United States Ligeti, Bartók, Rachmaninov: Noah Geller (violin), Seattle Symphony / David Robertson (conductor). Benaroya Hall, Seattle, 2.3.2023. (ZC)
Ligeti – Concert Românesc
Bartók – Violin Concerto No.2
Rachmaninov – Symphony No.1 in D minor
Sergei Rachmaninov was one of the gifted and versatile composers of his era. His music spanned a variety of genres and varieties, from piano items and songs to operas and orchestral works. A mastery of melody, concord and construction allowed him to create works that appealed to each the general public and critics. But one night time modified every thing: his Symphony No.1, a daring and progressive work, was met with scorn at its premiere.
Rachmaninov had poured months of labor and love into this piece, and he was left devastated and damaged by the cruel judgment of his friends and mentors. His inventive spark was smothered by a deep abyss of despair and self-doubt, which held him captive for 3 lengthy years. Although he finally recovered, the symphony virtually vanished, endlessly haunting the reminiscence of its good but troubled composer.
Under David Robertson’s management, the Seattle Symphony delivered a hanging efficiency of Rachmaninov’s First Symphony. Robertson’s repute as a specialist in up to date music made this piece an intriguing selection, however the the rest of this system – Ligeti’s Concert Românesc and Bartók’s Second Violin Concerto – revealed stunning similarities among the many works. Each attracts closely from conventional people music. Concert Românesc is a playful, twelve-minute exploration of springy melodies, and Bartók opens his concerto with a wistful tune. Even Rachmaninov’s work incorporates parts of Russian plainchant, additional emphasizing the theme of people affect all through this system.
What actually drew the works collectively for me is the deft method every composer makes use of these native motives to develop their music. Approachable modernism is the ensuing impact. Rachmaninov’s contemporaries may need been puzzled by his First Symphony, however by linking every motion with recurring themes, he offers useful signposts to assist information the listener by means of the work’s many contrasting musical parts. Românesc does this too: as every new tune interweaves, it softens Ligeti’s fashionable idiom for the listener.
The efficiency brimmed with a simple pulse. Forward momentum was the secret from begin to end. Jaunty throughout the Ligeti, ominous for the Rachmaninov – even when the symphony floor to a crawl within the coda. Robertson additionally deftly accentuated every work’s moods. Superb contributions from all of the sections of the orchestra introduced out the leaping pleasure in Ligeti’s work, whereas the dark-hued, thick sound produced by the strings – particularly the low strings – added to the ruggedness of the First Symphony.
Robertson and Seattle Symphony Concertmaster Noah Geller joined forces to ship an unforgettable efficiency of Bartók’s Violin Concerto No.2. Despite his obligations with the orchestra, Geller has emerged as a top-notch soloist in latest occasions, and his efficiency of the Bartók was a real testomony to his talent. Geller’s opening assertion was nothing wanting haunting, immediately fascinating the viewers. As the piece progressed into extra intricate and demanding sections, Geller’s assault turned sharper, including an additional layer of depth to the already dynamic composition. The emotionally charged second motion was a selected spotlight, with Geller’s each variation lingering within the air, leaving the viewers spellbound.
David Robertson has been an everyday visitor with the Seattle Symphony for greater than 20 years. I can’t keep in mind a foul live performance that he has performed. In 2009, he led the orchestra in a memorable Seattle premiere of Thomas Ades’s Violin Concerto and, throughout the pandemic, he performed Beethoven’s Symphony No.4. Last yr, he returned for an evocative live performance of Ives and Schumann. Every single efficiency is an occasion unto itself. Robertson has confirmed himself time and time once more to be a useful asset to the Seattle music scene: he brings the creativeness, talent and knowledge which might be all sorely lacking within the Emerald City in the meanwhile. And I hope somebody, someplace within the administrative bowels of Benaroya Hall, is scheming to convey Robertson to town for an extended creative dedication.
Zach Carstensen