Wednesday, October 29, 2008


May 2008


DVD: Paavo Järvi and European Union Youth Orchestra on Glasperlenspiel Music Festival.

Live recording in Estonia Concert Hall, Tallinn.
Brand new, released in May 2008!
Anton Bruckner. Symphony No 5

Erkki-Sven Tüür “Aditus”
Performed by:European Union Symphony Orchestra

Conductor Paavo Järvi
The 140-member XXL-orchestra EUYO was the brainchild of Lionel and Joy Bryer, Chairman and Secretary General of the International Youth Foundation of Great Britain. The inaugural tour in 1978 was conducted by the founding music director Claudio Abbado, who donated much of his valuable time to conducting and touring with the young musicians, and by Sir Edward Heath, who was the orchestra’s 1st president. The EUYO’s current music director is Vladimir Ashkenazy.World famous guest conductors have worked with the orchestra including Vladimir Ashkenazy, Daniel Barenboim, Leonard Bernstein, Bernard Haitink, Lorin Maazel, Herbert von Karajan, Zubin Mehta, Mstislav Rostropovich, Gennadi Rozhdestvensky, Kurt Sanderling and Sir Georg Solti. Soloists have included Martha Argerich, Emanuel Ax, Teresa Berganza, Barbara Hendricks, Nigel Kennedy, Karita Mattila, Lord Yehudi Menuhin, Viktoria Mullova, Anne-Sophie Mutter, Jessye Norman, Maurizio Pollini, and Pandit Ravi Shankar. The EUYO has appeared in all the major cities, concert halls, and festivals of Europe. The orchestra has undertaken important foreign tours which have included China, Hong-Kong, Japan, India, North and South America, Eastern Europe, Russia, and the Baltic States.The EUYO has also won a number of awards, including the Olympia Prize of the Alexander S Onassis Public Benefit Foundation, the Prix d’Initiative Européenne and the European Media Prize. The 140 players who make up the orchestra are selected each year from over 4000 candidates throughout the 25 EU countries. The patrons of the orchestra are Romano Prodi, president of the European Commission and the prime ministers of each of the 25 member countries of the EU.
Press resonance
Grammy award-winning Paavo Järvi’s remarkable reputation makes him one of the most in-demand conductors on the international stage. Born in Estonia, he studied percussion and conducting at the Tallinn Georg Ots School of Music, in 1980, moved to the USA where he continued his studies at the Curtis Institute of Music and at the Los Angeles Philharmonic Institute with Leonard Bernstein. He was appointed music director of the Cincinnati Symphony Orchestra in Sep 2001, and has recently extended his contract with the orchestra until 2008–09. During his directorship they have toured together throughout America (including Carnegie Hall), Europe, and Japan. From the 2006–07 season Paavo Järvi will become music director of Frankfurt Radio Symphony Orchestra. He also holds the posts of artistic leader of the Deutsche Kammerphilharmonie and artistic adviser to the Estonian National Symphony Orchestra. His previous posts include that of principal guest conductor with the Royal Stockholm Philharmonic, and the City of Birmingham Symphony Orchestra. In great demand as a guest conductor Paavo Järvi appears regularly with such orchestras as Philharmonia, Orchestre Philharmonique de Radio France, Munich Philharmonic, Bayerischer Rundfunk, Accademia Nazionale di Santa Cecilia, Orchestre de Paris, Concertgebouw, Boston, Chicago, New York, Los Angeles and Philadelphia Symphony Orchestras, London Symphony Orchestra, Orchestre National de France, Staatskapelle Dresden, etc. Paavo Järvi makes it a priority to work with youth orchestras and in summer 2004 conducted the EUYO’s tour of the Baltic States (including Glasperlenspiel Festival), which marked the countries’ accession to the European Union. He has conducted the UBS Verbier Youth Orchestra, both on tour and in the Verbier Festival. He has also worked with the Russian-American Youth Orchestra in Moscow, Mahler Chamber Orchestra in Ferrara and the New World Symphony Orchestra in Miami.The most recent additions to Paavo Järvi’s discography for EMI / Virgin Classics include the Grammy award-winning recording of Sibelius’ Cantatas, and Grieg’s Peer Gynt, both with the Estonian National Symphony Orchestra. With the Cincinnati Symphony Orchestra he has released a number of CDs on Telarc featuring works by Ravel, Berlioz, Sibelius, Prokofiev, Tubin, Stravinsky and Debussy – the most recent recording featuring orchestral works by Dvořák and Martinů. He is recording a cycle of Beethoven’s symphonies with the Deutsche Kammerphilharmonie, while recordings of works by R Strauss and Stravinsky with the orchestra have already been released.
In the 80s Erkki-Sven Tüür, a student of Prof Jaan Rääts and Prof Lepo Sumera, finds his way into Estonian music. Physically residing on a small Estonian island of Hiiumaa he creates his work in the global sound space. Music by Tüür today is commissioned by renowned international musicians and is more often than not first performed on the world’s stages. Tüür’s aim is provocative and reckless – to melt into music a “catalogue” of the 20th cent styles. He has composed 5 symphonies (1984, 1987, 1997, 2002, 2004), instrumental concertos, a number of shorter symphonic pieces, an opera, a cycle “Architectonics for chamber ensemble. There are undercurrents from the neo-style sources and rock music to sonorism and minimalism in his music. It could be taken for a pure fun of experimentalism. While listening one might perceive Tüür’s sound as if from another world – it is like a reflection of human existential consciousness – metaphysical desert of soul, lonely battles. In the recent works by Tüür one can sense the passion and tenderness of monologue, neoromantic glimmer, the signs of reconciliation and beauty.“Aditus”. In memoriam Lepo Sumera (2000/2002); première performance by Staatsphilharmonie Rheinland-Pfalz and conductor Ralf Otto on Dec 1st, 2000 in Christuskirche Mainz, Germany; commissioned by Staatsphilharmonie Rheinland-Pfalz, published by Edition Peters, Germany.
Recorded at Estonia Concert Hall on Aug 14th, 2004
Sound engineer: Maido Maadik (Estonian Radio) Video director: Ülle Õun (Estonian TV)Interviews by Ruth Alaküla (Estonian TV) DVD authoring by Sten Saluveer, Marko Post, Uku Toomet (Orbital Vox Studios) Designed by Piret Mikk Photos: Sheila Rock, Peeter Vähi, archives of ERP Management by Tiina Jokinen Artistic supervisor: Peeter Vähi
ERP 1106
Special thanks to Estonian Ministry of Culture and Huw Humphreys

Other Erkki-Sven Tüür’s and Paavo Järvi’s recordings by ERP: 100 Years Of Estonian Symphony

The Estonian Philharmonic Chamber Choir will bring its update on its native land’s singing tradition to the Modlin Center at the University of Richmond on Nov. 3. Photo by Kaupo Kikkas
October 29, 2008Eastern Bloc Party Estonia’s got the world’s ear for art music these days. Prepare the iPod. by Clarke Bustard

