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Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor | Edward Elgar: Symphony No.2 in E flat major – Saleem Ashkar (photo), Detroit Symphony Orchestra, Nikolaj Znaider – Saturday, January 27, 2018, 08:00 PM EST (UTC-5) / Sunday, January 28, 2018, 03:00 AM EET (UTC+2) – Live on Livestream

Monday, January 15, 2018

Maurice Ravel: Piano Concerto in G major – Hélène Grimaud, Gothenburg Symphony Orchestra, Lionel Bringuier (HD 1080p)













Accompanied the Gothenburg Symphony Orchestra, the French classical pianist Hélène Grimaud plays Maurice Ravel's Piano Concerto in G major, a piano concerto in three movements and is heavily influenced by jazz, which the French composer had encountered on a concert tour of the United States in 1928. Conductor: Lionel Bringuier. Recorded at Gothenburg Concert Hall on September 7, 2017.



The Piano Concerto in G major was a long time in the making. Ravel started thinking about it in 1928 (cf. his visit to Oxford) after his return from America; he took it up again in 1929, but then broke off to write the Concerto for the left hand, then continued with in 1930, and completed it in 1931.

For a long time Ravel declared his intention to perform the work himself and to undertake a world tour with it. But in recognition of his diminishing health and his technical limitations as a pianist, he handed over the role of soloist to Marguerite Long (13 November 1874 – 13 February 1966), the French pianist and teacher, to whom the work is dedicated. Together they gave the first performance at the Salle Pleyel in Paris on 14 January 1932.

The Concerto observes traditional 3-movement form, albeit with great contrasts of style between movements and indeed within them.

Allegramente: The first movement opens with a single whip-crack, and what follows can be described as a blend of the Basque and Spanish sounds of Ravel's youth and the newer jazz styles he had become so fond of. Like many other concerti, the opening movement is written in the standard sonata-allegro form, but with considerably more emphasis placed on the exposition.

Adagio assai: In stark contrast to the preceding movement, the second movement is a tranquil subject of Mozartian serenity written in ternary form (sometimes called song form, it is a three-part musical form where the first section (A) is repeated after the second section (B) ends. It is usually schematized as A–B–A).

Presto: The third movement recalls the intensity of the first with its quick melodies and difficult passage-work. Possibly due to its short length, the third movement is often repeated by the orchestra and soloist as an "encore" after the concerto.

Source: andantemoderato.com



Maurice Ravel (1875-1937)

♪ Piano Concerto in G major (1931)


i. Allegramente

ii. Adagio assai
iii. Presto

Hélène Grimaud, piano


Gothenburg Symphony Orchestra

Conductor: Lionel Bringuier

Gothenburg Concert Hall, September 7, 2017

(HD 1080p)















She could be called a Renaissance woman for our times. Hélène Grimaud is not just a deeply passionate and committed musical artist whose pianistic accomplishments play a central role in her life. She is a woman with multiple talents that extend far beyond the instrument she plays with such poetic expression and peerless technical control. The French artist has established herself as a committed wildlife conservationist, a compassionate human rights activist and as a writer.

Grimaud was born in 1969 in Aix-en-Provence and began her piano studies at the local conservatory with Jacqueline Courtin before going on to work with Pierre Barbizet in Marseille. She was accepted into the Paris Conservatoire at just 13 and won first prize in piano performance a mere three years later. She continued to study with György Sándor and Leon Fleisher until, in 1987, she gave her well-received debut recital in Tokyo. That same year, renowned conductor Daniel Barenboim invited her to perform with the Orchestre de Paris.


This marked the launch of Grimaud's musical career, characterised ever since by concerts with most of the world’s major orchestras and many celebrated conductors. Her recordings have been critically acclaimed and awarded numerous accolades, among them the Cannes Classical Recording of the Year, Choc du Monde de la musique, Diapason d’or, Grand Prix du disque, Record Academy Prize (Tokyo), Midem Classic Award and the Echo Award.


Between her debut in 1995 with the Berliner Philharmoniker under Claudio Abbado and her first performance with the New York Philharmonic under Kurt Masur in 1999 – just two of many notable musical milestones – Grimaud made a wholly different kind of debut: in upper New York State she established the Wolf Conservation Center.


Her love for the endangered species was sparked by a chance encounter with a wolf in northern Florida; this led to her determination to open an environmental education centre. "To be involved in direct conservation and being able to put animals back where they belong", she says, "there's just nothing more fulfilling". But Grimaud's engagement doesn't end there: she is also a member of the organisation Musicians for Human Rights, a worldwide network of musicians and people working in the field of music to promote a culture of human rights and social change.


For most people, establishing and running an environmental organisation or having a flourishing career as a musician would be accomplishment enough. Yet, remarkably, Hélène Grimaud has also found time to pursue writing, publishing three books that have appeared in various languages. Her first, "Variations Sauvages", appeared in 2003. It was followed in 2005 by "Leçons particulières", and in 2013 by "Retour à Salem", both semi-autobiographical novels.


