you knew – made up the final concert of the Cincinnati Symphony Orchestra season Thursday night at Music Hall.

Led by music director Paavo Järvi, it was an arch-romantic program including some of the most familiar moments in classical music. “Ride of the Valkyries” from Wagner’s “Ring” cycle was one-third of five orchestral excerpts from the “Ring” heard in the concert.

Another was Tchaikovsky’s Piano Concerto No. 1. However, as performed by guest artist Alexander Toradze, it was almost like hearing it for the first time. The well-known introduction, with the piano accompanying the orchestra, grabbed listeners by the ears as usual, but when Toradze re-stated the theme, it became soft and tender. The entire first movement had a deep emotive aspect, with effective voicing of the piano part, liberal use of pedal and exquisite dovetailing of phrases by Toradze, Järvi and the orchestra.

The second movement had a gentle, faraway aspect. Flutist Jasmine Choi’s opening solo floated on the air, while principal cellist Ilya Finkelshteyn, who seems able to draw upon the entire aural spectrum, crafted an uncanny tone to complement Toradze. Details rarely heard emerged in the finale, where the CSO’s crisp articulation closely matched Toradze’s. As if it had been his goal throughout, he poured all of his ardor into the final melody, then charged lickety-split to the end. Bear hugs, bravos and a standing ovation followed, but no encore.

Järvi assembled his “Ring” selections into five-movements, without regard to the sequence of events in the operas. This worked better in theory than practice, not only for those familiar with the “Ring,” who would expect the “Immolation Scene” from “Götterdämmerung” to be the conclusion, but on purely musical grounds. “Entrance of the Gods into Valhalla” from “Rheingold” seemed a lightweight, tacked-on end after the wrenching “Siegried’s Death and Funeral Music” (Götterdämmerung) that preceded it.

Still, if continuity did not bother you, there were plenty of moments to savor. “Wotan’s Farewell and Magic Fire Scene” (“Die Walküre”) made a thrilling opener, beginning with the huge rush of emotion preceding the god’s heartbreaking “Lebwohl” (“Farewell”) to his daughter Brünnhilde, followed by the flickering “Fire Music” with harpists Gillian Benet Sella and Liya Huang.

“Dawn and Siegfried’s Rhine Journey” (“Götterdämmerung”) broke with the CSO horns and clarinets (principal Richard Hawley, with Ronald Aufmann on bass clarinet). Principal French horn Elizabeth Freimuth had a star turn in “Siegfried’s Rhine Journey” where she exited quickly to sound Siegfried’s horn calls from the wings.

Järvi glanced mischievously over his shoulder at the audience as he cued “Ride of the Valkyries.” This was the best performed excerpt, no doubt because the orchestra is more accustomed to playing it than other parts of the “Ring.”

Principal trumpet Robert Sullivan (sounding the sword leitmotif) and the entire brass section shone in “Siegfried’s Death,” a powerful excerpt framed by the squirrely death motif in the low strings. As for Valhalla, it did not burn this time and the concert closed over the rainbow bridge.

Thursday, May 06, 2010

Music Review: Paavo Järvi - Bruckner's Symphonies 7 and 9

David R. Perry
BC Music
May 6, 2010


RCA Red Seal has released the first two volumes in a new Bruckner symphony cycle, led by the Estonian conductor Paavo Järvi. Currently acting as Music Director for the Frankfurt Radio Symphony Orchestra, the pair are also working together on this series. Fresh off a successful cycle of Beethoven's symphonies, Järvi is now turning his attention to a later giant of German symphonic tradition. Although this is the first Bruckner cycle for Järvi, the Frankfurt RSO has already made an acclaimed set under the baton of Elihu Inbal. So although part of the success for these first two entrants in a new series should be attributed to Järvi, he is leading an already seasoned group of Brucknerians.

The Seventh symphony is probably Bruckner's most popular work. And in fact, he had the not-always-common benefit of his symphonies finding popular favor during his lifetime. The Seventh, in particular, puts his musical heart on his sleeve with overt references to Wagner. Bruckner had aligned himself musically in the Wagner and Liszt camp (as opposed to the more traditional Romantic vein espoused by Brahms). With Wagner's imminent death during the writing for the Seventh, Bruckner pays him homage, especially during the expansive Adagio.

Bruckner was notoriously fastidious in his work ethic (as well as in his self-consciousness, which resulted in numerous post-premiere changes to his works), but especially with these later symphonies we see the fruits of his labor really solidifying, and the more confident musical maturity taking a sublime form. The relentlessly rhythmic opening Allegro movement takes a very scenic and thrilling journey before reaching a lush end, and matched with the Adagio account for the bulk of the work. Although frequently performed, the reading here captures a wonderfully balanced take on these disparate elements and makes for a triumphant opening to the series.

