Classical art at the festival “Cherry Orchard”, which is taking place these days and the other in Moscow, in a dignified manner presented chamber orchestra “Vienna-Berlin” and pianist Denis Matsuev in the Great Hall of the Conservatory. Says Elena KRAVTSUN.
Chamber Orchestra “Vienna-Berlin” is the name of European cities double purpose. It is composed of musicians from the Vienna and Berlin Philharmonic. It would seem that these two compounds, always competing for the title of “best of the best”, hardly need to combine their efforts on the same stage. However, the idea of merging creme de la creme of performing arts seemed not so absurd conductor Sir Simon Rattle, who visited for both consoles orchestras. Ten years ago he decided to celebrate his birthday unusual concert with soloists from two friendly bands, and was born a new structure – chamber, a kind of delicacy in the world of classical traditions. In touring the choicest musicians go without a conductor, but with the star soloist resident. This year he became pianist Denis Matsuev, who persuaded them not only to play in European halls, but also his first visit to Russia.
The concert in Moscow was the first in a series of impromptu tour Europeans ahead of their scheduled performances in Yekaterinburg, Kazan and Orenburg. The program has obkatali musicians at the Vienna Musikverein, but by his own admission Matsuev playing in Russia, he is doubly exciting. Great Siberian man with an impressive musculature appeared on stage with a flourish, a hot welcome applause and immediately gave the first surprise. Permanently touring with piano concertos by Tchaikovsky and Rachmaninoff, which has become a kind of hostage to the romantic genre, suddenly Matsuev played Concerto by Alfred Schnittke. This fact is worthy of respect, at least, if not everything went smoothly in this work, but gloomy, sometimes extreme beauty of the world Russian avant-garde artist, he worked at full capacity. Matsuev has demonstrated that he can not just throw massive clusters, but also to appreciate the silence, be melodist and colorist at the same time. The atmosphere bergovskih operas and Kafkaesque stories dispelled Concerto for Piano, Strings and Solo pipe. Witty phrasing Matsuev stressed spectacular kunshtyukov generously scattered throughout the concert, characterized the right balance between simplicity and brilliance exciting and slightly delayed the attention of the solo pipe, the party who performed the Hungarian Gabor Tarkovi. Initially, after the concert created especially for this instrument. His ease and playfulness it reminds Shostakovich Jazz Suite and explains the choice of the program Matsuev known lover of improvisation in jazz style. Called to the stage four times for an encore, he played brilliantly charming bagatelle Shchedrin called “Humoresque” with the swaying rhythm of the swing.
In the second part of the Austro-German musicians had ruled unchallenged. Paying tribute to the current anniversary of Pyotr Tchaikovsky, they performed the Serenade for String Orchestra, as if gently opened the doors to another world – the finest of sound, smooth elegance and nobility. Berlin Orchestra of the added passion and velvety, but prohibitively incessant applause between parts – despondency and sadness. The best musicians in Europe encore instrumental version of Lensky’s aria, and this spiritual glow and perfect affinity to them, it showed few.
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