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| Roi Shiloach (musicethica.org) |
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| Yaron Gottfried (yarongottfried.com) |
Conducting the
Israel Netanya Kibbutz Orchestra’s penultimate event of its 50th concert
season, a concert somewhat enigmatically titled “Delusions”, was Yaron
Gottfried, who
had held the position of music director and principal conductor of the Netanya
Kibbutz Orchestra between 2002-2013. Soloist was violinist Roi Shiloach. This
writer attended the concert at the Tel Aviv Museum of Art on June 22nd, 2021.
In keeping with Gottfried’s
affinity for imaginative and innovative programming, the evening opened with
his new full orchestration of Peter Warlock’s “Capriol Suite” (1926),
undertaken especially for this concert. Actually, Peter Warlock was
the musical nom de plume of British composer Philip Heseltine (1894-1930).
Considered one of his most popular works, the
“Capriol Suite'' was originally written for piano duet. Warlock later scored
it for both string-
and full orchestras,
although, nowadays, it is mostly heard in the string
orchestra setting. The “Capriol Suite'' is a set of dances based on
melodies from a manual of Renaissance dances by the French priest Jehan
Tabourot (1515-1595) but Warlock’s free treatment of the tunes is reason enough
to regard the work as an original composition. Written in the harmonic language
of the early 20th century, the composer nevertheless addresses the customs and
style of Elizabethan England. Gottfried’s setting sits well with the NK forces;
as he juxtaposes sectional timbres, for example, in his effervescent, jocular
treatment of Bransles (4th movement) and in “Mattachins'', a sword dance (6th
movement), the latter’s harmonic content replete with dissonances, Gottfried evokes the men dancing and clashing their swords on different beats with swiftly
changing orchestral colours. And how lyrical and tender the trumpet solo is in
the pastoral “Pieds-en-l’air”
(5th movement), then to sign out on a diaphanous cluster. Gottfried’s use of
percussion is subtle, as in the delicate, courtly “Pavane” (2nd movement). A
delightful concert experience, both audial and visual.
During the summer of
1838, Felix Mendelssohn wrote to his long-time friend and collaborator
Ferdinand David: “I would like to write a violin concerto for you next winter.
One in E minor runs through my head, the beginning of which gives me no peace.”
Throughout the compositional process, the composer regularly consulted with David over questions regarding violin technique; David was also responsible for the cadenza. From
the beginning of their collaboration, David and Mendelssohn had agreed that this
concerto should not be a vehicle for empty showmanship. Premiered in March
1845, the outcome was a serious, exquisite Romantic concerto. Mendelssohn's
Violin Concerto in E minor, Op. 64, his last large orchestral work, ranks among
the finest violin concertos written in the 19th century; in fact, it has been
one of the most frequently performed violin concertos in history. Roi
Shiloach’s seamless performance of it displayed playing of total conviction, of
depth, warmth and humanity, his technical mastery a means to expressing his
personal rapport with the work. Moving into the cadenza, one had the
feeling that he was rediscovering each motif, and taking the necessary time to
do so. In the Andante movement, pensive and rich in songfulness, conductor and
soloist kept a safe distance from the excessive sentimentality heard in some
performances. The final movement, bristling with roulades, scales, and rapid
passage-work in virtually every measure, emerged playful and joyful, as
Shiloach presented each gesture with colour and variety. Attentive balance
between orchestra and soloist characterized the performance, which was
enthusiastically received by the audience. For an encore, Shiloach took the
listener into the contemplative, somewhat mysterious mood of the Lento e
sotto voce movement from Paul Ben Haim’s Solo Violin Sonata in G (1951).
It was in June
1788 that Mozart began work on his final trilogy of symphonies (the
"Jupiter" is the third) completing them all in less than two months.
The NKO concert concluded with W.A.Mozart’s Symphony No.41 in C major, K.551,
the “Jupiter” title attached to the work after Mozart's death, probably by the
violinist/impresario Johann Peter Salomon. From the three grandiose and
powerful opening octave strokes introducing the Allegro vivace movement, the
audience in the Tel Aviv Museum's Recanati Auditorium knew it was in for an exciting, inspired performance. Powerful tutti,
contrasts and some charming, cantabile melodies pervaded (one little melody, launched by
the violins quotes Mozart’s comic aria, "Il bacio di mano" -"A
Kiss of the Hand"). The players gave poignant expression to the
gentle forward motion and yearning of the Andante cantabile movement, to be
followed by the Minuetto - a formal dance for an imperial ballroom - its
pleasing Classical clarity joining Mozart’s pure sense of joy, together with
some delightful woodwind playing. It was Schumann who ranked the symphony, in
its majesty of conception, as "wholly above discussion", but it is
indeed the unprecedented fugal finale with its overwhelming sense of richness,
splendour, and pizzazz, that is the work's most dazzling movement. Addressing its
intricate contrapuntal web, Maestro Gottfried presented it with hearty
spirit, as the work and the event drew to a close in a flourish of brass and
timpani.
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