The music that’s born in small places can resonate far and wide. Isolated communities in New Orleans, the Mississippi Delta and Appalachia spawned jazz, blues and country music, transforming popular song worldwide. Something like that has been going in classical music, too. In the mid-20th century, two of Europe’s smaller nations, Hungary and Finland, produced an inordinate share of influential composers and performers. Now an even smaller country takes its turn: Estonia. Half the size of West Virginia, less populous than greater Milwaukee, this ministate on the Baltic seacoast has become a locus of modern art music. Estonian-born Arvo Pärt is one of the world’s leading living composers. The Järvi clan — father Neeme, sons Paavo and Kristjan — are the reigning family dynasty of orchestra conductors. And there are surprisingly many more where they came from. “Estonia has a very old singing tradition, going back to the ancient Runic songs, and our country has a great choral culture,” says Tõnu Kaljuste, whose Estonian Philharmonic Choir performs on Monday, Nov. 3, beginning a weeklong focus on contemporary Estonian music at the University of Richmond.“Culture has been our weapon, because we did not have guns,” Kaljuste says. A national song festival, established in 1869, effectively launched modern Estonia’s bid for independence from Russia, achieved briefly between the world wars and regained when the Soviet Union collapsed in 1991.Despite Russian domination, Estonians “have always identified themselves with Nordic and Western European culture,” says Ben Broening, the UR music professor whose Third Practice Electroacoustic Music Festival will explore Estonian composition Nov. 7 and 8. “This is not an insular culture, and its musicians are constantly taking in, adapting and innovating on music from outside their boundaries.“Small as it is, Estonia has a really rich compositional scene,” Broening says. “Its composers work in a wide range of styles, all kinds of harmonic vocabularies. … but they all place a strong emphasis on color, sonority — sound itself.”Works by Pärt, whom Broening calls “the symbol of Estonian music to the rest of the world,” will be heard alongside a piece by Toivo Tulev, another of the country’s pioneering modern composers, in Monday’s concert by the Estonian Philharmonic Choir and Tallinn Chamber Orchestra. A new work by Tulev will be introduced by eighth blackbird in the Third Practice festival finale, Nov. 8 at 7:30 p.m.

The University of Richmond’s Modlin Center presents the Estonian Philharmonic Choir and Tallinn Chamber Orchestra Nov. 3 at 7:30 p.m. Tickets are $36. UR’s Third Practice Electroacoustic Music Festival features five free concerts by eighth blackbird and other performers and sound artists on Nov. 7-8.
Call 289-8980 or visit
For the Third Practice schedule, visit
Style Weekly music critic Clarke Bustard produces Letter V:
the Virginia Classical Music Blog, at


October 24, 2008
Ungarn mit Überraschungs-Finale

Kräftige Ungarn-Akzente beim jüngsten HR-Sinfoniekonzert in der Alten Oper: Paavo Järvi dirigierte mit Bravour die beiden Bartók-Meisterwerke "Tanz-Suite" und "Musik für Saiteninstrumente, Schlagzeug und Celesta".
Diese letztere, die Bartók 1936 komponierte, ist eine reife Spätlese folkloristischer Inspirationen, sublim gekeltert durch eine synthetisierende, die Sprach- und Formelemente der Moderne auf höchstem Niveau "aufhebende" Könnerschaft, während die frühere "Tanz-Suite" (mit der poetischen Klammer eines alle Sätze durchziehenden lyrisch-schwärmerischen "Refrains") noch unbelasteter die vitalen Energien der undomestizierten Musiksphäre ausschöpft.
Mit seiner aufmerksamen, die rhythmischen Finessen wie die klangliche Balance (besonders bei den flexiblen Charakteren und Tempi der jeweiligen Schlussätze) klar erfassenden Diktion zeigte Järvi seine besondere Kompetenz für die auf tiefgründige Weise virtuose Idiomatik Bartóks.
Nach so Hochkarätigem war nicht unbedingt zu erwarten, dass die wirkliche Überraschung, ja Sensation dieses Abends erst ganz zum Schluss kam. György Ligetis 1949 komponiertes "Concert românesc", eine orchestrale Imagination rumänischer Motive aus der Frühzeit des in Transsylvanien aufgewachsenen, Ende der fünfziger Jahre zu den deutschen Avantgardisten gestoßenen ungarischen Komponisten. Dessen Abarbeitung an den nationalen Heroen Bartók und Kodály ist im "Concert" überall noch spürbar, und der etwas dröge Kopfsatz verspricht zunächst nichts Exorbitantes. Die raschen Sätze 2 und 4 zeigen indes den "echten" Ligeti in einer nicht bloß zigeunerisch-zünftig angeheizten, sondern hurtig ins Extrem getriebenen dämonischen Virtuosität, mit funkensprühenden, ins Witzig-Skurrile und Atemberaubende überdrehten Instrumentalpointen.
Aus der SchubladeDie im dritten Satz exponierten, zu ruhevollem Hin- und Nachhören einladenden Alphorn-Beschwörungen werden - und das erhebt dieses Stück in den Rang eines Geniestreichs - am Ende des Finales in all dessen Turbulenzen nochmals eindringlich rekapituliert. Ligeti, der nach dem Ungarnaufstand im Westen den problemlosen Schulterschluss zu den Darmstädter Serialisten verblüffend erfolgreich anstrebte, ließ das "Concert" und weitere ähnliche Werke ein halbes Leben lang in der Schublade und gestattete ihr Publikwerden erst in den neunziger Jahren. Ein Glück, dass er sie nicht vernichtete; einzigartige Interessantheiten wären dann verloren gegangen. Hätte er etwa das "Concert" um 1960 in Darmstadt präsentiert, wäre er als kruder Neo-Folklorist (dem freilich auch die östliche Ästhetik keine Chance gegeben hatte) in der Luft zerrissen worden. Diesem unübertrefflichen Konzertfinale (in seinen knappen Ausmaßen einem klassischen "Rausschmeißer") brachten die HR-Sinfoniker mit Järvi nicht bloß diszipinierte Tugenden, sondern alle erdenklichen Facetten entfesselter Spiellust entgegen. Die perfekte Konzert-Dramaturgie zeigte sich vollends in der vor Ligeti eingeschobenen Mozartaufführung - dem Klavierkonzert C-Dur KV 467 mit dem wunderbar klar disponierenden und nuancensicheren Solisten Lars Vogt. Eine völlig andere Klang- und Ausdruckswelt als die des neuzeitlichen Magyarentums. Und gleichwohl, weil in ihrer Art außerhalb von Geschichte und ohne alle Affinität zu Überbietungskonkurrenz, kompatibel auch mit jedem anders profunden musikalischen Ausdruck.

Saturday, October 25, 2008

CD REVIEW: Beethoven Symphonies 3, 4, 7, 8

Paavo Järvi, Deutsche Kammerphilharmonie Bremen, still being released.
This is in second place mostly because it’s still in progress, with only Symphonies 3, 8, 4 and 7 released in North America; and partly because the interpretations are a little quirky. I think it might be best to listen to something a bit more canonical and then you can hear how outside-the-box these Järvi interpretations are.
What characterizes these versions is the band: small, tight, quicksilver, able to move from a whisper to a roar and (maybe just a bit too) eager to make sure you know it. (Here’s a
video about the orchestra.) I saw Järvi conduct in Paris, but he wasn’t conducting these guys and it really wasn’t the same. I’m going to be following this set of Beethoven symphonies as it’s released, because both CDs so far have forced a rethink of the pieces. Accents pop out, tempo changes are defined with a razor blade, and what’s most striking is that there’s only a few players on each instrument, so you can hear Beethoven’s orchestrations with real clarity. To my amateur ears, what Beethoven had that a lot of others didn’t was a real genius for orchestration: when he puts the flutes on top or gives them a secondary role, when he has the horns or the trombones punch out their line while other instruments hold back, it defines the character of a passage. That’s way harder to explain than it is to hear on these tremendously exciting performances.

