Denia International Piano Festival, 4 Oct 2023

István I. Székely

István is a concert pianist and internationally recognised teacher. He is Professor at the Conservatorio Superior Katarina Gurska in Madrid and professor at Franz Liszt Center for special talents.  He has been invited to give Master Classes in many countries and he is a frequent jury member in international competitions such as the Franz Liszt International Competition in Rome (Italy), the Takács Competition in Oberschützen (Austria). He is founder, president and artistic director or Ars Alta Cultural and via this group staged the first Gonzalo Soriano Piano competition in Alicante earlier this year. He is the winner of several awards in national and international competitions. Since the age of 15 he has given recitals in Europe, the United States, South America and Asia, such as Alexandria and New Harmony (Indianapolis, USA), the International Piano Festival in Bucaramanga, International Piano Festival in Barrancabermeja, the cycle "International Season in Manizales" (Colombia), and many more. He has performed in many notable venues such as the Palacio de Cibeles in Madrid, Palau de la Música in Valencia, Teatro Principal de Alcoy, congress center "Victor Villegas" in Murcia, in the "Adoc", in the University of Burgos, in the International Chamber Music Festival in Calpe, in "Dénia Classics", Aula de la Cam in Alicante, Teulada Auditorium, La Beneficencia in Valencia, in the Auditorio de la Diputación, "ADDA" in Alicante, Auditorium Mediterrania in La Nucia among others. He has performed in private concert for the Princess of Thailand S.A.R. Chulabhorn Mahidol. 

István es concertista de piano y profesor reconocido internacionalmente. Es Profesor en el Conservatorio Superior Katarina Gurska en Madrid y en el Centro Franz Liszt para talentos. Ha sido invitado a impartir Master Classes en muchos países y es miembro frecuente del jurado en concursos internacionales como el Concurso Internacional Franz Liszt en Roma (Italia), el Concurso Takács en Oberschützen (Austria). Es fundador, presidente y director artístico de Ars Alta Cultural y a través de este grupo organizó el primer concurso de piano Gonzalo Soriano en Alicante a principios de este año. Es ganador de varios premios en concursos nacionales e internacionales. Desde los 15 años ha dado recitales en Europa, Estados Unidos, Sudamérica y Asia, como Alexandria y New Harmony (Indianápolis, EE.UU.), el Festival Internacional de Piano de Bucaramanga, Festival Internacional de Piano de Barrancabermeja, el ciclo "Internacional Temporada en anizales” (Colombia), y muchos más. Ha actuado en numerosos espacios destacados como el Palacio de Cibeles de Madrid, Palau de la Música de Valencia, Teatro Principal de Alcoy, centro de congresos "Victor Villegas" de Murcia, en el "Adoc", en la Universidad de Burgos, en el Festival Internacional de Música de Cámara de Calpe, en “Dénia Classics”, Aula de la Cam de Alicante, Auditorio de Teulada, La Beneficencia de Valencia, en el Auditorio de la Diputación, “ADDA” de Alicante, Auditorio Mediterrania de La Nucia entre otros. Ha actuado en concierto privado para la Princesa de Tailandia S.A.R. Chulabhorn Mahidol.

Yaron Traub

Yaron Traub, a native of Israel, is one of the most recognized conductors in Spain, was Principal and Artistic Director of the Valencia Orchestra from 2005 to 2017. Since winning the Prize at the IV International Kondrashin Conducting Competition in Amsterdam in 1998, Yaron Traub has had a very interesting international career conducting some of the most prestigious symphonic ensembles in the world. During his twelve years of leadership of the Valencia Orchestra, he contributed decisively to the recognition of the Valencia Orchestra as a high-level ensemble and consolidated the regular presence of great international soloists alongside the Valencian ensemble.

Committed to education through music, Yaron Traub has strongly promoted pedagogical activities in the orchestra. As an exemplary extension of his commitment to education, Traub, together with his wife Anja, founded a bilingual international secondary school in 2012 with a strong focus on music, art and drama education.

Yaron Traub, natural de Israel, es uno de los directores más reconocidos de España, fue Director Titular y Artístico de la Orquesta de Valencia de 2005 a 2017. Desde que ganó el Premio en el IV Concurso Internacional de Dirección Kondrashin en Ámsterdam en 1998, Yaron Traub ha tenido una carrera internacional muy interesante dirigiendo algunos de los conjuntos sinfónicos más prestigiosos del mundo. Durante sus doce años al frente de la Orquesta de Valencia contribuyó decisivamente al reconocimiento de la Orquesta de Valencia como formación de alto nivel y consolidó la presencia habitual de grandes solistas internacionales junto a la formación valenciana.

