Monday, April 29, 2013

Uudised Paavo Järvi alustab aprillikuud esinemistega külalisdirigendina

Eesti Kontsert
Priit Kuusk
Aprill 2013

Dirigent Paavo Järvi esineb sel kuul rohkem külalisdirigendina, kui oma orkestrite ees – kontsertidega Inglismaal ning Berliinis, esimeses maineka Philharmonia Orchestra'ga Londonist, Berliinis seisab ta aga kuulsate Berliini Filharmoonikute ees filharmoonia suures saalis.
 Viimasel paaril-kolmel aastal on Paavo Järvi esinenud külalisdirigendina teiste orkestrite ees harva, sest tema kontserdiprogramm kokku kolme oma orkestriga on nii tihe, et ei võimalda mujale juhatama minna. Siiski on aprillikuu esipool siin huvitavaks erandiks.

3., 4. ja 6. aprillil ning veel 7. aprillil oli Paavo Järvi kutsutud esinema Londoni ühe mainekama, Philharmonia Orchestra ette, kelle peadirigendiks on Soome maestro Esa-Pekka Salonen. Ta mängis nendega kaks erinevat kava, kolmel esimesel päeval kena klassikalise programmi, kus kõlasid Franz Joseph Haydni Sümfoonia nr 85 („La Reine“) ning Inglismaal väga armastatud Jean Sibeliuse Sümfoonia nr 1. 3. ja 4. aprillil oli kavas ka Johannes Brahmsi Viiulikontsert, solistiks oli grusiinlanna Lisa Batiašvili. Ei unustata märkida, et Lisa mängib kunagi Joseph Joachimile kuulunud Stradivari viiulil. 6. aprillil oli kavas Haydni ja Sibeliuse vahel Ludwig van Beethoveni Klaverikontsert nr 1, solistiks samuti grusiinlannast muusik, pianist Khatia Buniatišvili. Kaks õhtut olid väljasõidukontserdid Bristoli Colston Halli ning Hampshire'i Basingstoke'i kuulsasse saali The Anvil, neljapäeval, 4. aprillil mängiti orkestri residentsis Londoni Kuninglikus Festival Hallis.

Paavo Järvi teine kava Philharmonia Orchestraga 7. aprillil toimus pühapäevases pärastlõunases sarjas samuti Festival Hallis, ja siin olid ettekandel Sibeliuse „Karjala süit“, Edvard Griegi Klaverikontsert ning Antonín Dvořáki Sümfoonia nr 7. Siingi oli solistiks grusiinlanna Khatia Buniatišvili.

Kontserdist Bristoli Colston Hallis on ilmunud 'Bachtracki' veebilehel 4. aprillil suurepärane arvustus, autoriks Alexandra Hamilton-Ayres, vt paavoproject.blogspot.com/2013/04/paavo-jarvi-lisa-batiashvili-and.html. Enne seda ilmutas 'Paavo Project' 3. aprillil pikema, väga huvitava intervjuu Paavo Järviga tema tööst kolme oma orkestriga, vt paavoproject.blogspot.com/2013/04/the-audience-is-almost-kind-of-family.html. Ja veebiajakiri ConcertClassics ilmutas 3. aprillil ka Alain Cochard'i arvustuse Paavo kontserdist 27. märtsil Orchestre de Paris' ees Pleyeli saalis.

Koguni kolmeks õhtuks on Paavo Järvi kutsutud juhatama Berliini Filharmoonia suurde saali – kontserdid Berliini Filharmoonikutega 11., 12. ja 13. aprillil, siin on kavas Beethoveni Sümfoonia nr 1, Paul Hindemithi Viiulikontsert, solistiks Frank Peter Zimmermann, ja Sibeliuse Sümfoonia nr 5. Kõik kolm kontserti on välja müüdud.

Alles kuu teisel poolel on Paavo Järvil võimalus tulla oma orkestrite juurde: Frankfurti Raadio Sümfooniaorkestri ees esineb ta Alte Operis 18. ja 19. aprillil (kavas Grieg, Tšaikovski ja Nielsen) ning Orchestre de Paris'ga on tal järjekordsed kontserdid Pleyeli saalis Pariisis 23. ja 24. aprillil (Ravel, Sibelius, Brahms).

'Paavo Project' avaldas 3. aprillil ka Cincinnati muusikaajakirjaniku, kauaaegse Järvide tutvustaja ja toetaja ning palju kordi Eestis käinud Mary Ellyn Huttoni artikli tänavusuvisest Järvi Akadeemiast 12.- 24. juulil (registreerumise viimane kuupäev on 15. aprill) ja Järvi Festivalist 16.- 23. juulini Pärnus, kus tippkülaliseks on noor USA viiuldaja Hilary Hahn.

http://www.concert.ee/paavo-jarvi-alustab-aprillikuud-esinemistega-kulalisdirigendina

Saturday, April 27, 2013


Leonidas Kavakos, l’Orchestre de Paris et Paavo Järvi: rencontre au sommet

Classique d'aujourd'hui
Bruno Serrou
26/04/2013


Paris, Salle Pleyel, jeudi 25 avril 2013


Leonidas Kavakos. Photo : DR

L’Orchestre de Paris aura confirmé une fois encore son haut niveau d’excellence qu’il conforte à chacune de ses prestations Salle Pleyel. Cette fois, sous la direction de son directeur musical, il a brillé dans un programme qui lui permettait de démontrer les diverses facettes de ses spécificités : la musique française, qui est sienne, la finlandaise, dans laquelle son « patron » excelle, et l’allemande, cœur de son répertoire.