Despite her divided dedication to these multiple passions, it is through Grimaud's thoughtful and tenderly expressive music-making that she most deeply touches the emotions of audiences. Fortunately, they have been able to enjoy her concerts worldwide, thanks to the extensive tours she undertakes as a soloist and recitalist. She is also an ardent and committed chamber musician who performs frequently at the most prestigious festivals and cultural events with a wide range of musical collaborators, including Sol Gabetta, Thomas Quasthoff, Rolando Villazón, Jan Vogler, Truls Mørk, Clemens Hagen and the Capuçon brothers.


Recent performance highlights have included two collaborations with the Turner Prize-winning artist Douglas Gordon – firstly, tears become… streams become…, a large-scale immersive installation at New York's historic Park Avenue Armory, whose Drill Hall floor was flooded to become an immense field of water, and secondly, Neck of the Woods, a piece devised for the Manchester International Festival combining music, visual art and theatre, in which Grimaud shared the stage with legendary actress Charlotte Rampling. She also appeared at the opening-night gala of the new Philharmonie de Paris and gave two summer concerts at the Caramoor Center for Music and the Arts (New York State) in her role as 2015 Artist-in-Residence. Her recital at the Philharmonie Essen in May, meanwhile, was crowned by the award of the 2015 Klavier-Festival Ruhr Prize, honouring her exceptional career and extraordinary artistry.


In her diary for the 2015/2016 season are appearances with Valery Gergiev and the Mariinsky Orchestra at St Petersburg's White Nights Festival and at the Festspielhaus Baden-Baden's Summer Festival. She plays Beethoven with the Orchestra dell'Accademia Nazionale di Santa Cecilia under Antonio Pappano and Brahms with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. She also tours Asia and Europe, playing concertos by Ravel, Brahms and Mozart and giving a recital programme inspired by water.


In 2016, Grimaud released Water, a live recording of the performances from tears become... streams become... which brings together works by nine composers: Berio, Takemitsu, Fauré, Ravel, Albéniz, Liszt, Janáček, Debussy, and Nitin Sawhney, who has written seven short Water Transitions for the album as well as producing it. Grimaud has been an exclusive Deutsche Grammophon artist since 2002, and Water follows the September 2013 release of her album of the two Brahms piano concertos, the first concerto with Andris Nelsons conducting the Bavarian Radio Symphony Orchestra and the second recorded with the Vienna Philharmonic. Classic FM said: "Hélène Grimaud turns her thrilling, deeply personal brand of music-making to Brahms's first and second Piano Concertos. Throughout her playing is sensitive, graceful, and commanding without ever feeling forced". Limelight magazine called it an "utterly remarkable, inspired and inspiring recording".


Duo, the album she recorded with cellist Sol Gabetta just prior to the Brahms concertos, won the 2013 Echo Award for "chamber recording of the year". Previous releases include her readings of Mozart's Piano Concertos Nos.19 and 23 on a 2011 disc which also featured a collaboration with singer Mojca Erdmann in the same composer's Ch'io mi scordi di te?. Grimaud's 2010 release, the solo recital album Resonances, showcased music by Mozart, Berg, Liszt and Bartók, while her other DG recordings include a selection of Bach's solo and concerto works, in which she directed the Deutsche Kammerphilharmonie Bremen from the piano; a Beethoven disc with the Staatskapelle Dresden and Vladimir Jurowski which was chosen as one of history's greatest classical music albums in the iTunes "Classical Essentials" series; Reflection and Credo (both of which feature a number of thematically linked works); a Chopin and Rachmaninov Sonatas disc; a Bartók CD on which she plays the Third Piano Concerto with the London Symphony Orchestra under Pierre Boulez; and a DVD release of Rachmaninov's Second Piano Concerto with the Lucerne Festival Orchestra under the direction of Claudio Abbado.


Hélène Grimaud is undoubtedly a multi-faceted artist. Her deep dedication to her musical career, both in performances and recordings, is reflected and reciprocally amplified by the scope and depth of her environmental and literary pursuits.


Source: helenegrimaud.com







































More photos


See also


Hélène Grimaud: Water – Nitin Sawhney, Luciano Berio, Toru Takemitsu, Gabriel Fauré, Maurice Ravel, Isaac Albeniz, Franz Liszt, Leoš Janáček, Claude Debussy (Audio video)

A Russian Night: Tchaikovsky, Rachmaninov & Stravinsky – Hélène Grimaud, Claudio Abbado (Full HD 1080p)

Hélène Grimaud talks about Claudio Abbado

Wolfgang Amadeus Mozart: Piano Concerto No.23 in A major, ii. Adagio – Hélène Grimaud, Radoslaw Szulc

George Gershwin: Rhapsody in Blue – Yuja Wang, Camerata Salzburg, Lionel Bringuier


Maurice Ravel: Piano Concertos – Yuja Wang, Tonhalle-Orchester Zürich, Lionel Bringuier (Audio video)


Gothenburg Symphony Orchestra – All the posts


Saturday, January 13, 2018

Franz Liszt: Piano Concerto No.1 in E flat major – Martha Argerich, Wiener Philharmoniker, Daniel Barenboim














Accompanied by the Wiener Philharmoniker under the baton of the Argentine-Israeli pianist and conductor Daniel Barenboim, the Argentine classical pianist Martha Argerich, who is widely regarded as one of the greatest pianists of all time, performs Franz Liszt's Piano Concerto No.1 in E flat major. The concert was recorded at Wiener Musikverein, on November 24, 2017.



