In the NTR Saturday Matinee it went on Saturday afternoon First ViolinConcerto by Mathilde Wantenaar, written for and performed by violinist SimoneLamsma. Side note: Out of time constraints Wantenaar left the orchestration ofthe first and third movements to composer Tijmen van Tol.
Wantenaar’s music is beautiful and fairytale-like, with enough harps andglockenspiel to imagine yourself in a rosy world, but too little to becomekitschy. Low tones are so rare that they stand out when they sound equally.
The first part (lento, ‘slowly’) seems to be a musing on a beautiful past,with here the vague contours of a Gershwin-like New York, and there a fantasyabout one of the thousands and one nights. Conductor Karina Canellakis allowsbeautiful dynamic waves to pass through the Radio Philharmonic Orchestra,although the strings sometimes react somewhat tamely to so many beautifulmemories.
Conductor Mathilde Canellakis hardly doses in Bruckners Eighth. Not in> details, and not in general
Anti-virtuoso
Violinist Simone Lamsma, for whom the violin concerto was written, wanted tobe ‘put to work’ by Wantenaar. But Wantenaar doesn’t do that with manyvirtuoso passages with fast notes and complicated jumps. It was not. You couldcall most of it downright anti-virtuoso. Slow melodies should be played byLamsma; long lines, at the slowest point even one tone of nine slow strokeslong. Even in the cadence (the solo, flowing from Bach suite-like to EasternEuropean emotional) where Lamsma has to play so high that she almost touchesher stick, it still has to be done relatively slowly. That entails acompletely different level of difficulty: accurate intonation, colouring,building up and letting go of tension.
Lamsma is doing well, but you also notice that this anti-virtuosity isexciting territory. She is not quite sure what to do with it everywhere. Wouldyou like to join the orchestra or tell your own story? Sometimes she seems tolack her own conviction.
Fun stuff
The first two parts are the most exciting in their slowness. The third, morecheerfully fluttering part is less successful as a unit. It’s more of a motleycollection of ‘nice things’ that all take turns sounding. A few notes mutedtrumpet, contrabassoon, a bass drum, briefly some bells, a piece ofvibraphone, then suddenly a Russian-looking tutti; before you know it youforget to pay attention to the solo violinist, even now that part is a bitmore virtuoso.
The violin concerto is already beautiful, but the impression remains thatthere is still something to ripen that we will taste in subsequentperformances. Who knows, in a complete orchestration by Mathilde Wantenaarherself.
Canellakis’ is less convincing after that Eighth Symphony from Bruckner.There is nothing wrong with the string sound of the RadiFil, and the coppersound comes up to temperature just fine. But Canellakis hardly dose. Not indetails, and not in broad strokes. Bruckners Eighth is a hefty piece of longmaturing chords in which you irrevocably wander into your own thoughts, whichare unobtrusively but definitely colored by Bruckner, until he pulls you backto the real now with a sudden exciting passage. But Canellakis also tries tocharge those non-exciting parts electrically and push them jerkily forward.The result is that you are no longer shaken awake anywhere.