Orchestre de Paris, une partie de la section des "vents". Photo : (c) Orchestre de Paris, DR

C’est curieusement dans ce qui lui est atavique, les Valses nobles et sentimentales de Maurice Ravel qu’il a le moins brillé. Ses sonorités sont en effet apparues peu flatteuses, saturant dans les tutti et les nuances situées entre forte et fortissimo. Tant et si bien que les textures se sont faites coup embrouillées, les lignes peu claires tant il a été impossible de distinguer les voix de l’orchestration ravélienne. En revanche les valses les plus délicates et les plus doucereuses se sont avérées délicieusement fruitées et les nuances exquises (les cinquième valse), suscitant une vraie jouissance auditive. Quant à l’Epilogue, il s’est éteint dans le silence avec une sensualité et une chaleur communicatives.

Le moment le plus attendu du public était comme souvent l’œuvre concertante. Cette fois, l’intemporel Concerto pour violon et orchestre en ré mineur op. 47 de Jean Sibelius, dans la partie soliste était confiée à l’époustouflant Leonidas Kavakos, qui avait notamment enthousiasmé Pleyel en décembre dernier dans le Concerto n° 2 de Karol Szymanowski avec le London Symphony Orchestra et Valery Gergiev (voir http://brunoserrou.blogspot.fr/2012/12/valery-gergiev-et-le-london-symphony.html). Violoniste extraordinaire remarquable d’aisance et de dynamique, à la technique infaillible au service d'une musicalité inouïe, imposant un plaisir des sons de chaque instant, riche d’un nuancier infini - ahurissantes transitions entre fortissimo/forte/piano/pianissimo -, l’extraordinaire artiste grec a suscité un silence quasi religieuse, le public ayant carrément le souffle coupé par ce qu’il entendait et voyait. Paavo Järvi a façonné pour son soliste un support orchestral somptueux au tissu onctueux. Les quatre cors ont été éblouissants d’évocation et de carnation, donnant une incroyable profondeur de champs au chant du violon. Concentré et particulièrement à l'écoute de Kavakos, l’orchestre dans ses propres soli et tutti a déployé de merveilleuses plages d’une beauté scintillante et une puissance impressionnante. En bis, Kavakos a donné un mouvement lent de Sonate de Jean-Sébastien Bach.

L’Orchestre de Paris et Paavo Järvi ont brossé une Symphonie n° 3 en fa mineur op. 90 de Johannes Brahms jaillissante. Comme montée sur ressort, épanouie, charnelle, magnifiée par orchestre onirique et aux graves onctueux (basses ont été renforcées, avec neuf contrebasses, onze violoncelles, onze altos), tandis que le cor solo était tenu par André Cazalet, qui succédait à Benoît de Barsony, cor solo en première partie de concert, tous deux ayant il est vrai fort à faire dans les œuvres à chacun dévolues). Tous les pupitres flamboyaient (bois et cuivres, cordes moelleuses), Järvi, dans des tempi rigoureux mais souples nettement dans l’esprit de Brahms, portant la partition à ébullition. Exaltant des timbres enivrants, l’Orchestre de Paris a répondu avec enthousiasme et probité.
Visiblement heureux de la performance de « son » orchestre, et une fois n'est pas coutume, Paavo Järvi a offert un bis à son public. Bouclant son concert telle une coda, avec renvoi à la première parie (danses et Sibelius), le chef estonien a porté son choix sur une Valse triste de Sibelius comme on aimerait l’entendre plus souvent, objective mais chantante, sans larmes ni pathos.
http://brunoserrou.blogspot.fr/2013/04/leonidas-kavakos-lorchestre-de-paris-et.html

Tuesday, April 23, 2013

Zwei Wikinger und ein Tschaikowski

 .fr-online.de
Von Wolfgang Heininger
20/04/2013 

Paavo Järvi, Dirigent des HR-Sinfonieorchester (Archivbild). Foto: Sascha Rheker/attenzione
Das HR-Sinfonieorchester und Violin-Solistin Janine Jansen brillieren in der Alten Oper mit Nielsen, Grieg und Tschaikowski.