CD REVIEW: Mousorgsky

October 22, 2008

Gourmet Mussorgsky
Mary Ellyn Hutton

Paavo Järvi: Cincinnati Symphony Orchestra. Mussorgsky, “Pictures at an Exhibition,” “Night on Bald Mountain,” Prelude to “Khovanshchina.” Telarc.
This is one beautiful album.
If you’d like to hear all that Mussorgsky wrote in these three symphonic favorites (with help from his friends Rimsky-Korsakoff and Ravel), by all means get this latest CD by Paavo Jarvi and the Cincinnati Symphony Orchestra, their 14th for Telarc.
Everyone can take credit here: Järvi, the CSO and the Telarc engineers.
To begin with, the performances are splendid.
In "Pictures at an Exhibition," for example, never have the wee fowl in "Ballet of Chicks in Their Shells" chirped and twittered so eloquently. Nor, thanks to trumpeter Mark Ridenour’s virtuosic triple- tonguing, has Schmuyle in "Samuel Goldberg and Schmuyle" railed with such importunity.
The transparency of the sound allows details likely to be effaced in flashier, more surface-effect versions emerge with surprising clarity. Järvi, who was trained as a percussionist, lets no touch from the battery go to waste -- or for that matter, any note in the score. You can even hear the ratchet for once in the exciting buildup from "The Hut on Fowl's Legs" to "The Great Gate of Kiev."
There is personality galore. You can almost feel the dust in "Bydlo," portrait of a rumbling Polish ox cart, which features a stellar solo by tubist Peter Link. There is clash and clatter in " Limoges" ("The Market Place") and the scariest Baba Yaga in "Hut on Fowl's Legs" you will ever hear. As for the "Great Gate," Järvi deploys the percussion lavishy, tubular bell, crashing tam-tam and all. There are no cracks between the seams either -- neither within nor between frames -- and you are suddenly "there" as the "Great Gate" appears following the exhilarating run-up from the "Hut on Fowl's Legs."
First cut on the disc, "Night on Bald Mountain" is also vividly and skillfully played, again with close attention to percussion and soulful solos by clarinetist Richard Hawley and flutist Randolph Bowman.
The Prelude to "Khovanshchina" dawns with an exquisitely sweet solo by oboist Dwight Parry. Hawley's ever-characterful clarinet adds charm, while Järvi and his players infuse the entire tone painting with Russian color.
Note: In the spirit of the upcoming witching season (Halloween), Järvi, the CSO and Telarc have made a free download of "Night on Bald Mountain" available on iTunes. Here's the link:
I'd have made "The Hut on Fowl's Legs" a bonus.

Friday, October 24, 2008

Some reviews for Grieg CD

The Whole Thing

If there's an earlier 'Peer Gynt' recording that's complete (as opposed to just the 'suite') I've never heard of it. This is the entire incidental music to the play, not just the usual 'Dawn', 'The Hall of the Mountain King' 'Solveig's Song', etc. Jarvi's reading is smooth and incisive and the choral parts are wonderful. I've never heard a scarier version of HOTMK. I never even knew that there was a solo vocal part for Peer himself, but here it is. My only complaint-and it's a tiny one-is that the selections are not in the order that they would appear in Ibsen's play. But that's picking a very small nit indeed.

Hauntingly Beautiful

Conductor Paavo Jarvi does a masterful job of leading the Estonian National Symphony Orchestra. The orchestra plays with great emotion and precision creating an exciting and almost hypnotic effect. Although Beecham's version is very good, his Peer Gynt does not come close to matching the sheer beauty of Jarvi's. The soloists on this album are outstanding. I consider baritone Peter Mattei to be the most talented baritone of his type today and his rendition of Peer Gynt's Serenade is nothing short of incredible. Soprano Camilla Tilling as Soveig has a lovely ethereal sound to her voice which is used to great effect in her songs. Tilling has the loveliest female voice I have ever heard. Mezzo Charlotte Hellekant has also grown on me as Anitra. Many of these vocal songs are not included on other versions of Peer Gynt, which is a great shame. The choir, something I don't usually enjoy, is very impressive. I would rate this CD as by far the best version of Peer Gynt and perhaps my favorite CD of all time. The sound quality of the recording should also be mentioned because it is absolutely stunning.

Good-enough readings but outstanding sound

I don't find that Paavo Jarvi and his Estonian forces have much to say in the familiar numbers from Peer Gynt. You must turn to Beecham for sheer delight in famous numbers like In The Hall of the Moutain King, Morning, Anitra's Dance, and so on. Where this recording scores is in the unfamiliar numbers; Peter Matteo's excellent rendition of the little-known Peer Gynt's Serenade is one highlight, as is the convincingly crude folk fiddling that begins half a dozen numbers. Secondly, there's the sound. The engineers have achieved quite exceptinally clear, open sonics that I've never heard the like of in Peer Gynt. Even when Jarvi's conducting is ordinary and his Estonian musician ae playing at far less than virtuosic level, the gorgeous sounds coming out of one's speakers remain alluring. As far as completeness goes, the Ruud 2-CD set from Bis is unchallenged.


The story line gives the listener a guide to follow the music, but the score leaves out the connections for the listener to only imagine the performance. The music is passionate and descriptive and introduces the listener to the singing voices of parts of the presentation that are left out in the "Suite." I appreciate hearing it over and over.

