Central
Europe
August/September
In Prague, sacred music by Monteverdi. |
A
slave to the European sound, Mr. Culture started the new season in
the Czech Republic, where two festivals, an opera premiere and a Baroque ensemble offered
an enticing taste of the Old World. As it turned out, many of the
flavors proved to be distinctly modern.
That
was no surprise in Ostrava, an industrial city in the northeast
corner of the country that bears more than a passing resemblance to
Cleveland, with abandoned factories dotting the landscape. Every two
years, the city hosts one of the best modern music events in Europe –
Ostrava Days, a gathering of students, players and composers modeled
after Darmstadt. Led by Petr Kotík,
a Czech expat who became part of the downtown scene in New York, the
festival brought together an international group of 35 students and
composers like Carola Bauckholt and Christian Wolff for two weeks of
workshops before unleashing 10 days of performances.
Harris & Harris. |
The
caliber of the concerts was exceptional, a bracing reminder of what
modern music can sound like when played by musicians who specialize
in it. During an evening of solos and duets, New York-based violinist
Pauline Kim Harris gave a fierce, virtuoso account of John Zorn’s
Passagen that nearly set her instrument on fire. The following
night, her husband Conrad Harris played riveting solos in a
performance of Iannis Xenakis’ Dox-Orkh with the Janáček
Philharmonic.
One
of the hallmarks of Ostrava Days is its mix of student and
professional works on the programs. Juxtaposed, it’s often hard to
tell them apart. Student composer Daniel Ting-cheung Lo’s Rude
Awakening was as good an evocation of a
placid scene shattered by a sudden storm as this critic has ever
heard. In Iranian student Idin Samimim Mofakham’s Mirage,
the percussionist “played” a large pan of water. Pieces like
these sat comfortably alongside Cage, Berio, Varèse,
Glass and Feldman, providing thrilling evenings of mind-expanding
music.
In
Prague a week later, the Czech Philharmonic opened the Dvořák’s
Prague festival with two stellar guests: American cellist Alisa
Weilerstein and Polish composer Krzysztof Penderecki. After just two
previous appearances, Weilerstein has quickly become a favorite in
Prague, recording Dvořák’s
Cello
concerto No. 2 in B minor
with the orchestra earlier this year and returning to perform it at
the festival. Her warm, technically fluid style is a perfect fit with
the Czech sound.
Penderecki at 80. |
Penderecki,
who is celebrating his 80th birthday with appearances at tributes all
over the world this year, took the stage at the Rudolfinum after the
orchestra played a hypnotic version of the adagio from his third
symphony under the baton of Jiří
Bělohlávek. Basking in enthusiastic applause, the composer
looked fit and happy. He looked even happier the following night at
the Polish Embassy, where violinist Patrycja Piekutowska and pianist
Beata Bilińska played a finely crafted set of his chamber works,
which they recorded under his tutelage in 2004. The homage was
well-deserved and the opportunity to see Penderecki and hear his work
on two consecutive nights was a gift from the gods.
Just
a few days before he was at Severance Hall to help open the Cleveland
Orchestra’s season, Italian maestro Fabio Luisi was at St. Vitus
Cathedral leading a breathtaking performance of Verdi’s Requiem.
Even in the challenging acoustics of the cavernous space, the sound
was lush and glorious, with Luisi striking the fine balance between
music and vocals that has characterized his work as Chief Conductor
at the Met. For après-concert aficionados, the opportunity to share
a crowded pub with members of the Czech Philharmonic banging back
Pilsner Urquells was also a treat.
A fine showing by Rachlin. |
Other
standout concerts included a recital by Russian piano prodigy Evgeny
Kissin – more on him in the sidebar. For this critic, the single
most impressive musician in the festival was Lithuanian violinist and
violist Julian Rachlin. Players all talk about the primacy of the
music, but Rachlin is one of the rare performers who actually honors
that, subsuming his ego and giving his considerable talents
completely over to the composer’s work and intent. Playing with
Russian pianist Magda Amara, he offered exquisite versions of chamber
works by Brahms, Dvořák
and
Franck.
The
wild card in the festival was the Beijing Symphony Orchestra, led by
Tan Lihua. Though he was trained in China, Tan is a Dvořák
devotee
who has been conducting performances of the composer’s symphonies
at concert halls around the world for 20 years. Like other musicians
from his country, he is determined to show that Easterners can play
the classical canon as well as their Western counterparts. After
sitting through two Dvořák
symphonies
(No.
3
and No.
4)
and five encores by the Beijing orchestra, this critic was only
half-convinced. Technically, the Chinese can play. But never with the
emotional expression and depth of feeling that Europeans bring to the
stage.
Many
Central and European countries are still struggling to come to grips
with their communist past. Given the immensity and complexity of the
task, it’s not surprising that art and music have proven to be two
of the best outlets. Czech composer Aleš Březina took on the
troubling subject of the communist show trials in his 2008 chamber
opera Zítra
se bude...
(Tomorrow There Will Be...). This season he’s back with Toufar,
another chamber opera that draws heavily on archival materials to
recount the story of Fr. Josef Toufar, a Catholic priest who was
tortured to death by the communists after a miracle allegedly
happened at his village church in central Bohemia in late 1949.
Frighteningly effective. |
Performed
entirely in Czech, the piece is often obscure for a foreigner. But
with veteran singer and actress Soňa Červená giving a frightening
portrayal of communist bureaucrats, and Březina’s score offering
chillingly disconcerting accompaniment, the production packs an
emotional wallop. Particularly effective is the use of a propaganda
film the communists made trying to debunk the miracle. Just a few
minutes of footage is enough to offer a revealing look behind the Iron
Curtain that fell across Central and Eastern Europe for the next 40
years.
To
soothe the spirit, there is nothing like an evening with Collegium
1704, one of the finest Baroque ensembles in Central Europe. The
group is led by Václav
Luks, a conductor, harpsichord player and scholar who often tracks
down original manuscripts in search of new approaches to familiar
works. His ensemble just released a recording of Bach’s Mass
in B minor
that is markedly different from what has become the standard version
throughout Europe. “It would be difficult for a German ensemble to
do something different with this piece, because they are weighed down
by tradition,” he said at a news conference. “We feel we have an
original view of it, and are doing it the way Bach wanted it
performed.”
Luks’
scholarship and attention to detail made for a fine night of
Monteverdi to open Collegium 1704’s new season. A program of six
sacred pieces performed by eight singers and six musicians (on period
instruments, naturally) at the splendiferous Church of St. Simon and
Jude brought to life the composer’s inspirational work at St.
Mark’s Basilica in Venice. Delicately rendered, with a light touch
on the instruments supporting rich polyphonic vocals, the music
offered an enchanting journey to another time.
And
an exhilarating departure point for a return to the New World.
For
more on Ostrava Days:
http://www.newmusicostrava.cz/en/ostrava-days/
For
more on Dvořák’s
Prague:
http://www.dvorakovapraha.cz/en/
For
more on Toufar:
http://www.narodni-divadlo.cz/en/show/6281?t=2013-09-19-19-00
For
more on Collegium 1704:
http://www.collegium1704.com/en.html
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