Seine Vierte als „unauslöschlich“ zu bezeichnen, war von ihrem Komponisten Carl Nielsen vielleicht ein bisschen gewagt, denn zu den ganz großen klassischen Orchesterwerken zählte seine Interpretation eines „elementaren Lebenswillens“ nicht, auch wenn der wohl wichtigste dänische Sinfoniker damit einen wichtigen Beitrag zum Übergang in die Moderne leistete. Nielson schneidet rigoros alte Zöpfe ab, verzichtet auf Schnörkel und Sentimentalitäten. Schon allein die Zeit, die Komposition entstand mitten im Ersten Weltkrieg, verbot barocke oder gar Strauß'sche Seligkeit.
Jedoch, so dicht an der Grenze zur Atonalität, so wild und schräg, wie es Adelheid Coy und Carola Finkel in ihrer Vorabplauderei zum Musikabend am Freitag in der Frankfurter Alten Oper suggerierten, ist die „Unauslöschliche“ bei weitem nicht. Und dass da gleich zwei Paukisten kurz davor sind, mit ihrem kriegerischen Duell den übrigen Klangkörper des HR-Sinfonieorchesters im vierten Satz förmlich auseinanderzujagen, davon konnte auch schon deshalb nicht die Rede sein, weil Chefdirigent Paavo Järvi es versteht, seine Truppe auch durch noch schwierigeres Fahrwasser zu steuern.
Nicht umsonst wurde der gebürtige Este, der sein Handwerk unter anderem bei Leonard Bernstein erlernte und bereits eine Reihe der weltweit bedeutendsten Ensembles führte, für 2015 zum neuen Chefdirigenten des renommierten NHK Symphony Orchestra in Tokio berufen.
Recht hatten Coy und Finkel allerdings mit ihrer Analyse, dass man Nielsens expressionistisches Œvre eigentlich zweimal hintereinander hören müsste, um die collagenhaft zusammengefügten Einfälle, die manchem Komponisten Stoff für mehrere Symphonien geliefert hätten, wenigstens einigermaßen zu erfassen. Manchmal wurde diese Stoffsammlung dann doch etwas breiig, was ausdrücklich nicht die Schuld der Ausführenden war.
Brausendes Tongewitter
Begonnen hatte der Abend in der Reihe der „Jungen Konzerte“ mit den norwegischen Tänzen von Edvard Grieg, die sich hinter den Annäherungen von Brahms oder Liszt an die damalige Volksmusik nicht verstecken müssen, auch wenn die vier Teile, die von Grieg mit eigenen Ideen zur Sinfonieform kombiniert wurden, weit seltener aufgeführt werden und auch im Schatten seiner eigenen berühmteren Arbeiten stehen.
Ihren Arrangeur können die derart zart und gefühlvoll moderierten Stücke allerdings nicht verleugnen. Mehr als einmal brechen Motive aus Peer Gynt hervor und manchmal scheint es, als treibe ein Amerikaner nicht in Paris, sondern in der Halle des Bergkönigs Schabernack.
Höhepunkt war gleichwohl Tschaikowskis Violinenkonzert mit der Holländerin Janine Jansen als Solistin. Mit kleinen schnellen Impulsen vermag es die 35-jährige mehrfache Echo-Preisträgerin, sich und das Orchester, mit dem sie bereits häufig auftrat, in diesem unbändigen Werk voranzutreiben und es damit so hinreißend zu machen, wie es dem Komponisten selbst ergangen sein muss: Er ließ sich im März 1878 von seinem musikalischen Genius derart hinreißen, dass er die Komposition im Gefühl „reinster Seligkeit“, wie er selbst es beschrieb, in nur drei Wochen fertig hatte.
Dass dieses sanfte wie brausende Tongewitter jahrelang als unspielbar galt und nach der Uraufführung in Wien von der Kritik verrissen wurde, ist heute kaum noch nachvollziehbar. Sehr wohl nachvollziehbar war allerdings der Beifallssturm, der nach Jansens Ritt auf der Stradivari von 1725 einsetzte.
Das Konzert in der Alten Oper, das in neun Länder, darunter auch Australien und die USA, übertragen wurde, ist nochmals unter www.hr-sinfonieorchester.de zu sehen und zu hören. Unter der Leitung von Paavo Järvi spielt das Orchester am 24. und 25. Mai in der Alten Oper Gustav Mahlers 8. Sinfonie, die seit fast 20 Jahren nicht mehr in Frankfurt aufgeführt wurde.

http://www.fr-online.de/rhein-main/junge-konzerte-zwei-wikinger-und-ein-tschaikowski-,1472796,22539254.html

Friday, April 19, 2013

Deutsche Kammerphilharmonie Bremen Director: Paavo Järvi - Solista: Hilary Hahn, violín