Maybe this is THE (one disc-) Peer Gynt album to own ...... to keep closely beside the gorgeous, incisively intelligent and deeply concentrated performance (also on 1 CD) with Esa-Pekka Salonen conducting the Oslo Philharmonic Orchestra and Barbara Hendricks singing the role of Solveig (Sony Classical). Together with the recordings by Neeme Jarvi (27 cues; DGG), Marriner (only 12 cues; EMI), Tate (17 cues; EMI), Blomstedt (19 cues; Decca), Dreier (the first truly complete recording of all of the original music (1978); 32 cues, including 'Bridal Procession', 'Solveig's Song' and three 'Norwegian Dances' all of them n o t originally written for the play; Unicorn UKCD + NKFCD) and Ruud (the first complete recording with 29 cues plus all of the dialogue, making a total of 51 cues, coming up on 113 minutes; BIS), these two (1-CD) albums by Paavo Jarvi and Esa-Pekka Salonen are as complete as can get concerning this so called 'incidental' music for the Henrik Ibsen play of Peer Gynt. Nowadays, Peer Gynt is Norway's No. 1 national epic, thereby giving this music extra significance and poignancy. Originally, there are in all some twenty-six numbers of incidental music for the play: almost ninety minutes of music, as can be learned from the booklet-essay. And according to the booklet, twenty of those are on this album; No. 5, 10, 11, 14, 18 and 24 are left out of this recording. 'Solveig's Song' wasn't originally written for the stage play but nonetheless included as such on this CD, so actually 19 original pieces from Peer Gynt, op. 23 are on this album, and not 20. But anyhow, such 'criticism' would amount to nitpicking ;-) Here I would like to warn the reader that this will be a somewhat one-sided review, as I have only ever heard the Peer Gynt-recordings of Esa-Pekka Salonen, Per Dreier (freshly inspired, very natural performances) and this newest one of Paavo Jarvi. So this review is, for what it is worth, a personal and somewhat subjective approach, leaving out many other alternatives ... Anyhow, as for the one-CD albums of Peer Gynt, op. 23, the merits of the Salonen/Oslo Philharmonic album (aside from the artistic ones, which are huge, as well as spot on as far as the 'Nordic' atmosphere of the music is concerned) lie in the fact that - up to now - it has been as near 'complete' a rendering of the music for Peer Gynt - as much as fits on one CD - as one might wish, covering the whole dramatic arc of the play from beginning to end (but without any of the spoken dialogue). I believe that this new recording with Paavo Jarvi is even more complete - as could be fitted on one disc - and gives the listener an even better feel of the drama of the play, if only because there is more singing here, namely by Peer Gynt (in the delightful 'Peer Gynt's Serenade'). Also, one hears here seldomly recorded, but wonderfully evocative pieces, such as 'Peer Gynt and the Woman in Green', 'Peer gynt: you can tell great men by the style of their mounts', 'Peer Gynt at the Statue of Memnon' (similar to 'Prelude Act III: Deep in the Coniferous Forest' on the Salonen/Oslo Philharmonic album. Actually it is the same piece, but it was never intended as the prelude to act III) and 'The Shipwreck'. Simply delightful, all this! As are all the soloists - truly, the best one could wish for! - singing in this recording. If I may steal a quote from Tim Ashley, The Guardian, May 13, 2005: "Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra." But although Camilla Tilling's Solveig is superb, IMHO she is not as completely involved-sounding or as convincing in the projecting of the troubled mind and heart of (especially the elderly) Solveig as does Barbara Hendricks for Esa-Pekka Salonen. Even more than Esa-Pekka Salonen's performance with the Oslo Philharmonic Orchestra, this recording offers the listener a more 'true to the letter-performance', as the music is here performed as heard during the play, as witnessed by 'Solveigs vuggevise' ('Solveig's Cradle Song'), where her singing is interlaced with the 'Whitsun Hymn', which, to the ears of this listener, only heigtening the sense of drama and storytelling. All in all a fantastic album, I believe, and one that brings into focus the drama even more than other recordings of this music. Even though the orchestral playing of the Estonian National Symphony Orchestra is maybe a (slight) nodge below that of the Oslo Philharmonic under Salonen and missing out on the deepest or finer layers of melancholy and dramatic tension (which are indeed touched upon by Salonen, I think), it is warmly sympathetic and more lush (as is the acoustics of the recording venue). The really adventurous or Peer Gynt-completists (and once taken this step, the all too brief Suites will never be an option again!) should really go for Dreier or Ruud - this last one is said to be simply magnificent (music as well as acting) - but this generous one disc album, with some of the most gorgeous playing and singing, is warmly recommended (at least, in my opinion) to anyone who loves this wonderfully evocative music. Delightful!

CONCERT REVIEW: Orchestre de Paris, Paavo Järvi

Roland Daugareil et Paavo Järvi (© Gérard Uferas)

October 16, 2008

Concertos pour orchestre

Paris Salle Pleyel
Claude Debussy : Prélude à l’après-midi d’un faune
Serge Prokofiev : Concerto pour violon n° 2
Béla Bartók : Concerto pour orchestre
Roland Daugareil (violon), Orchestre de Paris, Paavo Järvi (direction)

Paavo Järvi, qui prendra la suite de Christoph Eschenbach en septembre 2010, dirige ce soir un programme de concertos avec le Prélude à l’après-midi d’un faune de Debussy, qui pourrait être le mouvement lent d’un concerto pour flûte, le Second concerto pour violon de Prokofiev et le Concerto pour orchestre de Bartók. C’est l’Orchestre de Paris dans son ensemble, ses pupitres et ses solistes, qui est mis en avant avec ce programme exigeant. Le soliste du Prokofiev vient d’ailleurs de ses rangs avec Roland Daugareil, qui épaule Philippe Aïche comme ‘Premier violon solo’. Loin de toute agitation ou de démonstration de virtuosité, Roland Daugareil fait entendre un jeu très pur, propre, classique où les couleurs ont autant d’importance que les arêtes et les rythmes ; une certaine «tradition française» pourrait-on dire. En mettant à nu la formation symphonique, le Concerto pour orchestre de Bartok ne pardonne pas les approximations : les instrumentistes s’en tirent brillamment et démontrent la très bonne forme de l’Orchestre de Paris.Avec Paavo Järvi la complicité et l’ardeur au travail sont de mise, tant mieux. On apprécie chez le chef estonien sa direction énergique, sa volonté de contrôler chaque paramètre, son sens de la respiration. Tout juste peut-on lui reprocher des pianissimos parfois trop marqués et qui mettent un peu sous l’étouffoir le Prélude à l’après-midi d’un faune ou, par exemple, dans les premières mesures du troisième mouvement du Concerto pour orchestre, empêchent la claire articulation du thème. C’est peu de chose et le public réservera une longue ovation aux musiciens.

Philippe Herlin

Thursday, October 23, 2008

Paavo Järvi abikaasa Tatjanaga Foto: Kristjan Lepp
Vaata kõiki pilte »

October 20, 2008
Autor: Paavo Kangur
Grammy auhinnaga pärjatud dirigent PAAVO JÄRVI on abielus kauni venelannaga, kasvatab kahte tütart ja kogub veine. Paavo juhatab USAs Cincinnati sümfooniaorkestrit. 2010. aastal usaldatakse mehele aga Orchestre de Paris, mis teeb temast maailma tipp-10sse kuuluva dirigendi.
Istun Eesti Riikliku Sümfoonia Orkestri (ERSO) tagasihoidlikus büroos. Paavo Järvi kontserdini on jäänud kaks päeva. Mööda läheb Austraalias karjääri teinud dirigent Arvo Volmer. Küsin temalt, mis on Eesti dirigentide saladus.
«Me esindame kõik veidi Peterburi koolkonda, meil on oskused ja me saame ka aru, et väikses Eestis ei ole mõtet omavahel konkureerida,» sõnab Volmer.
Paavo Järvi (45) on küll õppinud Los Angelese Filharmoonia Instituudis Leonard Bernsteini käe all, kuid ta isa Neeme Järvi (71), pikaaegne ERSO peadirigent on Peterburi koolkonna esindaja ja Jevgeni Mravinski õpilane.
1980. aasta alguses lahkus Järvide perekond Ameerikasse. Nad kasutasid ära pragu Afganistani sõja puhkemise järel ja Moskva olümpiamängude eel veidi lotendama kippunud raudses eesriides.
Läksid 17aastaselt Ameerikasse. Harjusid kiiresti?
Aastaid ei harjunud. Me oskasime ainult eesti ja vene keelt. Koolis võeti mulle ja õele Marikale inglise keele õpetaja. Väga raske on, kui sa kedagi ei tunne ja ka eluviisi ei tea. Me olime teistmoodi, väikesest Eestist. Iga elementaarne detail oli uus: pitsa, hiina toit, riided.
Eestist lahkumine oli loomulikult vanemate otsus. Sellises vanuses tahad ikka Ameerikasse minna, kui sa ei kujuta ette, mis elu ees ootab. Neil oli õnneks suur tutvusringkond ees. Isa oli Metropolitan Operas dirigeerinud ja ta oli muusikute ringis tuntud inimene. Tõenäoliselt tuntumaid eestlasi tol ajal.
Kui ma tagasi vaatan, siis mõistan, kui raske võis olla see pööre vanematele ja mis võisid olla tagajärjed, kui neid ei oleks välja lubatud. Siis oleks nad võinud väga palju kaotada.
Edasi loe artiklit ajakirja Kroonika paberversioonist
Kroonika 21.10.2008 »