The genesis of Franz Liszt's Piano Concerto No.1 in E flat major dates to 1830, when the composer sketched out the main theme in a notebook. It wasn't until the 1840s, however, that Liszt actually commenced work on the concerto. As a neophyte in the art of orchestration – his output to that point consisted almost entirely of keyboard music – Liszt enlisted the assistance of his pupil Joachim Raff in providing the work an instrumental skin. Liszt completed the concerto in 1849 but made a number of revisions over the next several years. The final version of the work dates from 1856.

Source: Robert Cummings (allmusic.com)



It premiered in Weimar on February 17, 1855, with Liszt at the piano and Hector Berlioz conducting.


Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, cymbals, triangle, strings, and solo piano.




Franz Liszt (1811-1886)

♪ Piano Concerto No.1 in E flat major, S.124 (1835-1856)

i. Allegro maestoso
ii. Quasi adagio
iii. Allegretto vivace. Allegro animato
iv. Allegro marziale animato

Martha Argerich, piano

Wiener Philharmoniker
Conductor: Daniel Barenboim


Encore:

Georges Bizet (1838-1875)

♪ Jeux d'enfants (12 pieces for piano 4 hands) (1871)

xi. Petit Mari, Petite Femme!

Martha Argerich  & Daniel Barenboim, piano


Wiener Musikverein, November 24, 2017

(HD 720p)















Martha Argerich was born in 1941 in Buenos Aires. From the age of five, she took piano lessons with Vicenzo Scaramuzza. In 1955 she went to Europe with her family, and received tuition from Friedrich Gulda in Vienna; her teachers also included Nikita Magaloff and Stefan Askenase. Following her first prizes in the piano competitions in Bolzano and Geneva in 1957, she embarked on an intensive programme of concerts. Her victory in the Chopin Competition in Warsaw in 1965 was a decisive step on her path to worldwide recognition.

Martha Argerich rose to fame with her interpretations of the virtuoso piano literature of the 19th and 20th centuries. But she does not regard herself as a specialist in "virtuoso" works – her repertoire ranges from Bach through Beethoven, Schumann, Liszt, Debussy and Ravel, to Bartók.

Martha Argerich has worked as a concert pianist with many famous conductors. She has also attached great importance to chamber music ever since, at the age of 17, she accompanied the violinist Joseph Szigeti – two generations older than herself. She has toured Europe, America and Japan with Gidon Kremer and Mischa Maisky and has also recorded much of the repertory for four hands and for two pianos with the pianists Nelson Freire, Stephen Bishop-Kovacevich, Nicolas Economou and Alexandre Rabinovitch. Martha Argerich has performed at Gidon Kremer's festival in Lockenhaus, at the Munich Piano Summer, the Lucerne Festival and at the Salzburg Festival, where she gave, for instance, a recital with Mischa Maisky in 1993.

She appeared with Claudio Abbado and the Berlin Philharmonic at the 1992 New Year's Eve Concert with Strauss's Burleske and also at the Salzburg Festival at Easter 1993. May 1998 saw the long-awaited musical "summit meeting" between Martha Argerich, Mischa Maisky and Gidon Kremer. On the occasion of a memorial concert for the impresario Reinhard Paulsen, the three artists came together in Japan, where they performed piano trios by Shostakovich and Tchaikovsky (recorded live by Deutsche Grammophon). In March 2000 Martha Argerich gave her first great solo appearance in almost 20 years in New York's Carnegie Hall.

Martha Argerich has close ties with Deutsche Grammophon, dating back to 1967. She has recorded prolifically during this period: solo works by Bach, Brahms, Chopin, Liszt and Schumann; concerto recordings of works by Chopin, Liszt, Ravel and Prokofiev with Claudio Abbado, Beethoven with Giuseppe Sinopoli, and Stravinsky's Les Noces with Leonard Bernstein. Her recording of Shostakovich's First and Haydn's Eleventh Piano Concertos with the Württembergisches Kammerorchester Heilbronn conducted by Jörg Färber was crowned with the Tokyo Record Academy Award in 1995 and that of Tchaikovsky's Piano Concerto No.1 with Claudio Abbado and the Berlin Philharmonic Orchestra was awarded the CD Compact Award in 1997.