Centro Cultural de Musica


Una de las más importantes orquestas a nivel mundial, cautiva a plateas en todas partes del mundo por su particular estilo musical. El director Paavo Järvi es su director artístico desde 2004.
Uno de los más destacados logros de la colaboración entre la orquesta y su director ha sido el Proyecto Beethoven, aclamado por público y crítica. Entusiasmaron audiencias en París, Tokio, Estrasburgo y Varsovia, y en el Festival de Salzburgo y la Beethovenfest de Bonn, con el ciclo completo de las nueve sinfonías de Beethoven que grabaron en RCA. Un DVD documental del proyecto, producido por la Deutsche Welle, también fue recibido elogiosamente.
Actualmente, la orquesta y su director están enfocando las obras sinfónicas de Robert Schumann en concierto y grabaciones, también con gran éxito. Por muchos años la orquesta ha cultivado amistades musicales con solistas y directores de renombre internacional como Christian Tetzlaff, Heinz Holliger, Hélène Grimaud, Hilary Hahn, Heinrich Schiff, Trevor Pinnock y Sir Roger Norrington, entre otros.
Los miembros de la orquesta se dedican con gran entrega a sus proyectos en común con la Bremen East Comprehensive School. Esta colaboración única ha recibido el Premio al Futuro en 2007 como la más lograda innovación social y en el 2008, el prestigioso German Founders Award por su exitosa combinación entre lo empresarial y lo cultural. Es la orquesta en residencia durante la Beethovenfest de Bonn y los conciertos Elbphilharmonie de Hamburgo.
Paavo Järvi, director

El estoniano Paavo Järvi, director estrella y ganador del Premio Grammy, ha sido director artístico de la Deutsche Kammerphilharmonie Bremen desde 2004. Es también director musical de la Orchestre de Paris y Director Musical Laureado de la Cincinnati Symphony.
Al frente de la Deutsche Kammerphilharmonie Bremen, el Mtro. Järvi ha sido reconocido por sus grabaciones de sinfonías de Beethoven: en el 2010 ganó el Premio ECHO Classic al Director del Año, y en el 2006 el Premio Anual de los Críticos Alemanes. Ha interpretado el ciclo completo de las sinfonías de Beethoven en el Théâtre des Champs-Elysées, en la Beethovenfest de Bonn, en el Festival de Salzburgo y en el Festival de Pascua de Varsovia. Su Proyecto Schumann junto a la Deutsche Kammerphilharmonie Bremen, ha entrado en su tercer año. Con la orquesta ha realizado extensas giras por Europa, Japón, Estados Unidos y Canadá. Desde el inicio de su carrera, Järvi ha prodigado su apoyo a obras de compositores de Estonia, que incluyen a Arvo Pärt, Erkki–Sven Tüür, Lepo Sumera y Eduard Tubin.
Es también asesor de la Orquesta Sinfónica Nacional de Estonia y del Festival en Pärnu. Como director invitado, dirige regularmente orquestas como la Royal Concertgebouw, las Filarmónicas de Viena y Berlín, la Staatskapelle Dresden, las Sinfónicas de Cleveland y Chicago, así como la Filarmónica de New York. Desde el inicio de su carrera, el Mtro. Järvi ha prodigado su apoyo a obras de compositores de Estonia, que incluyen a Arvo Pärt, Erkki–Sven Tüür, Lepo Sumera y Eduard Tubin. Es también asesor de la Orquesta Sinfónica Nacional de Estonia y del Festival en Pärnu. Como director invitado, dirige regularmente orquestas como la Royal Concertgebouw, las Filarmónicas de Viena y Berlín, la Dresden Staatskapelle, las Sinfónicas de Cleveland y Chicago, así como la Filarmónica de New York.
Hilary Hahn, violín


Sus penetrantes interpretaciones, su técnica brillante y su entrega a la nueva música, han hecho de ella una de las artistas más solicitadas de nuestros tiempos, que transmite su amor por la música clásica a los públicos más variados.
Con sólo 32 años, su fama internacional y el reconocimiento a su talento le han valido muchos premios importantes como dos Grammies, varios Diapason d’Or y en 2008 el Classic FM/Grammophone Artista del Año.
Se presenta regularmente con orquestas de elite y en las más prestigiosas series de recitales. Después de una gira planeada por Japón, que fue cancelada en 2011 debido al tsunami, Hilary Hahn organizó cuatro conciertos solidarios en Estados Unidos.
Desde que comenzó a grabar hace 15 años, ha lanzado 12 álbumes para los sellos Deutsche Grammophon y Sony. En un repertorio tan diversificado como Bach, Stravinsky, Elgar, Beethoven, Vaughan Williams, Mozart, Schoenberg, Paganini, Spohr, Barber, Bernstein, Korngold y otros, sus grabaciones han recibido todos los premios de la crítica internacional e igual éxito popular. En octubre del 2011, Hilary Hahn lanzó su más reciente álbum, Charles Yves: Four Sonatas.
Con una personalidad comprometida e inquieta, es una ávida lectora y entrevistadora. En su sitio web, sube información para jóvenes músicos y público de conciertos. En video, produce un canal de Youtube y es presentadora invitada a un blog sobre música clásica contemporánea.

