Haydn- Chicago Symphony Orchestra

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wolf note
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Haydn- Chicago Symphony Orchestra

Message par wolf note » sam. avr. 24, 2010 12:58 pm

29, 30 April, 1, 4 May, Pavel Gomziakov (cello), Chicago Symphony Orchestra under Trévor Pinnock in the cello concerto (C major). Chicago.

http://cso.org/About/Performers/Performer.aspx?id=3211

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Re: Haydn- Chicago Symphony Orchestra

Message par wolf note » sam. mai 01, 2010 11:39 pm

Pavel Gomziakov made his U.S. debut Thursday night with conductor Trevor Pinnock and the Chicago Symphony Orchestra.

For those who came of classical-CD collecting maturity—if there is such a thing—in the 1980s, Trevor Pinnock’s performances with the English Concert were touchstones. Less aggressively dogmatic than Christopher Hogwood and the Academy of Ancient Music, and less audacious and controversial than Nikolaus Harnoncourt, Pinnock’s English Concert performances offered the best of both worlds, with recordings of Handel, Bach and Mozart that brought a winning mix of fresh, youthful dynamism, historically informed musical insight and tonal refinement.

Like many recording stalwarts of the era, Pinnock’s profile has dipped along with the recording industry as a whole, but judging by the stylish performances he led Thursday night in a belated debut with the Chicago Symphony Orchestra, the English conductor still has plenty to say in his chosen Classical/neo-Classical repertoire and the means to get it done.

Yet, fine as his podium direction was, Pinnock ceded status Thursday night to another debutant, Russian cellist Pavel Gomziakov, who made a spectacular U.S. debut.

One doesn’t usually think of Haydn’s Cello Concerto in C major as a spellbinding solo vehicle but the young Russian had the Orchestra Hall audience on the edge of its collective seat Thursday night from the very first note.

He was aided immensely by performing on a celebrated 1703 Tecchler, an instrument on loan from Chicago’s Stradivari Society, which was previously played by Jacqueline du Pré and Lynn Harrell, The remarkable “ex-Romberg” cello has a dark, burnished tone and a kaleidoscopic palette of hues, its rich resources fully and imaginatively exploited by Gomzikov.

The young soloist brought a welcome 21st-century edge to the opening Moderato—not one of Haydn’s most compelling movements—mining the cello’s metallic side, yet his fluent passagework still keeping within Rococo style. The Russian cellist’s flowing Adagio distilled the expressive essence with a cantilena-like quality to his solo lines, and strikingly subtle gradations of color and dynamics.

The finale was edge-of-the-seat thrilling and Gomziakov’s playing astounding. Taken at a lightning tempo, the cellist’s agility and feather-like vivacity hurdled every difficulty, with Pinnock and a clearly responsive orchestra echoing every hairpin dynamic and color change by their soloist. This was a hugely impressive debut by a young musician who is clearly on his way to having a major career.

Trevor Pinnock

Pinnock conducting and 'cellist Pavel Gomziakov.

Pavel-gomziakov-web
Pinnock impresses in 'post-early' repertoire
Cellist Gomziakov makes major debut

BY ANDREW PATNER

Repeats Saturday at 8 p.m. and Tuesday May 4 at 7:30 p.m.

HIGHLY RECOMMENDED

Formulating expectations of a concert by reading over the announced program can be like judging that proverbial book by its not fully-disclosing cover. Something that looks good on paper might not take off. A combination of works and musicians that initially sounds dull or just odd can very pleasantly surprise you.

This week’s Chicago Symphony Orchestra concerts could be the sleeper tickets of the season. Trevor Pinnock, long known for his 30 years of pioneering work in early music with The English Concert, which he founded in 1972, making his CSO debut at 64? Some seemingly random and rarely-played-in-concert shorter works by Haydn and Fauré preceding a Mozart symphony? A young Russian cellist from a small town near the Ural mountains called, of all things, Tchaikovsky, making his North American debut in a Haydn concerto? The box office phones were probably not ringing off the hook.

[Conductor Trevor Pinnock made his debut with the Chicago Symphony Orchestra Thursday night. (Al Podgorksi/Sun-Times)]




They should be now. Pinnock opened Thursday's concert by speaking briefly, wittily, and on point about how he hoped that people would not have narrow minds about his leading a modern-instrument international orchestra just as he tried not to when he played any sort of music. “There are a lot of such people in the world, though, aren’t there?” he chuckled. And then we were off, with an overture to a 1779 Haydn opera, L'isola disabitata (The Desert Isle), heard here before only once, when the unjustly forgotten Izler Solomon led it in 1956.