Although his final and unfinished symphony, Bruckner's Ninth doesn't really convey much in the way of incompleteness. Part of this is due to his style of composition, which to be honest has more of a "Bruckner" symphonic form than a traditional one. The movements themselves are so long, and the structure so programmatic in feel, that there is always a sense that you could just as easily be listening to collections of symphonic poems. But there is also a more divine and austere feel that runs through this symphony, and adds to Bruckner's intentional homage to Beethoven's Ninth as well.

The opening movement shows particularly well the thoughtful pacing that Järvi and the Frankfurt orchestra bring to each work, bestowing on this one a purposefully glorious (as well as tragic) ode to life and death. The tranquil finality of the Adagio movement (titled "Farewell to life") has plenty of resolve on its own, just not of the typically rousing, Finale flavor. Had there actually been a completed fourth movement, the running time alone would have pushed things into Mahler-esque territory, and perhaps would have undercut the potency of the Adagio. A very moving work without any real perception of incompleteness.

In addition to just being worthy performances, these releases are also hybrid Super-Audio CD (SACD) discs. The surround sound layer is handled conservatively, but sumptuously. The orchestra doesn't sound as if they were recorded for dramatic spacial separation, but more just fullness of sound. The sonics of this layer scratch an audiophile itch more than they do a crazy speaker setup. But as a musical presentation, it's incredibly nice to have this option as well as just the standard CD layer.

These are beautifully played symphonies, and as aggressively-priced hybrid SACDs, they are fantastically easy recommendations. Järvi occasionally keeps things on the brisk side of the tempo markings, but nothing out of step with traditional interpretations. Granted, Bruckner's symphonies can feel overly elongated to those not inclined towards the high-German style of both Bruckner and Wagner, but even with that these are two of his more universally loved offerings. And to those who are already fans of Bruckner's symphonies, these should be considered very worthy additions, especially for audiophiles looking for impeccably performed and high-definition readings. If these are any indication of what's to come, this should be an exciting series to follow


Read the article here: http://blogcritics.org/music/article/music-review-paavo-jrvi-bruckners-symphonies1/#ixzz0nCUFkK00

Saturday, May 01, 2010

Paavo Järvi viib Cincinnatisse huvitavaid kavasid

uudised.err.ee
Priit Kuusk
01.05.2010 17:08

Dirigent Paavo Järvi, kes on loobumas Cincinnati Sümfooniaorkestri muusikadirektori ametist, viib sinna järjekordselt väga huvitavaid kavasid.

Märtsikuul kõlasid Cincinnatis haruldustena tänapäeva kuulsa prantsuse klassiku Henri Dutilleux’ Esimene sümfoonia, enne seda varalahkunud viinlase Hans Rott’i ainsaks jäänud Esimene sümfoonia ning 20. sajandi tippheliloojate Raveli, Bartóki, Messiaeni või Lutosławski suurepärased oopused.

Paavo Järvi on juhatanud ka Cincinnatis mitte kunagi varem esitatud muusikat, alates ametisseastumisest 2001. aastal viinud orkestri suurtele kontserdireisidele, avardanud igal hooajal selle repertuaari, toonud kuulsaid soliste, plaadistanud ning saanud oma töö eest rea rahvusvahelisi tunnustusi.

Kui 6. ja 8. mai kontserdid juurde arvata, on Paavo ainuüksi sellel aastal dirigeerinud Cincinnati Sümfooniaorkestri eest harukordselt juba kokku 24 kontserti(!). Praegu on ta eriti rohkesti juhatanud prantsuse, aga ka vene muusikat.

23.- 25. aprillil kõlas Music Hallis tema juhatusel omalaadne Itaalia kava: Hector Berliozi avamäng "Rooma karneval", Berliozi sümfoonia "Harold Itaalias" ja tema avamäng "Benvenuto Cellini", lõpetuseks itaalia helilooja Ottorino Respighi sümfooniline poeem "Rooma piiniad".

6. ja 8. mail dirigeerib Paavo Järvi Cincinnatis Tšaikovski Esimest klaverikontserti ja Richard Wagneri ooperite sümfoonilisi pilte. Solistiks tuleb Gruusiast pärit Aleksander Toradze, Wagnerilt kõlab neli orkestristseeni ooperitetraloogiast "Nibelungide sõrmus".

Paavo Järvi avab ka Cincinnati Sümfooniaorkestri uue hooaja Richard Straussi kavaga septembris, solistiks Kathleen Battle, ning juhatab seal ka enne jõule.