She has also dedicated herself to chamber music, and has recorded works by Schumann and Chopin with Mstislav Rostropovich, and cello sonatas by both Bach and Beethoven with Mischa Maisky. She has made numerous successful recordings with Gidon Kremer, such as Violin Sonatas by Schumann and works by Bartók, Janácek and Messiaen (Prix Caecilia 1991), and Mendelssohn's Concerto for violin and piano with the Orpheus Chamber Orchestra. Their recording of Prokofiev sonatas and melodies received the 1992 Tokyo Record Academy Award, the Diapason D'Or 1992 and the Edison Award 1993. One of their most outstanding recording achievements was that of the complete Beethoven Violin Sonatas (Nos. 1-3: Record Academy Award 1985), which was concluded with the release of the Sonatas Op.47 "Kreutzer" and Op.96 in 1995. Among her more recent releases is the above-mentioned live recording of piano trios by Shostakovich and Tchaikovsky with Mischa Maisky and Gidon Kremer.

Martha Argerich takes a great supportive interest in young artists. In September 1999 the first International "Martha Argerich" Piano Competition took place in Buenos Aires – a competition which does not only carry her name but in which she is president of the jury. In November 1999 the second "Martha Argerich Music Festival" took place in southern Japan, with concerts and masterclasses being given not only by Martha Argerich but also by Mischa Maisky and Nelson Freire among others.

Source: deutschegrammophon.com



















































More photos


See also

Johann Sebastian Bach: Partita No.2 in C minor, BWV 826 – Martha Argerich

Sergei Rachmaninov: Suite No.2 for two pianos, Op.17 – Martha Argerich, Nelson Freire

Dmitri Shostakovich: Piano Concerto No.1 in C minor – Martha Argerich, David Guerrier, Verbier Festival Chamber Orchestra, Gábor Takács-Nagy

Friday, January 12, 2018

mother! (2017) – A film by Darren Aronofsky – Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer (Download the movie)

Make no mistake, Darren Aronofsky's "mother!" is the most shocking film you'll see this year.

Feverish, intense and surreal, it's a film that burrows deep into your subconscious, like a nightmare you can't escape.

It is also, quite simply, unmissable.

Lawrence plays an unnamed young woman (listed as "mother" in the credits) who spends her days restoring the spacious, fire-damaged home she shares with her famous, but creatively blocked poet husband (Bardem, listed only as "Him") in the middle of nowhere.

One day, a mysterious stranger (Ed Harris, the "man") arrives on their doorstep, and to the woman's horror, her husband welcomes the man with open arms, inviting him to stay.

Things quickly get worse when his boozy, condescending wife (Michelle Pfeiffer, the "woman") arrives, followed by their two bickering sons (Domhnall and Brian Gleeson).

Tragedy ensues, but the nightmarish ordeal is only just beginning for the woman, as the poet begins to write again and the house is soon filled with waves of adoring fans and hangers-on.


A surreal descent

At first, the film unfolds like a Pinter play – mysterious, vaguely threatening strangers – mixed with Bunuel's The Exterminating Angel – in which guests find themselves unable to leave a party – mixing unsettling surrealism with intense, oppressive paranoia.

However, the film quickly builds momentum and soon, both "mother" – who is, by this time, pregnant – and the audience are plunged into a swirling vortex of anger, resentment and the worst of human behaviour as the various guests callously destroy the house, every breakage reflected in mother's horrified and powerless reactions.

The technical achievement of the film is flawless: Aronofsky and cinematographer Matthew Libatique use tight, hand-held close-ups that force us to share mother's subjective point-of-view, while accentuating the sense of spiralling chaos around her. If nothing else, the film is sure to strike a chord with anyone who's ever hosted a party that got out of hand.

Aronofsky's orchestration of the mayhem is extremely impressive, creating an effect that's simultaneously dizzying, bewildering and stomach-lurchingly sickening.

The film has already drawn multiple comparisons to Rosemary's Baby, but there are elements of Polanski's Repulsion here too, as mother descends ever further into insanity and the imagery (bleeding floorboards and so on) begins to reflect her state of mind.


Lawrence and Bardem captivating

Lawrence, for her part, is mesmerising throughout, effortlessly carrying the film and conveying intense, wrenching emotion that leaves you breathless. Bardem is brilliantly cast too, playing the part on a knife-edge between tender and sinister – on the one hand he's the ostensible villain, but his behaviour is all too recognisably human. Ultimately, the genius of the film lies in the fact that it is open to multiple interpretations – it's likely that no two people will come away with the same reaction.

To that end, the film is about many things: the creative process, the price of fame, rampant egomania and narcissism, the plight of modern civilisation, the circle of life, power dynamics in relationships, and, most obviously, what it's like to live with a driven artistic talent who prioritises work over a relationship. At the very least, it's difficult to come away from the film without feeling a measure of sympathy for Aronofsky's previous partners – the writer-director's current girlfriend is, of course, Lawrence herself. By turns terrifying, heart-breaking and profoundly shocking, this is an intense, nightmarish experience that will stay with you a long, long time.