Comprometido con la educación a través de la música, Yaron Traub ha impulsado fuertemente las actividades pedagógicas en la orquesta. Como una extensión ejemplar de su compromiso con la educación, Traub, junto con su esposa Anja, fundó una escuela secundaria internacional bilingüe en 2012 con un fuerte enfoque en la educación musical, artística y dramática.

Ars Alta Cultural, www.arsaltacultural.com

Presidente y Director Artístico - István I. Székely

 

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email: arsaltacultural@gmail.com

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Pinchas Zuckerman with the Sinfonia Varsovia in Penderecki, Schubert and Beethoven – a real delicacy

The word “delicacy” can mean many things. It can signify refinement in a personality, something good to eat, or describe something too fragile to handle. Situations can be delicate, also, and perhaps Pinchas Zuckerman, despite his many years of the peak of his musical and performing powers, felt that last night’s concert in Alicante qualified as a rather “delicate” occasion.

The Sinfonia Varsovia’s advertised conductor, Tatsuya Shomono, had to cancel his leadership of this concert, which had originally planned a performance of Bruckner’s Fourth Symphony, after the first half when Pinchas Zuckerman would play the Beethoven violin concerto. But the conductor was ill and could not travel. So Pinchas Zuckerman picked up the baton as well. Or, rather, he didn’t, because he didn’t use one!

A change of program saw the Beethoven Concerto moved to the second half, and the new first half presented works by Penderecki and Schubert. The Sinfonia Varsovia string players opened the evening with Penderecki’s Chaconne In Memoriam Pope John Paul II. And they played it without a conductor, with apparently all the delicate communication skills of a chamber ensemble. Delicate also applied to the music, which seemed to examine, and then re-examine feelings of loss. Played thus, seemingly without active direction, save for a gesture, or a bow stroke from the lender, the Penderecki Chaconne began this evening in a thoroughly original way, though quietly, without show, with delicacy.

Pinchas Zuckerman then conducted Schubert’s Symphony No. 5. In this work, a young Schubert takes his compositional lead from Mozart and Haydn. The music exudes control, form, structure and process, rather paroxysms of emotion. And, as such, it worked beautifully, allowing the orchestra again to play like a chamber group with elegance, poise and, yes, delicacy.

After the interval, Pinchas Zukerman, was soloist and director for Beethoven’s Violin Concerto. Now I have often heard the soloist treating this work as if it is a grandiose statement, as if every phrase needs staccato attached. And so this evening’s performance by Pinchas Zuckerman came as a real surprise, almost like a breath of fresh, delicate air. He stressed the shape and phrasing of this music and, crucially, demonstrated how the soloist blends with, interacts with, and times contradicts the orchestral accompaniment.

I first heard Pinchas Zuckeran in London’s South Bank about half a century ago and I don’t remember the concert. But I will remember this location, especially for the refined, and subtle delicacy that he brought to the music and the occasion.

Visibly tired by the end, he kept returning to the platform since the ADDA audience never wants to let anyone have an easy time. He did offer an encore, a short cradle song, to which he invited the audience to “Sing along”. It was a grand, memorable, delicate gesture.

 

The Royal Philharmonic Orchestra with Narek Hakhnazarayan under Vasily Petrenko in Dvorak and Tchaikovsky at ADDA, Alicante

Mixing the familiar with the less familiar is a common programming tool. The popular work brings them in, and you broaden the audience’s taste - or even surprise them! - with the less well-known. That seemed to be the theme underpinning the Royal Philharmonic Orchestra’s approach to their concert in Alicante under Vasily Petrenko. Honorary Scouser, Vasily Petrenko, presented a Czech concerto and a Russian symphony by household names, Dvorak and Tchaikovsky, but whereas the cello concerto of the former is performed perhaps daily, the Manfred Symphony of Tchaikovsky rarely makes it onto the concert platform. It would seem to be a matter of resources and costs, because the work lasts for almost an hour, needs a large orchestra, including two harps and an organ, and also the composer conveniently provided lower cost alternatives in his last symphonies, which are easier to stage. In over fifty years of concert-going, this was my first Manfred.

