Gidon Kremer and Kremerata Baltica
McCarter Theatre Center
Friday, February 3, 2017
By Christian Carey
PRINCETON – I’ve wanted to hear violinist Gidon Kremer perform Estonian composer Arvo Pärt’s iconic work Fratres live since I was a teenager. Back then, Kremer’s rendition of the work on an ECM Records New Series CD was transfixing and game changing: it became an almost totemic art object for me as a composition student. On February 3rd, I got my wish at McCarter Theatre in Princeton. Unlike the recording, here Kremer pushed the proceedings forward, taking a quicker tempo and engaging in more taut phrasing than he did on the CD. The work is still transfixing, but it was moving to hear its story retold in a new way.
Kremer and Kremerata Baltica, the chamber orchestra of Eastern European musicians that he leads, have a new ECM CD out, this one of the Chamber Symphonies of Mieczysław Weinberg, late works that sit astride Mahlerian late Romanticism and modernism that is a close cousin to the works of Shostakovich. Clarinetist Mate Bekavac, who also appears on the recording, was a sterling-toned soloist, unwinding breathless phrases and coordinating and blending seamlessly with the strings.
The second half of the concert had an interested concept that provided a bit of dramatic flair. Kremer began it with Tchaikovsky’s Serenade Melancolique, leaving the stage on the last note, which led directly into Kremerata Baltica’s rendition of Mussorgsky’s Pictures at an Exhibition. This was resolutely played, but the absence of brass and winds led to some strangely attenuated passages (Andrei Pushkarev, a percussionist, performed formidable gymnastics to reach all of the score’s instruments). At the piece’s conclusion, Kremer returned to the stage, playing Valentin Silvestrov’s solo Serenade nearly attacca.
There were yet more surprises to come. Two encores, Stankovich’s Lullaby and Alfred Schnittke’s Polka gave the audience distinct flavors of music-making – one poignant and one buoyant – to send them home.
This is Kremer’s seventieth birthday year. To celebrate, he has not only released the Weinberg disc on ECM, but has also recorded Rachmaninov’s Piano Trios and the Philip Glass’s Violin Concerto (available on vinyl!) for DG.
Photo: Steve Pyke
Philip Glass turned eighty years old today. A celebration was held at Carnegie Hall tonight, a concert by the Bruckner Symphony Linz, led longtime Glass collaborator conductor Dennis Russell Davies in the premiere of the composer’s Eleventh Symphony and Three Yoruba Songs (with vocalist Angélique Kidjo).
In Nashville tonight, I’m not hearing any live Glass alas, but I am enjoying a brand new recording by Icelandic pianist Víkingur Ólafsson. Philip Glass – Piano Works, his debut for Deutsche Grammophon, features interpretations of the Études and excerpts from Glassworks. The Siggi String Quartet joins the pianist on some of the music, reworked to incorporate strings. Both here and in the solo selections, Ólafsson brings to bear a supple sense of phrasing and wide-ranging gestural palette. His playing stands starkly at odds with the seemingly irrepressible notion that ostinatos serve as motoric cogs in a supposedly limited minimalist vocabulary. He finds 1,000 flavors of repetition. Anyone who wants an point of entry to or refresher course on Glass’s music need listen no further than here to find bold, dramatic interpretations of his work.
Cedille Records CD 90000 157
The “M” word: minimalism: oft-quoted, sometimes maligned, often misunderstood, and seldom accepted as a self-descriptor by composers. We get into ever more thorny ground as we begin to contemplate “post-minimalism:” does it describe chronology, influence, or some kind of murky musical terrain? If we are to use the descriptor for chronology, even Philip Glass suggests that his pieces departed very early from minimalism. So what are listeners to do with a release such as Filament, on which there is a 17-minute long piece of process music (Two Pages by Glass) that clearly makes much out of comparatively little? Further, what do we call pieces by the younger generation of indie classical composers (another loaded term), clearly enamored with repetition, who make up the bulk of this disc? Perhaps it is better to avoid the style tags altogether and instead say that each of the pieces on Filament is composed by a creator fascinated with repetition, but each one in a different way.
Bryce Dessner channels the instrumentation and affect of murder ballads of the Nineteenth and early Twentieth Centuries to create the rustic ostinatos of Murder Ballades. Written for a celebration of Philip Glass’s 75th birthday, Nico Muhly’s Doublespeak is designed to hearken back to the “obsessive repetition” of the 1970s, but it does so in a powerfully articulated fashion. Son Lux’s contributions, abetted by the vocals of Shara Worden (My Brightest Diamond), are brief remixes of material from the album. Filament’s high point is a high octane and highly coordinated performance of Glass’s Two Pages. A single, propulsive line that can be played by any combination of instruments: the elements couldn’t be more minimalist in conception, but the execution is anything but.
String Quartets 2-5
Dublin Guitar Quartet
Orange Mountain Music
The translation of a string quartet into a guitar quartet might initially sound like a dubious prospect. After all, guitar, for all its many virtues, cannot match the sustain of bowed stringed instruments. That said, what the Dublin Guitar Quartet has done in recording transcriptions of Philip Glass’s string quartets is nothing short of extraordinary. They have recast the pieces to focus on their pulsating, rhythmic drive. But we don’t just get the impression of gestures with long notes shorn off. Indeed, in many places, even if we don’t have a violin taking a long-lined solo, the intensity the group brings to bear helps the listener to “feel legato” when we can’t entirely be hearing it. This is a recording of the quartets that reinvigorates them from a fresh vantage point; I’m very glad that the Dublin Quartet had the courage and commitment to make it happen.