Lunes 29 de julio - 19:30 horas - TEATRO SOLIS
Charlas Ilustradas
A las 18 horas en la Sala de Conferencias y Eventos, se llevará a cabo una charla ilustrada
sobre las obras a escuchar a cargo del Prof. Guilherme de Alencar Pinto

Deutsche Kammerphilharmonie Bremen
Director: Paavo Järvi - Solista: Hilary Hahn, violín

Ludwig van Beethoven Obertura de la tragedia "Coriolano" en do sostenido op.62
Henri Vieuxtemps Concierto para violín No. 4 en re menor op.31
Ludwig van Beethoven Sinfonía no 3 en mi bemol mayor op.55 "Eroica"
http://www.ccmusica.org.uy/concierto_montevideo_5.html

Monday, April 08, 2013

Järvi Conducting Academy in Unique Festival Setting

MusicInCincinnati
Mary Ellyn Hutton
Apr 3, 2013


NJ_with_red_scarf_1.jpg
Neeme Järvi












The Järvi International Summer Academy for Conductors is a unique blend of substance, venue and just plain excellence. The 2013 Academy, which takes place July 12-24 in idyllic Pärnu, Estonia, will bring together conductors from all over the world to work with a trio of world-renowned maestros, headed by Academy namesake, Neeme Järvi.
Sharing teaching duties with Järvi will be his son Paavo Järvi and Leonid Grin.
Initiated in 2000, the Järvi Academy is held simultaneously with the International Pärnu Music Festival, which will bring an array of guest artists to Estonia’s picture book “summer capital” on the Baltic, July 16-23. They will include the hand-picked Pärnu Festival Orchestra, which comprises players from leading orchestras in Europe and elsewhere, many of whom will offer master classes during the festival.



Hilary_Hahn_1.jpg
Hilary Hahn
Kristjan_J.jpg
Kristjan Järvi










Featured artist for the 2013 Festival is violinist Hilary Hahn. Also participating will be violinists Tatiana Berman, Anna-Liisa Bezrodny, Florian Donderer and Arvo Leibur, violist Mikhail Zemtsov, cellist Teet Järvi, flutist Maarika Järvi, bassoonist Martin Kuuskmann and pianist Vardo Rumessen, among many others. Conductor Kristjan Järvi (Jarvi’s younger son) will open the Festival with the Baltic Youth Philharmonic Orchestra July 16. Fifteen conductors will be selected to participate in the Summer Academy. They will work on prescribed repertoire with the Järvi Academy Chamber Orchestra and the Estonian National Youth Symphony Orchestra. Students will conduct three concerts as part of the Pärnu Festival, including the final concert July 23 with Neeme Järvi. Repertoire this year includes the Symphony No. 2 by Schubert, Prokofiev’s Symphony No. 1 (“Classical”), Poulenc’s Sinfonietta, Concerto for Bassoon by Christopher Theofanidis, Concerto for Double Bass and Orchestra by Eduard Tubin, Weber's “Jubel” Overture and Rachmaninov’s Symphony No. 2.



Parnu_Concert_Hall_at_night__rear_view__2.jpg
Pärnu Concert Hall
elisabeth_church_1_2.jpg
Elisabeth Church, Pärnu, Estonia













Festival concerts take place in Pärnu Concert Hall, a gem-like, acoustically fine structure on the banks of the Pärnu River, and in local churches and manor houses. For relaxation, students have easy access to Pärnu’s immaculate white-sand beach and numerous health spas and resort facilities.
To apply, visit http://www.jarviacademy.ee/en/jaervi-summer-academy. Deadline is April 15. Successful applicants will be notified via e-mail by May 1.
For further information about the Järvi Summer Academy, visit www.jarviacademy.ee.
For more about the International Pärnu Music Festival, see http://www.parnumusicfestival.ee/
An article about both may be found at http://www.musicincincinnati.com/site/news_2011/Estonia_s_J_rvi_Festival_Promises_Big_Future.html
http://www.musicincincinnati.com/site/news/J_rvi_Conducting_Academy_in_Unique_Festival_Setting.html

London Sunday Matinee, Järvi conducts

Philharmonia Orchestra

Royal Festival Hall
Sun 7 Apr 2013 3:00pm
Paavo JärvConductor
Khatia BuniatishviliPiano


SibeliusKarelia Suite
GriegPiano Concerto
DvořákSymphony No. 7
Khatia Buniatishvili
 Khatia Buniatishvili

Nationalism is in the air this afternoon as we travel first to Finland for Sibelius’s indelible Karelia Suite, which had its first informal performance as part of a musical presentation given by a student’s union! Then it’s off to Norway for Grieg’s immortal Piano Concerto, a work so famous that comedian Eric Morecambe had a go at performing it, apparently playing 'all the right notes, but not necessarily in the right order.' Finally, we head south to Czechoslovakia and Dvořák’s most dramatically imposing symphony, one that he passionately declared had been inspired by ‘God, love and the Motherland’ and rightly predicted would ‘shake the world.’