Soloist in the Dvorak was Narek Hakhnazarayan. Now this work is so well-known, it is hard to find surprise in its delivery. What one can do is marvel at the remarkable control, married to perfect expression and phrasing demonstrated by a Narek Hakhnazarayan. Our soloist used to be a BBC New Generation Artist and he clearly has good relations with other British institutions, such as the RPO. Only in his early thirties, he is already in receipt of a national honour from his home country, Armenia. He must have played the Dvorak Concerto many times, but his approach displayed a freshness and vitality that completely won over this Alicante audience.

But what really caught the audience’s attention was the soloist’s choice of encore. There was even a ripple of applause at his announcement, and then he started playing the finale of the Suite for Solo Cello by Gaspard Cassado. Much less well-known than his near contemporary, Pablo Casals, Cassado was a composer as well as a cellist. He mixed the identifiable Spanish with late Romanticism, and enough contemporary hard edge to make his music much more than mere lollipop. Casado’s music is still not heard very much, and almost not at all outside Spain. Narek Hakhnazarayan was inspired in his choice, as well as in his playing.

And then we moved on to Tchaikovsky’s Manfred. The program notes referred to Berlioz and a desire to produce a programme symphony. Also mentioned was the fact that it was originally Balakirev’s idea. But this is quintessential Tchaikovsky, mixed with the dark heroism and mysticism of Byron’s heroic poem.

The result is a symphony of conventional shape and form, with four movements, complete with scherzo and slow movement in the interior. And does this work feel different from Tchaikovsky’s other symphonies, given its programmatic brief? The answer is “yes”, absolutely yes. But all the compositional characteristics of the composer are there, certainly recognisable but perhaps developed in a different way from what we are used to.

The Manfred Symphony is a perfect example of how good a composer Tchaikovsky was. Not only is Manfred convincing as absolute music, even for those who have no knowledge of Byron, but the skill is such that elements of the story’s narrative become clear via the music. There is a personal style in evidence, there is no doubt about that, but there is also the intellectual subtlety of writing to depict something else, something from some other imagination, reinterpreted. Tchaikovsky’s Manfred is an exciting, exhilarating piece that should be experienced as often as his fourth, fifth and sixth symphonies.

Surprise, surprise – Bergmann and Baldeyrou play Sibelius, Weber and Franck in ADDA, Alicante

Surprise, surprise might seem an incongruous title for the review of a concert which seemed to offer a-middle-of-the-road programme. Sibelius’s Finlandia began the evening – it often does. Call Maria von Weber’s Clarinet Concerto is not played in concert as much as it should be, but its inclusion raises no eyebrows. César Franck’s Symphony in D Minor, again, is not played very often, but it’s a work that everyone knows about, though for most concert goers it's hardly commonplace. So, given the familiar appearance of the program, what was surprising?

Well, the personnel were unfamiliar. We had our regular band, our ADDA orchestra, but our guest conductor was the Norwegian Pune Bergmann, who was making his debut in this hall. His entrance provided the evening’s first surprise. Rune Bergmann is a big man, but he is also quite amazingly jovial, his smile appearing to stretch right across the string section. It seemed like the celebration of Finland’s identity was being directed by a laughing, Norwegian mountain, laughing out of the sheer joy of the music, I hasten to add. Musically there were no surprises here, just our usual quality.

The second surprise came with our soloist, Nicolas Baldeyrou. Few concert goers ever hear a clarinet concerto. For most who do, it’s probably one written by Mozart, with Weber’s work coming a distant second in the list.

Now Weber’s Clarinet Concerto was doubly surprising. First the playing of Nicolas Baldeyrou was nothing less than outstanding. His understanding of the music alongside his wonderful communication with conductor and orchestra made this performance of the work I have heard in recordings and broadcasts innumerable times something completely new. Especially surprising was the slow movement, which times reached pianissimos that were on the limits of hearing, and as a result, all the more dramatic and poignant. This performance will live for ever in the memory, so beautifully crafted and played that it became a completely new experience.

The ADDA audience does tend to bring soloists back on stage for another bow. We are used to demanding an encore. But this ADDA audience’s reaction to Nicolas Baldeyrou was special. The communal recognition that this with something special was almost tangible. The demanded encore was given, and it was again a surprise.

It was the Habañera from Bizet’s Carmen, arranged for clarinet and orchestra. And it was more than a showpiece, more than a lollipop to quieten the crowd. Faultless playing, communicative ensemble, again combined to create a new, surprising experience from what was immediately familiar.

