Hilary Hahn, Thomas Ades, CSO

[richardfinegold]

As mentioned elsewhere last nights program featured Thomas Ades conducting.

Sibelius Night Ride and Sunrise
Rautavaara 2 Rhapsodies
Saraste Carmen Fantasy
R. Strauss Der Rosenkavalier Suite

The least familiar to me work was the Sibelius. For all the Sibelius on my shelves this is one piece that I was was scantily familiar with . Vintage Sibelius, but not his best champagne. There are many fun Orchestral effects at the Sunrise part, but the whole thing to me seems cobbled together from bits that were left out of En Saga, the 3rd Symphony, and Tapiola.
The Rautavaara pieces were featured on Hahn’s disc entitled “Paris”. The are pleasant, short lyrical bits that just sort of stop instead of reaching some sort of apotheosis. There isn’t any contrast between them and coupled with the Sibelius it made for an odd first half.
The temperature was definitely raised in the second half. There isn’t much to comment on HH virtuosity except “Wow”. After a few minutes you forget that it’s a violin playing the music and expect to see Tatiana Troyanos out there.
I usually don’t care much for the Rosenkavaler Suite, but this time its charms seduced me. I had no idea the Orchestra employed was so large. No one got the night off.
Ades as a conductor? He looks like a Zumba instructor. I thought he micromanaged rubato in the Sarasate instead of letting the music rip. Curiously his body language calmed down in the Strauss, which I thought was his best work

[Bryn]

As mentioned elsewhere last nights program featured Thomas Ades conducting.

Sibelius Night Ride and Sunrise
Rautavaara 2 Rhapsodies
Saraste Carmen Fantasy
R. Strauss Der Rosenkavalier Suite

The least familiar to me work was the Sibelius. For all the Sibelius on my shelves this is one piece that I was was scantily familiar with . Vintage Sibelius, but not his best champagne. There are many fun Orchestral effects at the Sunrise part, but the whole thing to me seems cobbled together from bits that were left out of En Saga, the 3rd Symphony, and Tapiola.
The Rautavaara pieces were featured on Hahn’s disc entitled “Paris”. The are pleasant, short lyrical bits that just sort of stop instead of reaching some sort of apotheosis. There isn’t any contrast between them and coupled with the Sibelius it made for an odd first half.
The temperature was definitely raised in the second half. There isn’t much to comment on HH virtuosity except “Wow”. After a few minutes you forget that it’s a violin playing the music and expect to see Tatiana Troyanos out there.
I usually don’t care much for the Rosenkavaler Suite, but this time its charms seduced me. I had no idea the Orchestra employed was so large. No one got the night off.
Ades as a conductor? He looks like a Zumba instructor. I thought he micromanaged rubato in the Sarasate instead of letting the music rip. Curiously his body language calmed down in the Strauss, which I thought was his best work

When it comes to the Sibelius, this takes some beating:

(https://www.youtube.com/watch?v=6KMO05qhlWk)

[Pulcinella]

Just checked the Presto listings to see if I had the Sibelius work on a CD (or in a set) that I'd forgotten about; doesn't look like I have, but this would have been a most unlikely place to look on my shelves: the coupling to Jochum's BPO recording of Bruckner 4!

https://www.prestomusic.com/classical/products/7932475--bruckner-symphony-no-4

[smittims]

I first heard 'Night Ride' on an HMV LP conducted by Dorati, and later the first recording, made for the Sibelius Society albums by the BBC SO and Adrian Boult.

I was told that the 'Ride' in question was on a train in Italy.

[richardfinegold]

I first heard 'Night Ride' on an HMV LP conducted by Dorati, and later the first recording, made for the Sibelius Society albums by the BBC SO and Adrian Boult.

I was told that the 'Ride' in question was on a train in Italy.

Now that's interesting. The "movement" theme is a brief rhyme figure that is repeated for far to long. It reminded me of the movement motif from En Saga, where one pictures sled dogs or reindeers mushing.If it is trying to imitate a train, then it is much less effective than, but possibly an inspiration for, Meredith Wilson in The Music Man ("Next Stop,River City")

[smittims]

It's not too long for me; I always enjoy hearing it in its entirety.

[Maclintick]

I first heard 'Night Ride' on an HMV LP conducted by Dorati, and later the first recording, made for the Sibelius Society albums by the BBC SO and Adrian Boult.

Sibelius doesn't automatically spring to mind when considering Dorati's career, but that LP consisting of what in 1969 were some of the Finnish master's less well-known pieces, including, I think, the world première recording of Luonnotar with the great Gwyneth Jones, is well up to AD's exalted standards. Played it the other day and it still sounds wonderful. Night Ride needs special attention to dynamics from all concerned in maintaining the shifting intensities and momentum of the trochaic rhythms if it's to avoid monotony. Dorati & the LSO pass this test convincingly.

I recently heard Night Ride & Sunrise in a Barbican concert (BBC Symphony/Oramo) which featured the composer's optional, but preferred if possible, doubling of the horns to 8 players from fig 41 in the score, making for an extra-refulgent Sunrise. Luonnotar with Anu Komsi was memorable in that same concert.

[richardfinegold]

Sibelius doesn't automatically spring to mind when considering Dorati's career, but that LP consisting of what in 1969 were some of the Finnish master's less well-known pieces, including, I think, the world première recording of Luonnotar with the great Gwyneth Jones, is well up to AD's exalted standards. Played it the other day and it still sounds wonderful. Night Ride needs special attention to dynamics from all concerned in maintaining the shifting intensities and momentum of the trochaic rhythms if it's to avoid monotony. Dorati & the LSO pass this test convincingly.

I recently heard Night Ride & Sunrise in a Barbican concert (BBC Symphony/Oramo) which featured the composer's optional, but preferred if possible, doubling of the horns to 8 players from fig 41 in the score, making for an extra-refulgent Sunrise. Luonnotar with Anu Komsi was memorable in that same concert.

Wow. There were 5 horn players Saturday night

[smittims]

You're close, Maclintick, and I hope you'll forgive a melomane's nitpick. The Dorati recording, made in February 1969, may have been the first recording of Luonnottar published in Britain. The first made was probably Schneevoigt's, at a Queen's Hall concert in 1934, though this was unpublished til the mid-'70s. And the Curtin/Bernstein recording (passionate if a little screamy) dates from 1965.