http://www.philharmonia.co.uk/concerts/07apr13/

Thursday, April 04, 2013

Jorge Luis Prats et l’Orchestre de Paris - Imagination et générosité - Compte-rendu

ConcertClassic.com
Alain Cochard
03/04/2013


Généreux programme que celui des deux soirées Rachmaninoff que l’Orchestre de Paris vient de dédier à la mémoire d’Alexander Rachmaninoff, petit-fils du compositeur, disparu fin 2012 à l’âge de 80 ans. Le festin commence avec le Caprice bohémien op. 12, une pièce jeunesse (1892-1894) que Paavo Järvi et ses troupes – en très belle forme ! – enlèvent avec lyrisme, nerf et chic. Avec humour aussi quand le maestro, pressentant que les applaudisseurs précoces vont se laisser piéger dans les dernières mesures du morceau, les dissuade d’un index levé et d’un sourire en coin.

Mais c’est évidemment le 3ème Concerto par Jorge Luis Prats (photo) qui est impatiemment attendu. « Beethoven ça ne se joue pas, ça se réinvente » : le pianiste cubain applique la maxime d’Anton Rubinstein à Rachmaninoff et signe un Opus 30 étonnant de liberté et d’imagination, mais remarquablement construit et équilibré. L’interprète n’épuise pas toutes ses forces dans le premier mouvement (d’autant qu’il est donné avec la grande cadence) et, passez-moi l’expression, en garde sous le pied pour l’Intermezzo et le Finale. La musique semble naître sous ses doigts, avec une palette de couleurs et une diversité des attaques époustouflantes. Pas un temps mort jusqu’au terme de l’Alla breve conclusif – il faut entendre Prats faire scintiller ce finale en exploitant le relief et la présence jamais écrasante de l’accompagnement de Järvi (l’entendre par exemple jouer, au sens propre du terme, avec les belles interventions des flûtes, hautbois et clarinettes dans la section poco mosso). Triomphe amplement mérité et festival de bis (Schubert/Strauss, Wagner/Liszt, Cervantes et, pour conclure, la Mazurka-glissando de Lecuona - elle ne rate pas son effet !) à l’image de la généreuse personnalité d’un artiste qui, depuis son retour à Paris et à Piano aux Jacobins en 2010, conquiert peu a peu le cœur du public français.

Il est l’heure d’une fin de concert “normal“, la soirée est pourtant loin d’être achevée car, après l’entracte, la Symphonie n° 3 attend l’auditoire. L’ouvrage fut mal accueilli lors de sa création en 1936 mais, avec le recul du temps, il s’impose – à l’instar des Variations Corelli dans le domaine du piano – parmi les grandes réalisations symphoniques des années 1930. L’Orchestre de Paris n’avait joué cet ouvrage qu’une seule fois auparavant (en 1998 avec Paul Daniel). Järvi a mille fois raison d’y revenir, d’autant que sa conception fluide et fouillée, portée par une énergie très concentrée, lui rend totalement justice en soulignant la noblesse de son propos et une modernité dédaigneuse des trucs et des effets. Le temps pour les musiciens d’un hommage amical et fleuri à l’altiste Françoise Douchet-Le Bris, qui part à la retraite, et Paavo Järvi signe une belle et sobre Vocalise en bis.

Alain Cochard

Paris, Salle Pleyel, 27 mars 2013
http://www.concertclassic.com/journal/articles/actualite_20130403_4925.asp

Wednesday, April 03, 2013

Classical music in Bristol: Philharmonia/Jarvi/Batiashvili at the Colston Hall on Wednesday, April 3

thisisbristol.co.uk
March 29, 2013

The great violinist Bronislaw Huberman described the Brahms Violin Concerto as "a contest for violin against orchestra – and the violin wins". That's an outcome never in doubt when the soloist is the formidably equipped Lisa Batiashvili.
Mind you, it's a wonder there's enough of her to go round given the number of residencies she's holding down this season – from "Capell-Virtuosin" with the venerable Dresden Staatskapelle to Artist-in-Residence with Cologne-based West German Radio Symphony Orchestra; and she's busy forging fruitful relationships with the likes of Barenboim and Dudamel.
Hot on the heels of her recent DG release of the Brahms Violin Concerto, she plays the work live in a Bristol re-match for the Philharmonia. At the helm is Grammy-winning Paavo Jarvi who frames the Brahms with Haydn's "Reine" Symphony – a Marie Antoinette favourite, hence the name – and Sibelius' seductive Symphony No. 1. Batiashvili, incidentally, plays the Strad once owned by Joseph Joachim for whom Brahms wrote his gypsy-crowned concerto, so, in a sense, the concerto's coming home.
Philharmonia / Jarvi / Batiashvili Wednesday, April 3. Colston Hall, Colston St, Bristol, 7.30pm, £15-£31/under 26s £8/under 18s £1. 0117 922 3686 www.colstonhall.org.
http://www.thisisbristol.co.uk/Classical-music-Bristol-Philharmonia-Jarvi/story-18555401-detail/story.html#axzz2PG92v4Fg