A symphony in name, Cesar Franck’s D Minor has only three movements, two of which are marked allegro, thought you would never know it. Not really a master of orchestration, Franck seems to have concentrated on the storytelling. The musical lines evolve like the narrative of a novel, so that this symphony becomes more like a tone poem than an argument. And, after living in the world of minor keys for most of its duration, the long first movement surprisingly, and without warning, suddenly finds its conclusion in a major key. It’s all quite baffling, like a believer questioning a faith that suddenly returns, dispelling doubt.

And yes, there was an encore. Rune Bergmann again turned to the audience and again smiled that broad grin. “Edvard Grieg La Mañana”, he said. It was the first piece of classical music I ever heard, but it wasn’t  in Spanish.

Normal People by Sally Rooney

Sally Rooney’s Normal People is a hugely successful and very widely read novel about millennials. It concentrates on the relationships that develop in a group of school graduates as they transition from school to university, concentrating on and then majoring in their sex lives. It does this not to the exclusion of all else, but its preoccupation is overt and is as all-consuming for the reader as it probably was for the characters.

At the novel’s core are the ongoing, developing, changing, breaking, tortuous, steamy, lustful, intellectual, repeated, animal though never committed relationships between Connell and Marianne. They are from Sligo, went to school together and then migrated together to Trinity College, Dublin. So much for their similarities.

Amongst the differences one is of paramount importance. Connell is male and Marianne is female, a contrast that sees them come together fruitfully and often in combination to qualify several of the adjectives that described their relationship in the last paragraph. Important amongst the differences, but largely unexamined in the novel, is the fact that Connell is working class while Marianne is middle class. Connell’s academic interests are in literature, whilst Marianne specialises in politics though, it must be recorded, largely without focus, except for occasional side-forays into issues related to the Middle East. Both high-flying students seem to spend more time sleeping that is not sleeping and drinking that is drinking than they devote to reading, or indeed the thought of it.

Connell’s mother cleans for Marianne’s household and apparently is not overpaid. Strangely, though we never learn many of the details, neither Connell nor Marianne has a father in attendance. Connell’s mother might just have got pregnant on a short fling of youth, while Marianne’s father died, presumably some time ago, because she never really shares a memory of him. Whether this common heritage might have had some psychological effect on either of the two adolescents, we never learn.

Connell and Marianne come together, drift apart, take up with others, break off, re-encounter. It’s rather a procession at times. What seems to form a thread is that both always seem to be more worried about how their behaviour affects themselves rather than others. Noone ever seems to know what they themselves want, though everyone seems to get precisely what they ask for. There’s plenty of booze, plenty of sex, a change of personnel and more of the same. There’s an excursion to Sweden with stereotypical kinky photo shoots, more bust ups, arguments, reconciliations which never seem to refer to the past and occasionally there seems to be a kind of sincerity, though all without speech marks.

All pretty normal, perhaps, but always engaging.

Thirty-Five Poems by Herbert Read

Thirty-Five Poems by Herbert Read, I repeat

Stavesacre – a larkspur plant or its seeds

Benison - benediction

Sodality – fellowship, concgregaion, association for chairty

Cincture – belt or girdle

Lanthorn – lantern

Herbert Read, in the veritable slim volume, starts in the First World War. He is not particularly well known as a war poet, but he has been honoured as such. For him, it seems that the confrontation with daily horror led not only to the recognition of the absurdity of conflict, but also an appreciation of its political futility.

… Our victory was our defeat

Power was retained where power had been misused

And youth was left to sweep away

The ashes that fires had strewn beneath our feet.

 

The poetry is often rooted in the tangibly real, so much so that it sometimes seems to deny the possibility of an imagined ideal.

 

… Now chaos intervenes

and I leave not gladly but with harsh disdain

a world too strong in folly for the bliss of dreams.

 

He was a noted anarchist and was politically and philosophically sophisticated. But sometimes the simplest argument is stronger.

… your god has not this power. Or he would heal

the world’s wounds and create the empire

now left in the defeated hands of men.

 

He does not, however, appear to be an atheist overall. He does allow himself occasionally to inhabit a heaven he often seems to deny.

 

This good achieved, then to God we turn

for a crown on our perfection: God we create

in the end of action, not in dreams.

 

There is only reality, however. The experience of that reality, in all its natural beauty is here. It presents experience which is worth recording merely for what it is, But reality, also, just might not be the only thing we might encounter.

 

Fate is in facts: the only hope

an unknown chance.

