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In another loosely themed concert, ADDA Simfonica
played four works written in the forty years that spanned the dawn of the
twentieth century. In different ways, these works address religious, folk and
popular culture from central and eastern Europe, though the range of styles may
have obscured whatever thematic links that may have cemented them. Under guest
conductor Ramon Tebar, the ADDA orchestra opened the concert with the Russian
Easter Festival Overture by Rimsky-Korsakov. The composer’s idea was to
synthesize popular religiosity with the theatre to arouse feelings of
nationalism. And so in an overture that lasts a quarter of an hour, the
composer displays great technical prowess without really exploring many musical
ideas. The playing was superb, the material less so.
The Hungarian composers Béla Bartók and Zoltan Kodaly were both personal friends and musical collaborators. They set out at the start of the twentieth century to note down and thus preserve the nation’s folk music, specifically the rural peasant songs that were likely to disappear under the tide of modernization. Both composers used much of the material they collected in their own compositions, sometimes literally via quotation and sometimes, especially in Bartok’s case, by implication via the extraction of a musical language. Thus the harmonies, scales and sometimes the themes themselves appear in the music.
Bartok’s first piano concerto is not overtly folkloric. It’s a work of the 1920s, written to provide a vehicle for the composer’s own playing, but also to allow him to clarify the stylistic character of his compositional style, which was a rejection of romanticism, atonality and neoclassicism. Bartok wanted to unite the discipline of Bach with the structure of Beethoven and the harmony of Debussy. But he wanted to achieve this using some of the tools he had wrought from the folklore tradition.
The result was a rhythmic, percussive First Piano Concerto that makes massive demands on the soloist. Some approach the work as if it were a gymnastic challenge, where the goal is the completion of the exercise merely without fault. But this concerto needs a soloist who can not only rise to the challenge but also interpret the nuances, register the contrasts. Juan Perez Floristan did that very well. Overall, the reading of the work, however, seemed to this listener to duck the opportunities to vary the tempi and the loosen the rhythms, thus losing any sense of jazz, which I personally think enhances this music. I admit that this criticism is nit-picking, however. The Debussy Prelude, the Girl With The Flaxen Hair was as Juan Perez Floristan pointed out, in keeping with the evening’s theme.
Zoltan Kodaly dealt with the folklore influences more literally than Bartok. His oft-performed work, Dances of Galanta, was inspired by a gypsy band in his hometown. The work’s five sections are played without a break and the music speeds up towards a breathless and spectacular conclusion. On this occasion witnessed some beautiful orchestral playing.
And speaking of beauty, what can match Richard Strauss’s music to Der Rosenkavalier? The music is obviously thicker in texture than what had gone before and it differed in being based on popular dance than on folkloric influence. From the first notes, there was suddenly more space in the music. The effect, of course, was deliberately theatrical and lusciously so.
The ADDA orchestra played the work expertly and allowed
the humanity of the music to shine through its obviously technical demands. The
solo contributions were faultless but what shone the brightest were the
beautiful string tones that this orchestra now achieves. Der Rosenkavalier is a
work that takes the process of human relationships seriously, whilst apparently
dismissing their overall importance. What is important now will not seem will
not cause the blink of an eye by tomorrow, or maybe in an hour. Enjoy what life
presents and enjoy it now. But for many in this audience, the sheer beauty of
this music will be an enduring experience.