Wednesday, October 22, 2008

Paavo and Lars Vogt - Concert in Frankfurt

October 22, 2008
Frankfurt Radio Symphony
Lars Vogt
Paavo Jarvi
October 23, 20h Alte Oper Frankfurt
October 24, 19h Konzerteinführung

Monday, October 20, 2008

October 10, 2008
Beethoven mit Järvi und der Kammerphilharmonie: eine Traum-Konstellation, bei der die Beteiligten gegenseitig das Beste aus sich herausholen, gegründet auf beiderseits mehr als zwanzigjähriger Erfahrung mit Beethovens Sinfonien. Auch wenn man erwähnen sollte, daß das Orchester in seiner Vergangenheit auch unter Dirigenten wie Daniel Harding, Thomas Hengelbrock oder Heinrich Schiff kaum weniger überzeugende Beethoven-Aufführungen gespielt hat – so bestürzend werden Beethovens Utopien nur selten in Klang realisiert. Bei peinlichster Beachtung der Details, größtem Kontrastreichtum und sorgsam kontrollierter Balance klingt doch alles spontan. Die Fünfte ist kompromisslos, ganz Revolution; die Dramatik ihres Kopfsatzes trägt sogar noch in die hier nachfolgende Erste hinein. Umso frischer und kühner klingt auch dieses Werk, mit dem Beethoven im April 1800 die Bühne der Sinfonik betrat. Das Orchester musiziert historisch informiert auf teils neuen, teils alten Instrumenten (Naturtrompeten, eng mensurierte Posaunen, historische Pauken, bei den Streichern teilweise umsponnene Darmsaiten). Auch der Klang dieser Hybrid-SACD ist fantastisch: Selten sind so natürlich wirkende, räumliche Produktionen zu hören; das Orchester klingt live nicht anders, wie der Rezensent aus dem Erlebnis vieler Konzerte mit der Kammerphilharmonie weiß. Es ist zwar durchaus Mode, daß jeder hoffnungsvolle jüngere Dirigent erstmal einen Beethoven-Zyklus auf CD bannen muß, um auf dem nahezu versteinerten Klassikmarkt wahr- und ernstgenommen zu werden. Es hat wohl in der Tonträger-Geschichte noch nie so viele durchschnittliche bis langweilige Beethoven-Neuaufnahmen gegeben wie jetzt. Doch diese Gesamtaufnahme (Nr. 6, 2 und 9 folgen bis 2010) verspricht, ein Jahrhundert-Zyklus zu werden, ergreifend und erschütternd. Welch ein reicher Kosmos von Emotionen und Botschaften!
Benjamin G. Cohrs

Saturday, October 18, 2008

October 17, 2008
ERSO – Paavo Järvi – Silver Ainomäe
Toomas Velmet
Silver Ainomäe jõudis Haydni kergusele päris lähedale. eesti kontsert
Eelmisel reedel olid meil Estonia kontserdisaalis ja ERSO ees külas austatud ja armastatud maestro Paavo Järvi ning veel eesti solist, tšellist Silver Ainomäe. Silver Ainomäe sooritab siin vägitükke, sest pole veel nelja nädalatki möödas, kui ta esitas meile kogu Beethoveni kammersarja ning nüüd siis Haydni C-duur Tšellokontsert Hob.VIIb:1. Ja ega siis Paavo Järvigi meil kadunud poeg ole: alles augusti alul oli ta ju Leigol koos kõigi Järvidega. Kuid ERSO ees on intervall ikkagi pikem.
Kogu kontserdi kava oli põnev ja enim mängitud oli programmis juba nimetatud Haydni tšellokontsert. Selle kontserdiga on siiski ka Eestil ja ERSO-l võimalik uhkustada, kuna teadaolevalt oli pärast kontserdi nn taasavastamist (1961) teose esiettekanne 1962. aastal Prahas ja juba 1966. aastal esitas tol ajal hiilgevormis Mstislav Rostropovitš koos Neeme Järviga kontserdi Tallinnas.
Haydni tšellokontsertide kohta on nii mõndagi veel lisada. Neid on Haydni loomingu nimekirjades ikkagi rohkem kui kaks. Hobokeni kataloog fikseerib neid lausa kuus numbritega VIIb:1–5 ja veel VIIb:g1. Tõele au andes ootavad VIIb:3 ja VIIb:g1 veel leidmist-avastamist ning ettekandmist, kuid D-duur Hob.VIIb:4 ja C-duur HobVIIb:5 on täiesti olemas koos orkestrimaterjalidega ning leidnud maailmas ka üsna palju ettekandmist. Siinjuures on asjatundjad avaldanud mõtteid, et esimene neist, s.t Kontsert D-duur Hob.VIIb:4 on hoopis tšellist Giovanni Battista Costanzi (1704–1778) looming ja teine tšellist David Popperi (1843–1913) sulest. Kes teab, kes teab?
Vaieldamatu on küll asjaolu, et seekord ette kantud C-duur Kontsert Hob.VIIb:1 on oluliselt usutavamalt Haydni sulest, samuti kui ka varem tuntud D-duur Kontsert Hob.VIIb:2. Keeruline on kataloogides see märkide süsteem, seetõttu on ikka parem otse muusikaga tutvuda – jääb kindlasti paremini meelde.
Kõnealune muusikaõhtu algas teatava murega meie tänapäeva pärast ja ettekandele tuli Benjamin Britteni „Sinfonia da requiem” op. 20 (1940). Teose esiettekanne toimus New Yorgis 1941. aastal ja on tegelikult Jaapani valitsuse tellimus keisririigi 2600. aastapäevaks. Kuna see helitöö oli kristliku liturgia pealkirjaga, siis jaapani valitsus solvus tõsiselt helilooja ja tema teose peale ning autor pühendas selle sümfoonia hiljem oma vanemate mälestusele. Britteniga on meil tegelikult, tunnistagem ausalt, lood kehvad. Ma mõtlen nimelt tema helitööde ettekannetele Eestis. Britteni teoste nimekiri on lausa kilomeetreid pikk, aga meie tunneme sellest elavas esituses vaid meetreid. On ammugi aeg tuua XX sajandi vaieldamatu geeniuse looming Eestisse, seda jätkub nii kooridele, vokalistidele, ooperiteatritele, sümfooniaorkestritele koos solistidega ja ilma kui kammermuusikutele. Soovin hasartset pealehakkamist kõigile eesti muusikutele. ERSO-le Paavo Järvi dirigeerimisel oli teos hästi konti mööda ja esitus veenvalt mõjuv kõigist aspektidest hinnatuna.
Haydni C-duur Kontsert pakkus Silver Ainomäe esituses kogu kavale kena krooni; ei vaidle neile vastu, kes sellega ei nõustu, sest eks ole kolleegi edu kerge ülehinnata. Kuid minu hinnangu aluseks on minu teose kuulamis-,mängimis- ja õpetamiskogemus, eelkõige loen otsustavaks neist esimese. Mäletan absoluutselt 1966. aasta esmakogemust Mstislav Rostropovitšiga ja seni ületamatuks jäänud 1981. aastal kuuldud Arto Norase esitust Helsingis Ritarihuones koos Espoo kammerorkestriga, on ju Noras Silver Ainomäe üks professoritest. Mind on alati selle teose esituses häirinud teatav raskepärane virtuoossus, mis kuidagi ei taha klappida Haydni motiivistiku karakteritega, ning sellele kergusele ja elegantsile on tegelikult kõige lähemale jõudnud just Silver Ainomäe. Hea, et esituse partneriks oli minimaalse koosseisuga saateorkester ning ka see funktsioneeris Paavo Järvi käe all ideaalselt. Publiku ovatsioonid, mis siin-seal paisusid „möireteks”, ei jätnud artistile võimalustki lahkuda enne, kui oli lisaks esitatud Johann Sebastian Bachi Bourree C-duur Süidist soolotšellole.
Kõnealuse muusikaõhtu teise poole täitis Gustav Holsti seitsmeosaline orkestriteos „Planeedid” op. 36. Huvitav on jälgida iseennast ja oma arvamuste muutumist, s.t suhet teosega. Millegipärast käib selle helitöö esitusega kaasas mingi müstiline suust suhu reklaamikampaania, kus on ikka ja jälle juttu mingitest kerge muusika mõjudest teosele ning mine tea millest veel. Elavalt kuulsin Holsti „Planeete” vist küll alles kolmandat korda ja olin (erinevalt eelmistest kordadest) Paavo Järvi ettekandest päris vaimustuses. Eriti sisukad olid vastupidi ootustele rahulikud planeedid nagu „Veenus”, „Saturn” ja absoluutselt võlus mind „Neptuun” oma õnnestunud kosmilise inglikooriga, millega teos haihtubki lõpmatusse.
ERSO muusikaõhtu jäi aga maha hoopis planeedile „Maa” ja meie Estonia kontserdisaali täismaja publikule mällu ilmselt kauemaks kui järgmise kontserdini.

