Aagard-Nilsen, Tartini, Lindberg, Tschaikowsky, Grieg
Trombonist / conductor / composer Christian Lindberg founded the Arctic Philharmonic Orchestra in 2009, inspired by the Venezuelan maestro José Antonio Abreu (founder of “El Sistema”), who advocates social transformation through music. The Arctic Philharmonic, based in a couple of Norwegian towns north of the Arctic Circle, recombines itself in different settings and combinations to flood the region with a variety of music. This week they came to Salzburg – and tonight’s program looked the most promising in the schedule. Indeed, it was a pleasant surprise – maybe I should have gone to more of their concerts this week (some overlap in the selections from day to day, but a good range). I had assumed from the publicity that it was a student “Sistema” orchestra, and thought a bunch of concerts might be too many, but it’s a professional group I’d be pleased to hear again (although this was the final night this time through).
Lindberg is a somewhat famboyant character, and very expressive on the podium. He clearly rehearses this orchestra well. They played every note distinctly and with distinction. At times this became a little too technical, and the tone was often a tad thin no matter the size of the group on stage (for the Tschaikowsky Fourth Symphony, for example, the big orchestra did not always have the fullness of sound to match). But if the orchestra did not always make Tschaikowsky’s rhythms dance, or always reflect Tschaikowsky’s moods (although the first movement drew out the melancholy of Yevgeny Onyegin, composed around the same time), it did provide quite a spring during selections from Grieg’s Peer Gynt music played as several encores.
The concert had opened with Boreas Sings, a 2012 work by Norwegian composer Torstein Aagard-Nilsen, inspired by the Aurora Borealis. The piece never really went anywhere – it developed sounds in one direction, then morphed into something else, and morphed again, and again. I suppose this is an accurate musical description of the Aurora Borealis (I’ve somehow never experienced it, unfortunately).
Other than the Grieg encores, the highlights of the night involved the outstanding young Venezuelan trumpeter Pacho Flores. Lindberg first met him when he went to Venezuela to conduct Abreu’s orchestra, and then came across him again later, and decided he had to bring him on tour. Flores did not dissappoint, and we got to experience plenty of his talent.
After the Aagard-Nilsen piece, Flores came out for Tartini’s Concerto for Trumpet and Strings, which was an arrangement of a violin concerto. Tartini, born in the wonderful Venetian fishing village of Pirano (one of my favorite spots in modern-day Slovenia) had six fingers on his hands, enabling him to perform impossibly-difficult music on his violin – notably the “Devil’s Trill.” In this case, he transcribed this impossible violin music to the trumpet, which should right there be even more impossible. Flores made it sound effortless. Maybe he has six tongues. And in between the crazy outer movements, the slow inner movement came across as fine velvet, demonstrating Flores’ versatility.
This versatility came out again in the next work, Akbank Bunka, composed by the conductor Lindberg himself in 2004. This piece never quite decided what style it wanted to be in, ranging from neo-Sibelius to neo-jazz. No matter. Flores handled it all.
For an encore, Flores came out with a flugelhorn and did a solo piece. I have no idea what it was, but it sounded like he had taken a trumpet exercise book for students and then played it at record speed. The ease he did this with was astonishing. He then gave us another extended encore, accompanied by the orchestra – also no idea what it was, but it sounded like bad film music arranged for performance in a nightclub – no matter, since Flores could make this sound good too and demonstrate his versatility in the process. In total, he played a range of styles several centuries apart using three different instruments. The audience kept calling him back out for more bows, with the hope of getting more encores, but none of these were short and his lips may have fallen off. Or maybe not, but that was all we got.