Source: Matthew Turner, September 2017 (inews.co.uk)
















mother! (2017)

A film by Darren Aronofsky

Directed by Darren Aronofsky
Written by Darren Aronofsky
Cinematography by Matthew Libatique
Edited by Andrew Weisblum
Produced by Darren Aronofsky, Scott Franklin, Ari Handel

Starring:
Jennifer Lawrence as mother
Javier Bardem as Him
Ed Harris as man
Michelle Pfeiffer as woman
Brian Gleeson as younger brother
Domhnall Gleeson as oldest son
Stephen McHattie as zealot
Kristen Wiig as herald
Jovan Adepo as cupbearer
Amanda Warren as healer
Laurence Leboeuf as maiden

Running time: 121 minutes
Language: English
Country: United States
Production companies: Paramount Pictures, Protozoa Pictures
Distributed by Paramount Pictures
Release date: September 5, 2017 (Venice), September 15, 2017 (United States)

Music: "mother!" is the first Aronofsky film without composer Clint Mansell's involvement. The film originally had a score composed by Jóhann Jóhannsson, but after seeing the 90 minute score synced up with a rough cut of the film, Aronofsky and Jóhannsson agreed not to use the original score. They experimented with using the score at only a few moments, or instead using a new minimal score focused on sound-design that incorporated noises into the soundscape of the house. Ultimately, they went with the second choice, and Jóhannsson's work merged with the sound design of Craig Henighan. Over its closing credits, the film features a Patti Smith cover of Skeeter Davis's "The End of the World".

Source: en.wikipedia.org


Watch the trailer



Download the movie using torrent

Link 1

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Link 2

(Mother.2017.720p.BRRip.XviD.AC3-RARBG | HD 720p – 3.40 GB)


Download English & Greek subtitles
















Darren Aronofsky's "mother!" is an explosive retelling of creation in fire and blood

Theologies and mythologies twist and burn in a horror story about making and unmaking.

After an early screening of his 2014 film "Noah", Darren Aronofsky and his co-writer Ari Handel talked about their deep dive into Jewish tradition to find new color for telling a story that in the Bible is only about 40 verses long. One story they recounted was an old account of the creation and the flood that suggested God created and recreated the world, over and over again, wiping it away in an apocalypse every time until finally he decided he'd gotten it right. This, they said, was the basis for their movie having a God (reflected in Noah himself) who repents of his anger and pledges to never destroy the world again with a flood.

This story seems to have taken root in Aronofsky's psyche, along with all his other obsessions – the horror of being trapped in a female body under the thumb of domineering men, the duality of light and darkness, the explosive relationship between mankind and the planet, and the mystical, cyclical nature of being. He dredged it all up and plunged it into his latest movie's bleeding heart: "mother!" is a mad fantasia of fire and water and insanity, a spinning, flaming plume that is not here to make you like it, though it wouldn't mind if you decided to just bow down in worship.


"mother!" has a clear central metaphor drawn partly from the Bible.

(Note: Some spoilers for "mother!" follow. Read on at your own risk.)

The central metaphor is hardly hidden in "mother!". An old house with a round layout lies in a field, surrounded by trees, no roads leading up to it: a tranquil Eden. Inside lives a woman (Jennifer Lawrence) and her much older husband (Javier Bardem), a famous poet who can't shake his writers' block. While he paces and agonizes, she painstakingly restores the old house, to which she has a sort of biological connection.

"I want to make a paradise", she says.

Then one day a man (Ed Harris) shows up on the doorstep and stays the night, despite the woman's hesitance to let the stranger in. The next day the man's wife (Michelle Pfeiffer) shows up. The couple are intrusive, inserting themselves into the placid life of the poet and his wife, asking invasive questions and making themselves entirely too much at home. Eventually their two grown and feuding sons (real-life brothers Brian and Domhnall Gleeson) show up and start fighting in the house. The woman is horrified by the intrusion.

To go on in detail would be to spoil the fun. But in case you haven't caught on, this is imagery drawn directly from the Bible, and it requires a certain watery apocalypse to get things back on track – not, however, before the seeds for a new life and the poet's newest work are planted.

"mother!" pings back and forth between the placid perfection of the peaceful house and all-out destruction while treading the whole history of the world inside of a couple of hours. In this telling, though, God – or the god figure, anyhow – is a dual-natured being, light and darkness, youth and maturity, fertility and blocked creativity. And just because God the father is willing to give up his son for the warring, lusting, violent beings who crave to touch him doesn't mean the mother is quite as willing.


"mother!" is about the primal link between creativity and the world's creation – and destruction.

For "Noah", Aronofsky played with Jewish mythology, but in "mother!" he retwists the Christian version of the world's history, suggesting that it's always been told from the point of view of God's dominant masculine nature – and without much thought to what the feminine side might think. (For centuries, God has taken masculine pronouns in most translations of the Bible, but most Christian theology still maintains that he does not have a gender, and that male and female are both created in his image.)

This is not orthodox, to put it mildly, but it makes for a completely fascinating new mythology. The woman is rendered in this film with imagery that evokes both Mary and Gaia, the Greek ancestral mother of life, but as not merely a willing vessel but a very put-upon woman who's reaching her absolute breaking point. There are plenty of shades of gnosticism, beings that seem greater and lesser, physical ascents and descents in the house that mirror heaven and hell, bleeding floors, shattering glass, even a frog; the Egyptian goddess of fertility, Heqet, was rendered as a frog.

