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Konsertrecension: Year accents and leaning forward energy when Karina Canellakis conducts

Karina Canellakis is the former proffsviolinisten successfully schooled himself to the conductor. In a short time, the 37-year-old american conquered many orche

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Konsertrecension: Year accents and leaning forward energy when Karina Canellakis conducts

Karina Canellakis is the former proffsviolinisten successfully schooled himself to the conductor. In a short time, the 37-year-old american conquered many orchestras, not least here in Stockholm. Each semester, visits she sometimes stockholm Philharmonic and the Swedish radio symphony orchestra – most recently with the nobel peace prize concert in december.

the First time I heard Canellakis dust off Beethoven's fifth, for all its supposedly dire pomp and revealing an irresistible vitality. Now it was time for Beethoven's seventh with the Swedish radio symphony orchestra, the most lively and energetic of the symphonies. As late as in the autumn, sat Esa-Pekka Salonen and the orchestra on speed, perhaps to demonstrate a kind of rave of the vintage in 1813. More manic, however, than meaningful.

let not always as good as it sounds, if you say so. To get it not to lift from the rails like a chinese high speed trains, so will be rytmmotivet easy a monomant and nerve-racking skenskarvsdunk. Canellakis wagered on the lean-forward energy and peppered with the year accents. Good, but a bit of careful phrasing had not been damaged, especially in the well-known allegrettosatsen.

The young Benjamin Britten's rekvieminspirerade orchestra from the wartime year 1940, is a strange composition with a bizarre scholar. From the beginning, the secret turned out to order to come from Japan in the opportunity to celebrate its 2600-year-old empire. Something the Briton did not have time to take into account within the deadline. The japanese rejected his pacifist colored music as inappropriate bleak and christian.

And maybe it is a kind of Golgatavandring that opens with the sad altsaxofonens lament about the orchestra, and heavy steps ascending a chromatic scale ascending slope. Britten experiments with the large orchestra färglåda and symbolmotiv: trumpetens monotone flyglarm, stråkarnas svirrande spitfireattacker. Karina Canellakis brought the piece to a beautiful end in a comforting, gentle lullaby.

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