Pinnock starts on the podium like the bantamweight boxer he resembles, shaking out his arms and even his legs before he gives one of the least subtle downbeats I’ve ever seen. The players, who often complain, reasonably, that some conductors have beats too small or indistinct to follow, at first seemed taken aback by this underlined clarity. But all came together to give the various contrasts of the Haydn idiom in the 8-minute curtain-raiser. Faure’s late Masques et bergamasques suite, Op. 112 from 1919 (also played here only once before, by James Paul in 1993) had a very English feel, but then the English have always embraced “light music” and Pinnock also made us feel fully the dance rhythms animating each section.


Rhythmic animation is especially essential in Haydn. There’s a motor running in all of his great pieces and if you don’t sense that tick-tocking and the gentle sighing as these works run by, you don’t get them. Pinnock was an excellent driver for the early 1761-65 C Major Cello Concerto (he even referred to the reduced orchestra as “like a compact sports car”) and thank goodness, for the soloist, Pavel Gomziakov, 34, made one of the most memorable debuts of recent years and doing so with complete support and sympathy from the podium allowed him to shine even more. He has an absolutely individual and unsentimental tone, and no stage mannerisms of any kind. Without resorting to odd interpretation he could still make familiar music sound unexpected.


The sound is clear and rich and yet his bowing and fingering both appear light and fleet. “He seems to make the sound just fly off of the instrument,” my nephew the college music student rightly said. (And what an instrument, the David Tecchler “ex Romberg,” made in Rome in 1703, 30 years before Haydn was born, on loan for these concerts from the Stradvari Society of Chicago. Gomziakov, who normally plays a modern instrument made for him by French luthier Christian Bayon of Lisbon, was seeing the "ex-Romberg" for the first time this week.. One can see and hear why elite pianist Maria João Pires picked Gomziakov as her partner for her recent DG recording of the Chopin cello sonata. This could be the beginning of a very serious career.

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Re: Haydn- Chicago Symphony Orchestra

Message par celloNico » dim. mai 02, 2010 1:37 pm

:shock: :?

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Re: Haydn- Chicago Symphony Orchestra

Message par wolf note » dim. mai 02, 2010 2:48 pm

Why?

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celloNico
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Re: Haydn- Chicago Symphony Orchestra

Message par celloNico » dim. mai 02, 2010 2:57 pm

I don't speak english...

Désolé pour mes émoticônes franchement inutiles.

Je veux dire, comme ça, un gros pavé d'un coup en anglais ça rebute un peu...

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Re: Haydn- Chicago Symphony Orchestra

Message par Bottadio » dim. mai 02, 2010 5:21 pm

C'est écrit dans "Other Languages ‹ Everything about cellos and cellists". Plutôt logique, isn't it ? :wink:
« La musique, ce merveilleux langage universel, doit être une source de communication entre les hommes. »
Pablo Casals

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celloNico
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Re: Haydn- Chicago Symphony Orchestra

Message par celloNico » dim. mai 02, 2010 5:37 pm

Ah... Oui désolé !! je ne connais pas très bien le forum et je ne savais pas qu'il y avait un tel sous-forum ; en cliquant sur "nouveaux messages" je n'ai pas fait attention où ce topic se situait.
Au temps pour moi*, comme on dit...

*Sous-entendu revenons au premier temps et recommençons du début messieurs les musiciens... Sur ce forum, cette expression prend alors tout son sens premier !

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Re: Haydn- Chicago Symphony Orchestra

Message par Nigel Keay » dim. mai 02, 2010 5:48 pm

Hmmm... I thought this was meant to be the English part of the forum. Never mind. The text was quite long, and I nearly didn't get through, but then right at the end in the last paragraph became obvious the whole point of posting it.

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Re: Haydn- Chicago Symphony Orchestra

Message par wolf note » dim. mai 02, 2010 7:31 pm

No, he was even not playing on my cello but on the ex-Romberg! The point was to make people in France to know about him!

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Re: Haydn- Chicago Symphony Orchestra

Message par Nigel Keay » dim. mai 02, 2010 8:17 pm

Of course I understood that he was playing on the ex-Romberg on that occasion. I just looked at your site and you certainly have an impressive line-up of players playing on your instruments so perhaps your motivation was mostly to talk about this player. Never hurts to mention another though, so congratulations. If I had such a player playing a work of mine I'd certainly mention it :)

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Re: Haydn- Chicago Symphony Orchestra

Message par wolf note » mer. mai 30, 2012 7:31 pm

8) Review of Yo Yo Ma Haydn concerto with the same orchestra and mention of Gomziakov!
Well done!
http://chicagoclassicalreview.com/2012/ ... -rarities/

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