We got rhythm – Josep Vicent and the ADDA orchestra in Ravel, Adams and Reveueltas

Concert programs nowadays are often themed. Sometimes the idea is obvious, sometimes trite, but even attempting to present such a program is preferable to a parade of pop classics. Sometimes real imagination has gone into the selected words, and the link may not be obvious. Whether or not the works chosen by Josep Vicent in last night’s ADDA concert in Alicante were consciously selected to illustrate a theme of the rhythm of popular dance, as transformed by composers who did not take instructions literally, is irrelevant. But that was the theme that came across to this captivated listener.

The evening potentially was a challenge for those concertgoers who live mainly in the repertoire already known to them, but no one attending this concert went away in any way challenged. Indeed, everyone left enlightened by the experience.

The ADDA orchestra opened with Ravel’s La Valse. Now this is a regularly misunderstood work, not least originally by those who commissioned it! It still suggests a dance, which is what it is. And yet, it isn’t. It might start like a dance, but it ends like a nightmare. It’s a waltz dreamed up by a composer at the height of his imaginative powers, and it is a thoroughly surreal work, not at all what it might seem at first hearing. In fact, this is one of those works that seems to change with repeated listening. First impressions retain the sweet theme. Later familiarity stresses the dissonant clashes.

Using a large and powerfully scored orchestra, a gentle dance theme transforms into a war-like threat, literally a nightmare of oppression, all delivered with a smile as the dagger goes in. If I have a criticism, which I don’t, I might suggest the work’s power is best delivered by not interpreting each phrase manneristically. When the line of the waltz predominates, the side-roads of the musical argument, the diversions that give the piece meaning, are rendered all the more powerful. In this performance, Josep Vicent chose to stress every phrase, almost to isolate it. And beautiful it was, certainly exciting, but the whole experience possibly suffered because the side-roads became the main route. The orchestral playing by our resident ADDA orchestra, as ever, was breath-taking.

And then we heard Absolute Jest by John Adams with the Casals Quartet as soloists. This is a work where John Adams takes well-known Beethoven and reinterprets it by interleaving it with his own material, ostensibly to re-create childhood experiences of his hearing the late quartets of Beethoven so often.

Now it must be remembered the Beethoven regularly used dance rhythm in his work. Like Ravel in La Valse, he often stretched these rhythms into musically interesting but absurd forms. And in Absolute Jest this double take adopts a third layer as John Adams interleaves his own material that both contrasts with and complements the original. The effect is utterly surreal. It’s like encountering the familiar in a place you have never visited. As in La Valse, these are not familiar phrases in a changed context, they are memories of the familiar where almost nothing makes sense, as in a dream. Apart, that is, from the rhythm, which, like a home key for Haydn, keeps reasserting itself and thus keeping the strangeness of the experience at home, rendering the whole doubly surprising.

As an encore, the Casals Quartet played the second movement of Beethoven’s Op135. It is a piece that Absolute Jest featured prominently amongst its quoted material. Standalone, it’s a piece that reminds an audience of just how revolutionary a composer Beethoven was. It is a piece that hardly exists. What is the theme? What is the harmony? All four players, like characters in Chekhov, seem to play only the subtext of a plot, and yet it comes together because insistent rhythms create lines. It is perhaps the most intangible thing Beethoven wrote.

And then, in the second half, we heard a real rarity. Silvestre Revueltas wrote film music for The Night of the Mayas. Paul Hindemith presented some of the music as a suite, and then José Ives-Limantour reassembled the material to form what might be seen as of four movement symphony. Using popular dance rhythms and re-imagined pre-Columbian sounds, Revueltas produced music as surreal is the Ravel that began the concert. The difference for a European audience was that the waltz form was familiar, but the dance forms and rhythms in the Revueltas were not. Here Mayan dances are presented and convince musically, despite the fact that neither the composer, nor perhaps anyone else, knew what they had sounded like. It is possibly patronising to say that, however, because Mayan culture is still very much alive!  

Convincing, however, it was. Extended passages where the percussion stood alone with only minimal commentary from the orchestra were perhaps the most memorable, simply because they were so different from what had gone before. And always we had the rhythm, that essential quality to which to evening had seemed to be dedicated.

As an encore, Josep Vicent and the ADDA orchestra offered the final part of Ravel’s Bolero. Another popular form, another rhythm, a three in a bar complicated by a composer who knew how to stretch the imagination! Another surreal image wrapped in incessant rhythm. Brilliant.