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In 1993 he made his recital début as pianist and composer at
the Park Lane Group in London. Between 1993 and 1995 he was Composer in
Association with the Hallé Orchestra, which resulted in These Premises Are Alarmed for the opening of the Bridgewater Hall
in 1996. Asyla (1997) was a Feeney
Trust commission for Sir Simon Rattle and the CBSO, who toured it together, and
repeated it at Symphony Hall in August 1998. Rattle subsequently programmed Asyla in his opening concert as Music
Director of the Berlin Philharmonic Orchestra in September 2002.
Adès’ first opera, Powder
Her Face, commissioned by Almeida Opera for the Cheltenham Festival in
1995, was televised by Channel Four. Most of the composer's music to date has
been recorded by EMI. Adès’ second opera, The
Tempest, was commissioned by London's Royal Opera House and was premièred
there in February 2004 and revived in 2007.
Adès’ music has attracted numerous awards and prizes,
including the Grawemeyer Award (2000) of which he is the youngest-ever
recipient. He is the only composer to have won the Royal Philharmonic Prize for
Large-scale composition three times.
In September 2005 a Violin Concerto, written for Anthony
Marwood, was premiered at the Berliner Festspiele and the BBC Proms, with the
Chamber Orchestra of Europe conducted by the composer.
This new release from Avie is only the second recording of
Adès’ Violin Concerto ‘Concentric
Paths.’ In three movements, the first, Rings,
opens with the soloist and orchestra playing a seemingly repetitive motif, yet it
is constantly varying, creating a swirl of sound that soon becomes increasingly
dramatic. There is much for the soloist to do in the opening movement that,
nevertheless, does slow and quieten with some exquisite high notes from the soloist
set against a deep bass chord. The music builds again in tempo, dynamics and
drama to end.
A series of chords followed by pizzicato notes from the
soloist with loud orchestral interruptions opens Paths. Soon the soloist’s part becomes gentler, despite the heavy
orchestral interruptions. As the melody for violin becomes more agitated, the
orchestra provides even greater weight in its sudden outbursts, with the violin
soaring around against deep orchestral sounds pointed up by timpani. There is some
terrific playing from Augustin Hadelich before the music quietens and becomes
gentle in a beautiful section for orchestra. The soloist re-enters passionately
before the music slowly quietens with muted brass and, against a hushed
orchestra, where the violin spins a lovely theme. There are some lovely
textures for the soloist as the music drops lower and quieter as it leads to
the coda.
Timpani and percussion open Rounds, with strings, woodwind and brass entering in a repeated
spiralling theme, soon joined by the soloist who goes on to develop the theme.
The soloist is presented with new challenges as the music becomes more complex
but, eventually, the music relaxes into a longer breathed melody before timpani
add a threatening backdrop as the music speeds to a sudden end.
This is an extremely fine concerto that I will return to often.
It received an equally fine performance from Augustin Hadelich and the Royal
Liverpool Philharmonic Orchestra under Hannu Lintu.
Jean Sibelius’ (1865-1957) www.sibelius.fi Violin
Concerto in D minor, Op.47 dates from 1903/05 and is also in the usual
three movements. Right from the beginning of the Allegro moderato, after the quiet orchestral opening, we are aware
that Augustin Hadelich will provide a passionate performance. His violin tone is
so full of angst, his phrasing so full of emotion. The short solo section that
soon appears is full of impetus and fire. Hannu Lintu and the RLPO provide taut
accompaniment with some sensitively played orchestral moments. Yet Hadelich
knows how to ease back for maximum effect with some exquisite tone and timbre. There
is some superb playing in the cadenza, full of fire, flair and sheer technical
accomplishment. When the woodwind of the RLPO enter, they and the soloist provide
a lovely texture. As the movement progresses there is some really terrific,
dynamic playing from the RLPO. Hadelich continues to play with much feeling,
combining emotion with moments of such pure tone before a fine coda.
There are some lovely violin timbres as the Adagio di molto proceeds with Lintu
really building up the orchestral tension and drama. Yet both allow the quiet
moments to reveal poetry. As the movement progresses Hadelich continues to
provide much emotion and feeling before a lovely, hushed coda.
In the Allegro, ma non
tanto both soloist and orchestra really pile on the forward drive in the
opening with some gritty, powerful orchestral playing. Hadelich’s playing in
the developing passages is extremely fine with high notes that are wonderfully done.
The later stages of this movement have some wonderful things.
It is true that there is no shortage of fine performances of
this concerto on disc; however, I have yet to hear one that brings quite this
amount of passion from both soloist and orchestra.
Hadelich, Lintu and the orchestra finally give us three of
Sibelius’ Humoresques which bring
equally fine performances. Op.87 No.2 in
D major is full of terrific playing, Op.89
No.2 in G minor is exquisite, with some lovely little touches and Op.89 No.3 in E flat major trots along
full of style with some wonderful moments from Hadelich.
The Adès concerto makes a terrific coupling with a
Hadelich’s passionate Sibelius, making altogether a very attractive new
release. Andrew Keener’s recording from The Friary, Liverpool is as fine as you
would expect and there are informative booklet notes.
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