And leaning on the re-creation myth, Aronofsky makes one more leap: God's cruelty – and his genius – is for his masculine nature to keep wiping things out and starting over, sucking every ounce of life and energy and creative force from the woman, who just gives and gives and gives.

That's not new ground for horror; you can't miss the Rosemary's Baby overtones here. In that film, Rosemary is also stuck servicing the whims of her artist husband, who can't imagine why she doesn't want visitors invading her house. Aronofsky tells his version of this story on grainy stock, with muted colors and little to no music for much of the film, and casts it beautifully; Michelle Pfeiffer in particular, as a figure that's equal parts Eve and the serpent, is the magnet for every scene she's in.

But there's so much pulsing beneath this film that it's hard to grab onto just one theme as what it "means". It's full-on apocalyptic fiction, and like all stories of apocalypse, it's intended to draw back the veil on reality and show us what's really beneath. On one level, "mother!" is also about what partners of artists have to deal with (that Aronofsky and Lawrence met while shooting this film and started dating is... confusing). And, like "Noah", it's about humans' proclivity to wreck anything good with their own unfettered desires and selfishness. It evokes "The Fountain" in its view of history; it evokes "Black Swan" in its uncanny ability to get into the relationship between women's physical pain and the soul.

And in case it's not clear, this movie gets wild. If its gleeful cracking apart of traditional theologies doesn't get you (there's a lot of folk Catholic imagery here, complete with an Ash Wednesday-like mud smearing on the foreheads of the faithful), its bonkers scenes of chaos probably will. "mother!" is a movie designed to provoke fury, ecstasy, madness, and catharsis, and more than a little awe.

But if he's directing with abandon, Aronofsky is also entirely in control. Nothing happens in "mother!" he doesn't intend. The apocalypse works just as expected. Bits of his earlier creations are present everywhere, but this seems like it could be in its perfected state. The world he's created feels practiced and familiar and yet entirely new. But by the end, he burns it all down. Time to start again.

Source: Alissa Wilkinson, September 2017 (vox.com)

















Αn allegory about God and the Earth

Darren Aronofsky's "mother!" is bound to be one of the most divisive films of the year. Eschewing traditional narratives and character is just the tip of the iceberg for the aesthetically aggressive movie that isn't quite the psychological horror it's billed as and certainly not in the vein of Rosemary's Baby beyond featuring a stressed out pregnant woman. But because "mother!" operates along the lines of dream logic and because the film is so steeped in symbolism and tone rather than character and plot, it can be a bit confusing to say the least. The film invites conversation, and the best thing I can say about "mother!" is that it's the kind of film that will have you talking with your friends afterwards.

But if you're still a little confused or just want another take to engage with, here's mine (seriously, we're going total spoilers ahead, so stop reading now if you haven't seen the movie).

"mother!" is an allegory about God and the Earth. Javier Bardem's character, whom I'll refer to as The Poet, is God, and Jennifer Lawrence's character, whom I'll refer to as The Mother, is Mother Earth with the house standing in for the environment. From there, the story attempts to be a biblical allegory of both the Old and New Testament as well as a brief, deeply misanthropic view of human history.

Ed Harris' man represents Adam. When he's puking in the bathroom, we quickly see an injury right where his rib would be. In the next scene, his wife (Michelle Pfeiffer), representing Eve shows up. They're allowed to wander the house, but are told specifically not to go the poet's office, but they do so anyway where Eve accidentally breaks the fire crystal. They're then exiled and soon begin having sex elsewhere in the house, thus representing original sin and man's fall from grace after eating the forbidden fruit from the tree of knowledge in the Garden of Eden.

Then the couple's sons (Brian and Domhnall Gleeson) come along arguing about their dying father's will. In their argument, one brother kills the other (Cain and Abel). The parents and the poet carry the dead brother out of the house and the surviving brother runs away. The poet and the parents then return later that night for a wake, and more and more guests come to grieve, but the wake then becomes a chaotic party where, after numerous protestations to not sit on an un-braced sink, the sink becomes unmoored from the wall and water pours into the house. Thus we have humanity's downfall following the slaying of Abel and eventually the flood.

After the water pours into the house and the guests leave, the mother admonishes the poet, saying that he won't even have sex with her. They then proceed to have sex, and the following morning, she announces she's pregnant. He's then struck with a flash of inspiration and goes downstairs naked to write. When he shows her the finished product, she sees a vision of the world rejuvenated and says that it's beautiful. However, once again people start flooding into their home and although she's prepared a nice, quiet meal for her and the poet, the fully pregnant mother is overwhelmed by a throng of people.

At this point, the story is kind of leaving the biblical text behind and moving more into historical record. The New Testament element is that the mother's child is a Christ figure, but before he's born, the mother goes through a hellish experience surrounded by war, human trafficking, and other nightmarish visuals before the Poet finally reappears and brings her to his private office where she can give birth to their son. The allegory here seems to be that God abandoned the Earth for stretches at a time before the messiah figure was born.

