Tarrodi, Ravel, Satie Sibelius
The Gothenburg Symphony Orchestra and Santtu-Matias Rouvali performed Sibelius‘ Second Symphony in the Felsenreitschule this evening much the way they performed Stravinsky’s Petrushka on Wednesday evening by emphasizing the dissonances and angles. That worked well for Stravinsky, because his piece was a ballet and also because the complicated rhythms and juxtaposed instrumentations were meant to be jumpy and push the drama forward. But for Sibelius’ symphony, these sounds need to combine to create the huge canvas, not stand out. The result was jagged. Individual orchestra members had wonderful lines and great talent, but the whole was less than the sum of the parts. Rouvali could not pull it all together, and his interpretation did not convince.
It worked a bit better in the encores (more Sibelius): first the Valse Triste (again), with the same extreme tempo changes as Wednesday pulsating forwards; second Finlandia, which is a little less dissonant and has distinct sections, so the approach mostly worked (there was an odd moment where Rouvali clearly froze all movement and brought out a discordant section in the celli – and turned and winked to the audience before proceeding onwards).
The first half of the concert was unfortunately a reprise of Wednesday. Andrea Tarrodi‘s Liguria did not get more interesting in a second hearing. It’s not an unpleasant quarter hour, just a rather dull experience listening to crashing waves on the Ligurian coast. If I were really sitting listening to waves on the Ligurian coast, I’d have a good book with me.
Then I pained again for pianist Alice Sara Ott, newly diagnosed with multiple sclerosis, who was supposed to perform a Liszt concerto tonight. But as with the Grieg concerto originally scheduled on Wednesday, she substituted Ravel‘s. So it seems her career will slowly come to a close at age 30, with this the only work left in her repertory. And as with Tarrodi’s tone poem, it also did not get more interesting in a second hearing. Ravel is most justly famous for his masterful orchestration of Mussorgsky’s Pictures at an Exhibition – no one has managed to do it better. But that’s one work, and Ravel did not even write it. The most famous piece he himself wrote was his tedious Bolero that shows up at pops concerts when people are having too much fun and need to be bored out of their wits. Beyond that, his ballet Daphnis and Chloe has its moments, but he was neither a skilled orchestrator (Mussorgsky’s Pictures aside) nor an especially talented composer capable of developing an idea. Ott’s minimalist technique (supported well by Rouvali and the orchestra) suited this concerto. She also gave an unidentified solo encore in the same style. (UPDATE: The concert promoter has helpfully identified it as Gnossienne 1 by Erik Satie).