Skip to main content

BBC Scottish SO/Volkov review – burst of Alpine air in Haas's Proms debut

Royal Albert Hall, London
The Austrian composer’s Concerto Grosso No 1 and Strauss’s Alpine Symphony were nimbly scaled by the BBCSO

Georg Friedrich Haas may be one of the leading composers of today, widely performed around Europe and increasingly in the US too, but until this concert by Ilan Volkov and the BBC Scottish Symphony Orchestra, his music had never been heard at a Prom in the Albert Hall. Volkov made the UK premiere of Haas’s Concerto Grosso No 1 the centrepiece of his programme, framing it with Mozart’s D major Notturno K286, with four echoing groups of strings and horns disposed around the Albert Hall, and a fine, impressively nimble account of Richard Strauss’s An Alpine Symphony.

The Strauss linked neatly with the Haas, for the soloists in the Concerto Grosso are a quartet of alphorns – the Hornroh Modern Alphorn Quartet, who gave the premiere four years ago. Haas grew up in the Vorarlberg region of Austria to which the instruments are native, but his use of them here seems less autobiographical than musical. An individual alphorn can only play the pitches from a single harmonic series, but by using four of different sizes, Haas can create microtonal harmonies, which he then superimposes on the tempered tuning of the orchestra.

Continue reading...

from Culture | The Guardian https://ift.tt/2vnQsoa

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...