But then mankind screws it all up again and snatches away the baby, kills it, and eats its flesh as they worship at an altar to the Poet. They then assault the mother, ripping at her clothes and beating her senseless before she's finally able to escape, go down to the basement, smash open an oil drum, and set the entire place on fire. So even when presented with a savior and total innocent, mankind only kills, eats the flesh of the Messiah (i.e. communion), then proceeds to assault Mother Earth with God absent yet again, and Mother Earth finally uses oil (i.e. fossil fuels) to destroy herself along with humanity with God powerless to stop it.

The Poet then takes the mother's charred body and takes out her beating heart with his hands. She turns to ash and the burned heart becomes a new fire crystal. He places the new fire crystal in its holder and we're brought back to the beginning of the film where placing the fire crystal in the holder undoes the fire damage and a woman wakes up in their bed. The only thing that's different this time is a different young woman wakes up in the bed. So basically the Earth and humanity will die and at best God will simply do everything all over again because he needs to create and desires love from his creations.

Source: Matt Goldberg, September 2017 (collider.com)

















Το «mother!» είναι μια απολαυστικά χαοτική σύλληψη καταδικασμένη να διχάσει με πάθος

Ποιος είναι ο λόγος που βλέπεις σινεμά; Είναι για να περάσεις ευχάριστα με καλή παρέα και ποπ κορν στα μούλτιπλεξ; Είναι για να ζήσεις διαφορετικές ζωές και να ταξιδέψεις σε άλλους κόσμους, ξεφεύγοντας έτσι για λίγο από τη ρουτίνα της καθημερινότητας; Είναι για να σκεφτείς και να προβληματιστείς; Και ποια μέθοδο προτιμάς για να δεις αυτό που θέλεις; Είναι πιο επιθυμητή μια ρεαλιστική προσέγγιση που να λειτουργεί ως καθρέφτης της πραγματικότητας, μια εξωπραγματικά φανταχτερή που να αψηφά τους νόμους της λογικής αλλά να διασκεδάζει ή μια καθαρά συμβολική στην οποία το κάθε τι μπορεί να ερμηνευτεί ποικιλοτρόπως και που δε σημαίνει ακριβώς αυτό που βλέπουμε; Όλες οι παραπάνω απορίες θα σας δημιουργηθούν παρακολουθώντας το "mother!" του Darren Aronofsky, μια ταινία τόσο πολυσυζητημένη ήδη πριν από την πρεμιέρα της στο Φεστιβάλ της Βενετίας και η οποία μοιάζει φτιαγμένη ώστε να εγείρει κουβέντες και ερωτήματα γύρω από τη φύση του σινεμά και των λόγων που πολύς κόσμος ελκύεται από αυτόν.

Δεν βλέπεις κάθε μέρα μια ταινία που να βρίσκεται στη σφαίρα του mainstream και να διαθέτει τέτοια φιλοδοξία, δοκιμάζοντας να απλώσει πρωτότυπες ιδέες με έναν σχεδόν ρηξικέλευθο τρόπο που μεγάλη μερίδα του κοινού δεν έχει συνηθίσει να ακολουθεί. Σίγουρα ο Aronofsky είναι ένας δημιουργός που χαίρει μεγάλης εκτίμησης από μεγάλη μερίδα του κοινού και ο οποίος έχει κερδίσει την θέση του στην ελίτ των σκηνοθετών του 21ου αιώνα. Αυτό πραγματοποιήθηκε αρχικά μέσα από το πόσο αγαπήθηκαν μεταγενέστερα ταινίες όπως το "Requiem for a Dream" και το "The Fountain" και ολοκληρώθηκε μετά και από την οσκαρική επιτυχία του "Black Swan". Ωστόσο, ο Aronofsky παραμένει και ο δημιουργός του "Pi", μιας αυθεντικά mindfuck ταινίας, ενώ πάντα είχε τον τρόπο να γίνεται «παράξενος», αφού ακόμη και οι πιο θεωρητικά απλοϊκές ταινίες του διαθέτουν ενδιαφέρουσες γωνίες. Το "mother!" είναι η πιο παρανοϊκή του ταινία, αλλά αυτό δεν θα έπρεπε να συνιστά έκπληξη, αφού ουδέποτε επεδίωξε ο ίδιος να γίνει εμπορικός από μόνος του.

Εκτός από το ότι είναι πραγματικά δύσκολο να εξηγήσει κάποιος τι ακριβώς είναι το "mother!" σε κάποιον που δεν το έχει δει, είναι και ανούσιο υπό τη λογική ότι είναι μια ταινία που όσο λιγότερα ξέρεις τη στιγμή που θα την παρακολουθήσεις, τόσο το καλύτερο για την εμπειρία που θα αποκομίσεις στην αίθουσα. Όχι ότι υπάρχει βέβαια κάποιος τρόπος να είσαι έτοιμος ή να ξέρεις τι ακριβώς θα δεις, όσα και να διαβάζεις γύρω από το φιλμ. Γιατί τόσο ιδιαίτερο είναι το συγκεκριμένο δημιούργημα του Aronofsky. Αρκεί να γνωρίζετε ότι παρακολουθεί την ιστορία μιας νεαρής γυναίκας (Jennifer Lawrence) που μένει σε ένα σπίτι στην εξοχή μαζί με τον ποιητή σύζυγό της (Javier Bardem) και που βλέπουν την ήσυχη ζωή τους να διαταράσσεται με κάθε πιθανό τρόπο.