Thursday, October 16, 2008

Wednesday, October 15, 2008

October 15, 2008
Recordings Roundup: Bremen Beethoven
By Mary Ellyn Hutton
Paavo Järvi: Deutsche Kammerphilharmonie Bremen. Beethoven, Symphony No.4. Symphony No. 7. RCA Red Seal.
Paavo Järvi: Deutsche Kammerphilharmonie Bremen. Beethoven, Symphony No. 5. Symphony No. 1. RCA Red Seal.
In a field crowded with Beethoven cycles, Paavo Järvi and the Deutsche Kammerphilharmonie Bremen continue to produce a product of remarkable quality and distinction.

Symphonies No. 4 and 7 and No. 5 and 1 -- second and third installment of their complete set of Beethoven symphonies for RCA Red Seal -- deserve the same exclamation marks that greeted their inaugural pairing of No. 3 (“Eroica”) and 8 in 2007.
What they all have in common is uncommon precision and virtuosity allied with a vibrancy of spirit not heard, perhaps, since Arturo Toscanini decided to take the composer’s rapid metronome markings seriously in the 1950s.
Of course, most contemporary interpreters and ensembles have followed the Italian maestro’s lead – indeed you would be hard put to find tempos as slow as those influenced by the German late romantic model.
So it is not only that. Neither is it (necessarily) adherence to authentic performance practice, nor are period instruments used.
What Järvi accomplishes with the 40-piece DK (of which he has been artistic director since 2004) is a singular agility and responsiveness, transparent textures, a tradition of informed performance practice and -- what truly sets their work apart -- personality. Their Beethoven is no plaster bust on a mantel, but flesh and bone, a character of passion, wit, deep humanity and keen musical eloquence.
Symphonies No. 4 and 7 afford Järvi and the DK opportunity for one of their most skillful and spirited collaborations. The first movement (Allegro Vivace) of No. 4 demonstrates Järvi’s ability to carve occasional winsome legatos out of crisply articulated passages. The elaborate interweaving of lines in the Adagio is meticulous and extremely beautiful.
No. 7 shows the DK at its virtuosic best -- all spit and polish in the first movement (Vivace), which leads virtually without a break into the Allegretto, an understated funeral march that flows gently in homage to the fallen (the symphony was premiered in Vienna on a benefit concert for war veterans). The lightning-quick Presto is loaded with verve and good fun, with some of the most precisely executed string trills I have ever heard and a rapid, jovial hammer-blow ending. Järvi and his players really push the envelope in the finale (Allegro con brio), a churning, combative movement that loses not one iota of momentum until the tumbling, staccato end.
The iconic Fifth Symphony – premiered 200 years ago in Vienna (1808) -- takes one aback at the outset. The familiar motto is chiseled with urgency, and as the drama unfolds, Järvi keeps the attention focused with piquant details and vivid dynamic touches. The Andante con moto moves right along, and is shaped with the utmost grace and elegance. The scherzo (Allegro) offers mystery with its uncertain opening, staunch horn theme, rambunctious Trio and final dissolution into timorous, seemingly aimless fragments before soaring into the jubilant finale (Allegro). It is a magnificent conclusion, with huge orchestral surges, whistling strings and piccolo and a good-humored rendition of Beethoven’s protracted (tongue-in-cheek?) ending.
The Symphony No. 1 is as bright and polished as a new penny, from the bubbly Allegro con brio and perky Andante to the finale (Allegro molto e vivace). Again, dynamic contrasts are well-defined, with lots of sforzato (sharp accents) and timpani flourishes. Järvi has fun near the end of the finale where the music seems to be going in all directions at once.

Free iTunes download of Mussorgsky

October 14, 2008

CSO offers free 'Bald Mountain' download
The Cincinnati Enquirer

The Cincinnati Symphony Orchestra and record label Telarc are offering a free digital download of Mussorgsky’s "Night on Bald Mountain" as orchestrated by Rimsky-Korsakov.

The piece, based on a witches’ Sabbath, is a Halloween staple familiar to generations from Walt Disney’s animated feature Fantasia.
“It is unmistakably Russian… moody and very atmospheric,” said CSO Music Director Paavo Järvi. “Night on Bald Mountain is a fairy tale… Russian composers of the time were drawn to the philosophical fairy tale and to the supernatural.”
The free download on iTunes romotes the 14th Cincinnati Symphony Orchestra Telarc recording, an all-Mussorgsky disc available on iTunes and in CD and SACD formats. The repertoire also includes the composer’s Pictures at an Exhibition and closes with the serene Prelude to Khovanshchina.

