<Automatically translated from French>
Franz Schubert. Symphony No. 5 in D major, D485
Nikolay Myaskovsky. Cello Concerto in C minor, Op. 66
Soloist: Alexander Knyazev
Paul Hindemith. Symphony "Mathis the Painter" (Mathis der Maler)
Helsinki Philharmonic Orchestra
Alexander Vedernikov, conductor
The mid-twentieth century cello concerto is dominated by two great Russian works: the Sinfonia Concertante of Prokofiev and the first cello concerto of Shostakovich. Both works feature fiendishly difficult solo parts and place the soloist in the traditional concerto role of hero or protagonist. On this concert, the Russian cellist Alexander Kniazev presented the infrequently performed cello concerto of Miaskovsky, demonstrating its worthiness as a viable alternative to the Prokofiev or Shostakovich.
The program opened with Schubert's sunny Symphony No. 5. In this work Schubert unabashedly looks towards the classical symphony of Mozart and Haydn, although one can detect thematic similarities in the third movements of this work and that of Beethoven's Symphony No. 5. As expected, Schubert filled the work with many surprising but seamless modulations, especially in the first two movements. Conducting without a score, Vedernikov brought out excellent string ensemble while highlighting Schubert's absolutely delicious woodwind writing.
The Cello Concerto of Miaskovsky is notable for its predominantly lyrical nature, even in the Allegro Vivace second movement. Overt virtuosic display is generally lacking, with the exception of the cadenzas in each of the two movements. Loud orchestral tuttis are also absent. The soloist is placed in a more restrained role, with the orchestra gently supporting or commenting on the solo line.
The extended orchestral opening, which includes a beautiful bassoon solo, is described as mournful and quietly noble. The work has been compared to composers such as Rachmaninoff, Tchaikovsky, Vaughan Williams, and Chausson, with some harmonic elements suggesting Shostakovich. Both movements end with a transformation to C major. Kniazev's performance as the soloist is noted for his warm and penetrating tone, which suited the music well.
The final work on the program, Hindemith's Mathis der Maler symphony, is one of the composer's most frequently performed orchestral works. One of the challenges of performing Hindemith convincingly is to balance the busy and sometimes pedantic contrapuntal writing with the primary melodic material. Vedernikov achieved this convincingly in the central section of the first movement, although the radiant climax of the same movement was poorly balanced. The second movement was notable for its beautiful oboe solo. The final movement, though quite inventive and featuring Hindemith's typical fugal writing, leads to a curiously unsatisfying final brass choir apotheosis.
Source.
Franz Schubert. Symphony No. 5 in D major, D485
Nikolay Myaskovsky. Cello Concerto in C minor, Op. 66
Soloist: Alexander Knyazev
Paul Hindemith. Symphony "Mathis the Painter" (Mathis der Maler)
Helsinki Philharmonic Orchestra
Alexander Vedernikov, conductor
The mid-twentieth century cello concerto is dominated by two great Russian works: the Sinfonia Concertante of Prokofiev and the first cello concerto of Shostakovich. Both works feature fiendishly difficult solo parts and place the soloist in the traditional concerto role of hero or protagonist. On this concert, the Russian cellist Alexander Kniazev presented the infrequently performed cello concerto of Miaskovsky, demonstrating its worthiness as a viable alternative to the Prokofiev or Shostakovich.
The program opened with Schubert's sunny Symphony No. 5. In this work Schubert unabashedly looks towards the classical symphony of Mozart and Haydn, although one can detect thematic similarities in the third movements of this work and that of Beethoven's Symphony No. 5. As expected, Schubert filled the work with many surprising but seamless modulations, especially in the first two movements. Conducting without a score, Vedernikov brought out excellent string ensemble while highlighting Schubert's absolutely delicious woodwind writing.
The Cello Concerto of Miaskovsky is notable for its predominantly lyrical nature, even in the Allegro Vivace second movement. Overt virtuosic display is generally lacking, with the exception of the cadenzas in each of the two movements. Loud orchestral tuttis are also absent. The soloist is placed in a more restrained role, with the orchestra gently supporting or commenting on the solo line.
The extended orchestral opening, which includes a beautiful bassoon solo, is described as mournful and quietly noble. The work has been compared to composers such as Rachmaninoff, Tchaikovsky, Vaughan Williams, and Chausson, with some harmonic elements suggesting Shostakovich. Both movements end with a transformation to C major. Kniazev's performance as the soloist is noted for his warm and penetrating tone, which suited the music well.
The final work on the program, Hindemith's Mathis der Maler symphony, is one of the composer's most frequently performed orchestral works. One of the challenges of performing Hindemith convincingly is to balance the busy and sometimes pedantic contrapuntal writing with the primary melodic material. Vedernikov achieved this convincingly in the central section of the first movement, although the radiant climax of the same movement was poorly balanced. The second movement was notable for its beautiful oboe solo. The final movement, though quite inventive and featuring Hindemith's typical fugal writing, leads to a curiously unsatisfying final brass choir apotheosis.
Source.
Alexander Kniazev performs Miaskovsky’s Cello Concerto
Derek HO, ResMusica, March 5, 2014
