Evaluate of Hallé live performance with Tami Pohjola, carried out by Taavi Oramo

[ad_1]

Violinist Tami Pohjola and conductor Taavi Oramo pictured with the Hallé (credit score Tom Stephens)

This week’s repeated Hallé programme (I
heard it on Wednesday afternoon) was an intriguing one. Not a lot for the headline
works – Mendelssohn’s Italian symphony and Sibelius’ Violin Concerto – however
for the 2 overtures by ladies composers added to these, and the 2 visitor
artists.

They have been each Finnish and younger, and going
locations. The conductor was Taavi Oramo and the soloist Tami Pohjola.

She is a superb participant. She has each a gorgeously
lyrical sound and a few very large tone, allied with formidable method. Standing
in opposition to round 50 strings within the tutti orchestra was no drawback, and the
first motion cadenza was not simply confidently negotiated however heartfelt in
fashion. That makes a distinction: the sluggish motion, too, was soulful in spades,
and the finale way more than a mere fireworks show.

Oramo ensured that the orchestral function in
the concerto had loads of emphasis, power and expression, and the Hallé wind
gamers lightened the environment with their ordinary experience.

The 2 overtures have been Fanny Mendelssohn’s
in C main and Louise Farrenc’s no. 1 in E minor. They have been near-contemporaries
in life, and the overtures are near-contemporary in date – however, for me, there
was a world of distinction. Fanny Mendelssohn, for all her technical
accomplishments, appears to borrow results from others (Mozart, and possibly even Beethoven
at some factors) however tends to repeat herself in shortish phrases, and
her harmonic progressions aren’t at all times too adroit. Taavi Oramo made certain her
writing was pushed alongside to create actual pressure, however even he couldn’t make this
overture into greater than a curiosity.

Louise Farrenc, then again, was a
composer of creativeness and originality, in addition to technical accomplishment.
Her harmonic modifications are sure-footed and she or he writes outstanding counterpoint
virtually all through, in order that her themes intertwine to nice impact. What a pity
she doesn’t appear to have written very way more for orchestra than this and one
different overture.

Felix Mendelssohn, the Italian’s
composer, gave us a masterepiece and it’s now a well-recognized one. I specifically preferred
the appeal Taavi Oramo and the musicians drew from the Con moto third
motion (a Goldilocks tempo there, with some very particular person touches from the
horns), and the finale was positively quick and livid – maybe a tad an excessive amount of

[ad_2]

Leave a Reply

Your email address will not be published. Required fields are marked *