Classic. Kirill Gerstein is a solo pianist conducting the Radio Symphony Orchestra under Nicholas Collon. – Tarkiainen, Elgar, and Rachmaninov.

Do you like Russian music?

When Sergei Rahmaninovilla composed his third piano concerto in Dresden in 1909, he already had one foot abroad. He migrated as a result of the revolution, and he finally acquired American citizenship.

Because the Ukrainian Minister of Culture requested a boycott of Russian culture during the conflict, the issue needs to be taken into consideration. The foundation is the belief that Russia has declared its culture to be a weapon.

The contemplation goes on, but during this performance, Rachmaninov seemed like a global culture that no one country could possibly own.

Kirill Gerstein, a renowned pianist of Russian descent, is also a US citizen. In addition to being a talented artist, he deserves respect for strongly denouncing Russia’s massive attack starting in February.

This time, Kirill Gerstein veered out from the Radio Symphony Orchestra on occasion. Marco Borggreve photo

The third piano concerto by Rachmaninoff is regarded as “the most challenging in the world.” The mythology was popularized by the 1996 blockbuster film Glory, which shows how the concerto’s obsessive practicing causes pianist David Helfgott’s mental health to deteriorate.

I last heard Gerstein perform this concerto in 2008 when visiting Venezuela. Gustavo Dudamel was honing his conductor skills at the same time as I recalled the performance’s simple joy.

Now, Gerstein correctly notes in the manual that in addition to power, the soloist must exemplify Rachmaninoff’s aristocratic elegance.

Power was adequate, but elegance was lacking. Gerstein rushed and pushed in the front row, especially at the start, even though he had the option of briefly condensing the story. His performance resembled a sports car’s nimble suspension.

In terms of musical culture, even the radio symphony orchestra used to be quite underdeveloped. Nicholas Colonin, on the other hand, drove a family car with milder settings.

It was a little unsettling to see how Gerstein and Collon approached things differently, especially in the first quarter. As the concert went on, the issue became better, and the outcome was extremely pleasing.

Rachmaninov’s composition was described by Fritz Kreisler as a pleasant treat or dessert.

Outi Tarkiainen’s Ring of Fire and Love, which had its world premiere in 2021 with the Stockholm Philharmonic, had its ears cleaned.

Additionally, we are now hearing the eerie buzz of witch drums along with brilliant, piercing, but not ugly dissonances.

The nine-minute, expert vocal thesis is influenced by Tarkiainen’s labor and delivery experiences. The trumpet solo and Tarkiainen’s jazz background both may have faded a little bit.

The harp’s secondary pattern was particularly prominent toward the conclusion, perhaps perhaps because of where I was sitting.

Shouldn’t the balance also be adjusted with consideration to this specificity for Thursday’s second performance and the recording that the RSO will make of the composition this week?

This time, when Nicholas Collon, the head conductor of the Radio Symphony Orchestra, led Elgar, he was at the top of his game. Rio Gandara / High School

As heard from the arena, Nicholas Collon and the RSO shone last week, at least while on holiday, in Gustav Mahler’s Symphony No. 10 cello concerto.

This time, the combination sounded its best when heard in the hallway Edward Elgarin In Enigma variations. Collon had already performed it during his time in the youth orchestra.

Even the theme subtly introduced the string instrument, and in the variations, for instance, the woodwinds were given several opportunities to shine and do so brilliantly.

It has been Money’s goal to “reinvent” Elgar.

By tempo-matching the theme and Nimrod-some astonishingly slowly, old Leonard Bernstein applied for something new. The Germans saw Elgar as the successor to Brahms, while Valery Gergiev recently transformed him into a genuine Tchaikovsky.

The British Elgar conducting tradition has been criticized by Sakari Oramo in The Guardian before: Malcolm Sargent was overly emotional. The operatic frenzy of John Barbirollin and Adrian Boult’s somber weight were both incorrect. Because of how well Oramo’s interpretations were received, the British awarded him the Elgar Medal.

With such excellent Elgar interpretations, Collon can achieve comparable recognition. Collegial likeability of Enigma versions fits him.

Although no one seems to allow such strong sliding with strings from one note to the next anymore, one route for improvement could be in the direction of Elgar’s early recordings. Vibrato was utilized less frequently during that time, which is important to note.

The variations were notably transformed by Elgar into character studies of his acquaintances, nearly none of whom had any idea that the composer would complete this masterwork in 1899 at the age of forty.

The Nimrod-part was once again the most moving climax, and it is always problematic when there are variances since the conclusion does not have the same power. August Jaeger is responsible for the inspiration for the role, Nimrod, as he convinced Elgar to extend the witty finale until the composer consented.

Even yet, it’s still beautiful music; in the extended finale, the variations are combined into the composer’s apparent self-portrait through a little longer development.

Behind this link is a link back to the Areena recording of the concert.

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