The audience is almost kind of a family

OrchestrasFan
03.04.2013
Conductor Paavo Järvi ӏ Foto: © Sascha Rheker
Conductor Paavo Järvi ӏ Foto: © Sascha Rheker
The upcoming 2013/14 season marks the end of Paavo Järvi’s successful seven-year engagement as Music Director of the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra). Fortunately he will continue to be closely associated with the orchestra as ‘Conductor Laureate’.
The Estonian conductor Paavo Järvi has been the Artistic Director of „Die Deutsche Kammerphilharmonie Bremen“ since 2004. In 2010 he was named Musical Director of the Orchestre de Paris, and in June 2012 he was also appointed Principal Conductor of the NHK Symphony Orchestra starting in the 2015/16 season.
Prior to his departure  from Frankfurt and the hr-Sinfonieorchester I had the chance to talk to him about his time working with my favorite orchestra and some other topics like twittering from concerts.
Maestro Järvi, what is so appealing about being chief conductor of so many orchestras?
I don’t have any conflict with this. I have a very clear path and a very clearly thought-out plan with each orchestra. And each orchestra is very different. For example, when in Frankfurt, we are concentrating on large Germanic repertoire: Mahler, Bruckner, we did Hans Rott here, we’re doing Franz Schmidt. We also did Nielsen Symphonies and some New Music. At Kammerphilharmonie in Bremen it’s all classical, and it’s all early romantic classical repertoire – Beethoven, Schumann. But it’s a different type of music making. The Kammerphilharmonie is a small orchestra with an entirely different mentality. And in France, of course, we concentrate mostly on music of colour, so to speak: Slavic music, Russian music, French music. For example, last week we did a recording of Poulenc, previously Fauré, before that Bizet. We have done a lot of music that belongs to the core of French orchestra repertoire, for example, Stravinsky, Prokofiev, Debussy, Ravel and so on. So, there is no conflict. It just makes my life a little bit more difficult – but more interesting.
But you are with another orchestra every few weeks. Isn’t it difficult to adjust?
No, no. I’m so used to it. I can adjust from one to another. The most important thing for me is the repertoire. I’m a musician for only one reason: because I like and love the symphonic repertoire. If I was music director only in one orchestra, I would be here, let’s say, 14 or 15 weeks like I was here in Frankfurt now. In this 15 weeks you do 15 programmes, and to me that’s not enough. I need more variety. I need to have more interesting angles of repertoire. Besides, one of the things I don’t like very much is guest conducting. I don’t like being guest in an orchestra in a city where you come for four days and then you leave. I do not get very good results from the orchestras. Orchestras always know that the guest conductor has limited time and limited influence. To me that’s artistically not very interesting. I do very few guest conducting.
And when you are here in Frankfurt, for example, for how long you will work with the orchestra?
Well, we have rehearsals from Monday until Friday with concerts on Friday and Saturday. It’s standard everywhere. But I know this orchestra very well. Therefore I start from a much higher level. They know that I don’t leave next week. They know that I will be here, and they know what I expect. They know me like I know them. We have a relationship. We have been on tour together. We did many concerts together. We know each other. We start from a much higher level.
How big is your influence on the repertoire? Do you arrange with Andrea Zietzschmann [Head of hr Music Department and Manager of hr-Sinfonieorchester] about the programmes? What is your part in putting the programmes together?
Of course, I decide on the repertoire that I conduct. But the wonderful thing with Andrea Zietzschmann is that we discuss everything. Therefore, we had a very interesting longterm plan. My programmes were the ones that were first settled, and then the rest of the season was built around them. As music director you have the right to choose your programmes and your soloists, you have the first choice of tours – so, I prefer to be music director.
What’s the difference between working with the hr-Sinfonieorchester and an American or French orchestra?
There are differences in many ways. For example, the hr-Sinfonieorchester is a very versatile orchestra. They play Baroque very well, they play New Music very well, they play romantic music. There’s a lot of flexibility. They are a recording orchestra which means that when the microphone, the red light, goes on there is a level of concentration which is very hard to find in other orchestras.
In other German orchestras as well?
If you have a philharmonic orchestra, they don’t have the same versatility. They don’t do so many different programmes. They also don’t record so much. Well, every orchestra has it’s own personality. If you talk about American orchestras, that’s an entirely different world because they have very conservative programming, very strong, good musicians but not as much experience with New Music, not as much experience with live recordings like we do. So, every orchestra has a different personality.
Are you especially talented to conduct so many different orchestras?
As I said, you need to adjust to the situation that you are in. Certain things that work in America don’t work in Germany. A certain approach that works in France doesn’t work in England. Intuitively, you have to feel what the orchestra needs and how to talk to the orchestra. How far can you push the orchestra? How quickly can you rehearse? How intensive can the rehearsal be? It all depends on the personality of the orchestra. It’s not so much a matter of talent, it’s more a question of being sensitive to the environment that you are in at the moment.
