Bohuslav Martinů (1890-1959)
Friday, September 13, 2024
Concert Hall, Helsinki Music Centre, Mannerheimintie 13 A, 00100 Helsinki, Finland
Bagarre means “fight” or “brawl”, although Martinů, who resided in Paris for a while, intended La Bagarre (1927, for Boston & Koussevitzky) to depict “tumultuous bustle and commotion”, which he achieved propulsively in this dynamic piece that doesn’t overlook characteristic lyricism, or orchestration that belongs entirely to this splendid composer. Serious indeed for the Sibelius Melodies, affecting too, rich-toned from Christian Tetzlaff, the second piece more true to Sibelius’s musical identity. Suk’s wonderful Fantasie is Slavonic-fiery, also intimate, lovingly communicative, and dances with spirit. Tetzlaff brought music-serving virtuosity and much sensitivity to it, with Nicholas Collon as identified with the music as was the soloist. Collon went on to conduct Dvořák’s magnificent Seventh Symphony, well-paced and scrupulously detailed, if a little reserved, passions somewhat held in check, for all that climaxes were finely calibrated when moving towards them, yet the slow movement could have been darker, its feelings coming more from within. The Scherzo was lively if short on intensity – woodwind trills as good as you’ll hear though – and if the Finale found greater meaning behind the notes, it wasn’t so much too late as confirming what had been underplayed hitherto, which doesn’t happen with, say, Giulini (Amsterdam/Sony), Ozawa (a London concert with the Vienna Philharmonic) and at least one of Neumann’s (three?) recordings. Tip of the iceberg, mind. This Finnish Radio concert added an item, Sibelius’s ‘Scene with Cranes’ from his Kuolema score (Opus 44), given poignantly in memory of a long-serving bassist in the orchestra who died recently.
Bohuslav Martinů: La Bagarre
Jean Sibelius: Two Serious Melodies Op.77
Josef Suk: Fantasie for Violin and Orchestra Op.24
Antonín Dvořák: Symphony No.7