By Witold Lutoslawskis ”Concerto for orchestra” faded in the Stockholm concert hall was in the middle of the nineties. So probably you could consider Thursday's performance as a rarity despite the fact that the Polish 1900-talstonsättarens music in general lends itself better than most in order to link the present with dået purely aesthetic. The british conductor Edward Gardner has played virtually all of the orkestermusiken on the disc and Lutoslawskis phenomenal femtiotalsverk was unsurprisingly the highlight of the evening.
that begins with a calling pulse in pukorna and clatters in the road in all possible directions without ever losing focus. It blends rhythmic riffande and cleverly twisted tunes with the whole orchestra in solistrollen. But one can also speak about a venture between the turbulent and delicate. Qualities that became an excellent counterpart to Anna Clynes initial ”Night ferry” from 2012. It is both awesome and välkomponerat orchestral works in around 20 minutes with both the heavy seas of swirling stråkmotiv as enchanted träblåslugn. A really cool ferry ride despite the fact that hull, in particular any leaking performance, took in some water during the stormy start.
Also, Lutoslawski wrote for other variations on a theme of violinvirtuosen Paganini. But it was, of course, rachmaninov's romantic rhapsodies, who served with Alexander Gavrylyuk on piano stool before the break. He has a peculiar approach to music, one moment, emotionally greedily and the next moment – in the positive sense of the word – quiet as a barpianist. Along with Gardner and the Royal stockholm Philharmonic orchestra squeezed he presented both a distinctive attack, and the bulging blackness. It was on the border to the elaborate, but still refreshing adventure through the work's demonic was fighting split personality. To rachmaninov's music rarely skimp on sentimentality was at least as clearly in the Gavrylyuks encore – ”Vocalise” in Zoltán Kocsis arrangement for solo piano.