What about the audiences? Does the subscriber audience here in Frankfurt differ from the audience at the Rheingau Music Festival or in Bremen?
Well, the public is different everywhere as well. The wonderful thing in Germany, especially here in Frankfurt, is that the people that come like the pieces. Many of them are subscribers, they are longterm music lovers. Maybe the applause is not very enthusiastic but it’s very long and very steady and very respectful. In France, for example, you have this immediate sort of big stormy ovation but when you’re offstage it stops. So, they are very temperamental but with a shorter attention span. And in Bremen, for example, I wouldn’t even call it public, it’s more like a fanclub. They just love the orchestra so much. They are always sold out. They would applaude for hours if they could. It’s an entirely different relationship because they are very proud of the Kammerphilharmonie in Bremen. They are very loved in the city. So, the audience is almost kind of a family. It’s different everywhere.
Can you name the highlights of your time as chief conductor of the hr-Sinfonieorchester?
Well, it’s hard to name single events, there were so many highlights: London Proms a couple of years ago, it’s also on YouTube  if you want to see it, the last Asian tour was wonderful, Korea was fantastic. Suntory Hall (Tokio), just recently. One of the funny things I enjoyed and I will always remember is the concert with Paul van Dyk, the DJ, in the Music Discovery Project. This opening concert with Lang Lang was absolutely wonderful. There have been a lot of interesting, good concerts. Musikverein in Vienna – the Bruckner V at Musikverein that was a special concert. We have been at Concertgebouw a few times with this orchestra. So, there have been a lot of highlights.
The German radio station Deutschlandradio recently called you one of the most successful conductors. What do you think about that?
I don’t know what that means: successful. I enjoy what I am doing. I mean, how do you judge success? If you are happy with what you are doing, and if you have enough freedom to choose the programmes and the musicians you work with, and if you get good enough results, that’s the main thing. For me, that’s a success, that’s what I need. All the other stuff doesn’t really matter.
In April, you will conduct the Berlin Philharmonic. Is this the first time you work with them?
No, it’s the third time.
Is it something special to conduct the Berlin Philharmonic? Does it mean you have made it?
Of course, every time you conduct Berlin Philharmonic it’s special. On the other hand, every orchestra in every concert has to be special, you know. When I conduct my orchestra in Paris it’s special, here in Frankfurt it’s special. Of course, one cannot deny the special status of Berlin Philharmonic but on the other hand: concerts are concerts. You have to conduct well and you have to make music as well as you can.
Does it make a difference for you if you are conducting a concert at the Alte Oper Frankfurt or a concert at the Berlin Philharmonic, knowing the latter can be attended worldwide by a lot of people via Digital Concert Hall?
You don’t think about these things when you conduct. When you conduct you conduct. In Frankfurt, we also have transmissions via Arte Live Web and a lot of people around the world see it as well. But I don’t think about it when I conduct. You concentrate on the music.
Maestro Järvi, you are an active social network user, at least you’re making use of Twitter. Does this lead to a stronger connection with your audience? Do you talk with your audience on Twitter or do they make suggestions? Do you use Twitter professionally?
No, Twitter is just fun. You put in some funny things and some pictures. I don’t do any of this too pragmatically to kind of connect with the audience. It’s a kind of a curiosity of the 21st century to be able to connect with the audience or even with friends. I don’t necessarily try to sell anything on Twitter or somehow do anything special. It’s just a way to share information and sometimes – most of the time – a way to share something funny.
Do you think social media can provide an understanding for classical music? Or do you think that the future of classical concerts lies in the Digital Concert Hall?
I think that social media, especially Facebook and Twitter, have and will become even more important, not only for classical music but for anybody because this will be the main form of actual sharing of any information. I have an official Facebook Page and a lot of people seem to find it. I don’t do anything special with it but it is a kind of a curious way to put out information. I find it fascinating that people can follow you. Or you can follow some other people. It is potentially very powerful. But in order for this to be very successful one has to work hard, and I don’t work hard on Facebook.
Last September, we organized a tweetup during a public rehearsal of hr-Sinfonieorchester. Did you hear about it?
Oh, yes!
What do you think about projects like this?
I think it’s fine. Any experiment is ok. I wouldn’t tweet during the concerts. For me, the concert is the music, nothing else. But if you want to, that’s fine.
In the US, the discussion about offering special “tweet seats” for concert- or theatre-goers arose just recently. What do you think about it?
I personally don’t see the point of it. If you go and see a concert then you have to enjoy the concert and experience the moment. Tweeting about it you can do after the concert. But if that’s what you want, you know, I’m not judging anybody. I think that many people have an entirely different understanding of music, a different need to share it. I think, it’s OK.
Thank you very much, Maestro Järvi!http://orchestrasfan.de/interview-with-conductor-paavo-jaervi/