To download Night on Bald Mountain, visit

Monday, October 13, 2008

Magazine covers in Japan

October 10, 2008
Dirigent Paavo Järvi juhatab täna taas Eestis

Paavo Järvi juhatab Frankfurtis Tubina sümfooniat 24.09.2008
Paavo Järvi juhatas taas Peterburi "Valgetel öödel" 11.07.2008
Paavo Järvi esinemised Jaapanis, Saksamaal ja Pariisis 09.06.2008
Pärast suvist Leigo järvemuusikat dirigeerib Paavo Järvi täna õhtul Estonia kontserdisaalis taas Eesti Riiklikku Sümfooniaorkestrit, kus ta alustas seitsmendat hooaega orkestri kunstilise nõustajana.Tänane kava Estonias on mitmes mõttes klassikaline ning kaalukas väljakutse ka orkestrile: ettekandel on Viini klassiku Franz Joseph Haydni Tšellokontsert C-duur, samas inglise muusika 20. sajandi klassikute Gustav Holsti ja Benjamin Britteni teosed, mis mõlemad on mõjutatud Euroopat tabanud kahe maailmasõja katsumustest.Britteni "Sinfonia da Requiem" (1940) on meistri esimesi suuri orkestriteoseid ilma solistita, milles heliloojale kui veendunud patsifistile aimub Teise maailmasõja kaotuste koledus.Holsti suur süit "Planeedid" on atraktiivne ja filosoofiline muusikaliste fantaasiate kogum päikesesüsteemis tollal teada planeetide kohta. Kui helilooja 1914. aastal süiti visandas, oli alanud Esimene maailmasõda, ja planeeti Pluto polnud veel avastatud. Viimase planeedi muusikaline kujutis kirjutati hiljem juurde.Haydni Tšellokontserdi solistiks on meie noorema põlvkonna tipptšelliste Silver Ainomäe, kes oma muusikahariduse saanud peamiselt Soomes ja Londonis. Kontserdil teeb kaasa tütarlastekoor "Ellerhein".Paavo Järvi tegutseb praegu kolme orkestri peadirigendina: USAs Cincinnati Sümfooniaorkester, Euroopas aga Bremeni Deutsche Kammerphilharmonie ja Frankfurti Raadio SO. Seetõttu on tal harva võimalusi Eestisse jõuda ja ta esinemine siin on sündmus. Tänasest kontserdist teeb otseülekande ka Klassikaraadio.Järvi viimased kontserdid Frankfurtis, kus ta esmakordselt juhatas Tubina Viiendat sümfooniat, leidsid suurt tähelepanu ja said tunnustava arvustuse sh ajalehes Wiesbadener Kurier (29. IX).Rohket eelreklaami on meedias leidnud Paavo järgmised kontserdid Pariisi mainekas Pleyeli saalis Orchestre de Paris’ ees juba 15. ja 16. oktoobri õhtul, kus kavas 20. sajandi kolm suuremat klassikut Debussy, Bartók ja Prokofjev. Järvist saab selle kuulsa orkestri peadirigent pärast lepingu lõppemist Cincinnatis aastal 2010.
Priit Kuusk

Monday, October 06, 2008

Concerts October 15, 16 Orchestre de Paris

October 6, 2008

Paavo Järvi dirige Debussy, Prokofiev et Bartók

Saison 2008/2009

Claude DebussyPrélude à l'après-midi d'un faune
Serge ProkofievConcerto pour violon n° 2 en sol mineur, op.63
Béla BartókConcerto pour orchestre, Sz 116
Regarder une vidéo sur le programme du concert

En savoir plus sur le concert
Le futur directeur musical de l’Orchestre de Paris, Paavo Järvi, dans un programme qui est comme une rencontre avec ses musiciens. Car si le Premier violon Solo, Roland Daugareil, jouera le second concerto de Prokoviev, les deux autres œuvres de la soirée abondent, elles aussi, en interventions individuelles. L’ondoyante mélodie de flûte du Prélude à l’Après-midi d’un Faune, mais aussi hautbois, violon, cor, harpe. Quant au Concerto pour orchestre de Bartók, le titre en annonce bien le foisonnement instrumental. Les trois œuvres, pour autant, sont très différentes. Le Prélude, celle d’un jeune compositeur qui invente la musique moderne au tournant du XXe siècle ; le concerto, celle d’un Russe à Paris dans les années 30 qui s’assagit, mûrit et délaisse un peu les pirouettes rythmiques de son piano pour la transparence et le lyrisme d’une merveilleuse pièce de violon ; le Concerto pour orchestre est l’une des toutes dernières œuvres d’un Bartók exilé aux Etats-Unis, déraciné et irrémédiablement condamné par la maladie. L’œuvre, pourtant, n’est pas sombre, elle possède l’élan vital des deux autres. Mais ce n’est pas le poème de la chaleur assoupie de sommeils touffus de Mallarmé. C’est un tapis, tendre ou hérissé, de sons mystérieux, nocturnes, saoulés. Une musique de chambre étendue à tout l’orchestre. Epoques différentes, œuvres différentes, donc, mais la personnalité des compositeurs est primordiale. Car une même époque peut faire surgir des œuvres radicalement différentes. On sera frappé, par exemple, de la dissemblance entre le Concerto pour orchestre de Bartók et la Turangalîla-Symphonie de Messiaen, qui sera jouée en décembre. Deux ans à peine les séparent, mais tout les oppose. Bartók fond, Messiaen juxtapose.

Sommaire de la vidéo
Les imprévus certains Paavo Järvi présente la musique de son premier concert de la saison, une musique "à coup sûr imprévisible", une signature commune à Bartók, Debussy et Prokofiev, trois des grands maîtres du XXe siècle.

Les imprévus certains Paavo Järvi présente la musique de son premier concert de la saison, une musique "à coup sûr imprévisible", une signature commune à Bartók, Debussy et Prokofiev, trois des grands maîtres du XXe siècle.
Roland Daugareil dévoile le Concerto pour violon de Prokofiev
Roland Daugareil dévoile le Concerto pour violon de ProkofievPour ce concert, le Premier violon de l'Orchestre de Paris sera le soliste du concerto de Prokofiev. Il en fait découvrir ici les contours, l'écriture, les couleurs.
Paavo JärviDirection
Paavo Järvi a toujours su qu’il deviendrait chef d’orchestre. Son père Neeme Järvi y est pour quelque chose dans cette conviction, qui emmenait son fils enfant suivre les répétitions de l’Opéra de Tallinn, leur ville d’origine. En 1980, les pressions politiques forcent la famille Järvi à quitter l’Estonie pour s’installer aux Etats-Unis. Paavo Järvi y fait ses études musicales, notamment à Los Angeles, auprès de Leonard Bernstein. Sa carrière commence en Suède, à Malmö et Stockholm. La décennie 2000 est celle de la reconnaissance avec quatre postes de directeur musical, à Cincinnati (jusqu’en 2010), en Allemagne à la Hessische Rundfunk et pour la Deutsche Kammerphilharmonie, et puis enfin l’Orchestre de Paris dont il deviendra directeur musical en 2010. Paavo Järvi, suivant en cela la philosophie de son père, explore un répertoire symphonique peu connu et défend les compositeurs nordiques, Sibelius en tête. Il a fait ses débuts en France à l’Opéra de Lyon en 1991 et à l’Orchestre de Paris en 2004.
Roland DaugareilViolon
Né dans une famille où l’art et la vie se conjuguent au travers de l’ébénisterie et de la peinture, Roland Daugareil a trouvé sa passion dans la musique. Après le Conservatoire de Paris, il a poursuivi ses études avec Pierre Doukan, Yehudi Menuhin, Sandor Vegh, Franco Gulli et Josef Gingold et obtenu les Premier prix aux Concours internationaux de Stresa, Londres, Naples (Curci), Belgrade, Sion (Varga). Quand il est nommé Premier violon solo de l’Orchestre de Paris en 1996, Roland Daugareil a déjà accumulé une grande expérience de cette fonction-clef. Premier violon du Quatuor Ravel pendant 10 ans, soliste de l’orchestre de l’Opéra de Paris à 22 ans, Roland Daugareil fut également Premier violon solo de l’Orchestre philharmonique de Radio France et de l’Orchestre national de Bordeaux Aquitaine. Il a également tenu ce rôle en invité aux Etats-Unis et en Asie notamment. En concerto il a côtoyé Karajan, Maazel, Ozawa, Sawallisch et beaucoup d’autres. Avec l’Orchestre de Paris, il a déjà joué plusieurs concertos, ceux de Max Bruch ou de Dvorák, en passant par les Portraits de Bartók, avec Dohnanyi, Boulez ou Janowski.

Broadcast of Mussorgsky CD

New recordings and interviews featured on WITF-FM 89.5.
October 7, 2008

Modest Mussorgsky was grief-stricken by the death of his artist-friend Victor Hartmann. When Mussorgsky attended an exhibition of the late artist’s works, he was moved by what he saw and inspired to compose a memorial piece for Hartmann. The latest recording by conductor Paavo Järvi and the Cincinnati Symphony Orchestra entitled, Mussorgsky: Pictures at an Exhibition, shares the name of the work that resulted. This morning on Classical Air, we’ll sample “Prelude to Khovanshchina,” from Mussorgsky’s unfinished opera, orchestrated by Nicolai Rimsky-Korsakov. This afternoon, we’ll play “Pictures at an Exhibition,” orchestrated by Maurice Ravel.

Wednesday, October 01, 2008

Concert October 10, 2008, Tallinn, Estonia

Paavo Järvi juhatab Frankfurtis Tubina sümfooniat

September 24, 2008

Paavo Järvi

Frankfurti Raadio Hessische Rundfunki sümfooniaorkester toob peadirigent Paavo Järvi juhatusel esmakordselt Frankfurtis kuuldavale eesti helilooja Eduard Tubina Viienda sümfoonia.Kontserdid toimuvad 25. ja 26. septembril kuulsas Alte Operis. Paavo Järvi alustas Frankfurtis peadirigendina alles kolmandat hooaega. Mõneski kavas on tal seal õnnestunud ka Eesti muusikat esitada, nüüd on ees Eduard Tubina sümfoonia ettekanded.Tubina uurija Vardo Rumessen kinnitab, et Saksamaa suures muusikakeskuses Maini-äärses Frankfurtis pole seni ette kantud ühtki Tubina sümfooniat, kuigi ainuüksi sel aastal on Tubinat Münchenis dirigeerinud Neeme Järvi ja Berliinis Kristjan Järvi. "Uue hooaja pressikonverentsil nimetasid mitmed ajakirjanikud just homme kõlama hakkavat kava nende jaoks hooaja kõige huvitavamaks ning palusid, et ma tihedamini Tubinat ette kandma hakkaksin," ütles Paavo Järvi. "Kontserdid on hästi reklaamitud nii raadios kui ka plakatitega linnas. Nagu alati, salvestab ja kannab õhtu üle Hesseni ringhääling oma teises programmis ’hr2’," lisab Paavo. Samas kavas on ettekandel veel Franz Joseph Haydni Sümfoonia nr 82 ("Karu") ning Johannes Brahmsi Klaverikontsert nr 2, kus solistiks Brahmsi interpreedina tunnustatud noor USA pianist Nicholas Angelich. Koos Angelichiga on Paavo plaadile mänginud Brahmsi kontserdi nr 1, mis ilmub jaanuaris.
Priit Kuusk

Suggestive Sprache Alte Oper: Paavo Järvi und das hr-Sinfonieorchester

September 29, 2008

Von Axel Zibulski

FRANKFURT Am Ende haben die Pauken ihren großen Auftritt: Ihr doppeltes Solo lässt die fünfte Sinfonie b-Moll von Eduard Tubin furios enden, so dass man sich noch einmal fragt, warum diese wirkungsvolle und effektstarke Musik eigentlich höchst selten im Konzertsaal zu hören ist. Paavo Järvi stellte die fünfte Sinfonie des estnischen Komponisten bei einem Abonnementkonzert in der Frankfurter Alten Oper Frankfurt vor; sein Vater Neeme Järvi trug maßgeblich zur Verbreitung der Werke Eduard Tubins bei, der 1905 geboren wurde und 1982 im schwedischen Exil starb. Verschobene Rhythmen Bereits der thematisch unprätentiöse Beginn von Tubins fünfter Sinfonie wendet sich bald in jene verschobenen Rhythmen, die so charakteristisch sind für dieses 1946 entstandene Werk. Die opulente, spätromantische Sprache, die manchmal wie eine Mischung aus Gustav Mahler und Igor Strawinski klingt, ist durchweg suggestiv: Im mittleren der drei Sätze lässt Tubin den Konzertmeister ein dunkles, wie ein Totentanz klingendes Solo spielen, überhaupt sind es die Tiefen der Streicher, die dem Stück seinen prägnanten Grundton geben. Die Musiker des hr-Sinfonieorchesters konnten in dieser Hinsicht ihre Stärken gut entfalten, die Interpretation des so selten zu hörenden Werks war bis eben zum finalen Duell der beiden Pauker äußerst leidenschaftlich angelegt. Würziger Klang Eröffnet hatte das hr-Sinfonieorchester sein Konzert mit Joseph Haydns Sinfonie Nr. 82 C-Dur ("Der Bär"). Auf diese Aufführung durfte man besonders gespannt sein, hatte doch Järvis Vorgänger Hugh Wolff gerade mit seinen historisch bestens informierten Haydn-Interpretationen einen Schwerpunkt seiner Frankfurter Arbeit gesetzt. Aber auch Järvis Sicht auf den Wiener Klassiker klang würzig, pointiert, im Finale äußerst verspielt und insgesamt so frisch wie exakt musiziert. Höchst souverän fiel auch der Auftritt des Solisten dieses Abends aus: Der 1970 geborene US-Amerikaner Nicholas Angelich gilt als Experte in Sachen Johannes Brahms, und seine weitsichtige, gut in den sinfonischen Orchestersatz integrierte Wiedergabe von dessen zweitem Klavierkonzert B-Dur op. 83 ließ diese Expertise angenehm lebendig werden.