Θεωρούμε το "Noah" την πιο εύκολη και επίπεδη ταινία του Aronofsky, στο βαθμό που όσο και αν προσπαθήσαμε, δεν καταφέραμε να ανακαλύψουμε κάποια επίπεδα ανάγνωσης που να δικαιολογούν την ύπαρξή της πέρα από ένα ακόμη blockbuster που εμπνέεται από τη βιβλική θεματολογία. Βλέποντας όμως το "mother!", μπορούμε να πούμε ότι εκτιμούμε πολύ περισσότερο αυτό που έκανε με το "Noah", ως απαρχή της ενασχόλησής του με πρόσωπα και καταστάσεις της Βίβλου, η οποία εδώ κορυφώνεται με εντελώς απρόσμενο τρόπο. Το "mother!" είναι πολλά πράγματα, αλλά πρώτα απ' όλα είναι μια παραβολή για τη Φύση και πόσο επεμβαίνουμε καταστροφικά στη λειτουργία της, για την Κοσμογονία, τον Αδάμ και την Εύα, τον Κάιν και τον Άβελ, αλλά και για την ίδια την δημιουργία ως μια επίπονη διαδικασία, με τη Μούσα να εξαντλείται και με το δημιούργημα στο τέλος να μην ανήκει πια στον δημιουργό του, να τίθεται ελεύθερο προς κανιβαλισμό από το κοινό και η ίδια η ροή να ξεκινά μετά πάλι από την αρχή.

Το σπίτι του ζευγαριού εξελίσσεται και μεταλλάσσεται διαρκώς μέσα στην ταινία και εν τέλει αποτελεί μια ξενάγηση σε ένα μουσείο διαφορετικών και ετερόκλητων genre του σινεμά. Σε ένα πρώτο στάδιο, το φιλμ καταφέρνει να είναι διασκεδαστικό και να διατηρεί το σασπένς παρά τις ιδιαιτερότητές του. Από εκεί και έπειτα, όλα ανάγονται σε ένα συμβολικό επίπεδο και αποκτούν αυτόματα πολλαπλά νοήματα και το χάος που εξαπολύει ο Aronofsky κλιμακώνεται μαεστρικά μέχρι το φινάλε, ενώ σου δίνει την εντύπωση ότι η οθόνη πρόκειται να εκραγεί ανά πάσα ώρα και στιγμή. Από τον πρώιμο Polanski μέχρι τον Bunuel και από το ωμό horror των 70s στα ψυχολογικά θρίλερ των 90s, ο Aronofsky αφήνει τη φαντασία του να τον καθοδηγήσει, δίνοντας στον Bardem τόσο την υπόσταση του Θεού/Δημιουργού, αλλά και του ίδιου του του εαυτού (ίσως να μην είναι τυχαίο ότι επέλεξε έναν ηθοποιό γεννημένο την ίδια ακριβώς χρονιά με αυτόν) και η παρουσία της συντρόφου του στην πραγματική ζωή Jennifer Lawrence στο ρόλο της Μητέρας και της Μούσας, περιπλέκει ακόμη περισσότερο τα πράγματα σε ένα σημείο που ίσως να έχει μεγαλύτερη αξία να απολαύσεις το σκηνικό ως έχει από το να βυθιστείς σε μια δαιδαλώδη υπερανάλυση του φιλμ.

Μιας και το "mother!" αναδεικνύει και ισχυροποιεί με κάθε τρόπο το θηλυκό στοιχείο, δίνει μια πρώτης τάξεως ευκαιρία στις Jennifer Lawrence και Michelle Pfeiffer να βγουν μπροστά και να ξεχωρίσουν με τις ερμηνείες τους. Και αν η Lawrence φλερτάρει πολύ συχνά με το στα όρια της υπερβολής παίξιμο και την «πολλή υποκριτική» (αν και δεν μπορούμε να φανταστούμε κάποια άλλη στο ρόλο της), η Pfeiffer με διακριτικότητα, έμφαση στη λεπτομέρεια και κομψότητα, παραδίδει μια χαμηλόφωνα και βραδυφλεγώς σπουδαία ερμηνεία όσο βρίσκεται στην οθόνη, χωρίς ποτέ να αποβάλλει το μυστήριο από πάνω της, σίγουρα από τις πιο ενδιαφέρουσες που έχουμε δει μέσα στο 2017.

Δεν βλέπεις συχνά ταινίες με την τιτάνια φιλοδοξία και την έλλειψη ορίων στο ταβάνι της φαντασίας τους σαν το "mother!". Σίγουρα δε θα έχει ευρεία αποδοχή από το κοινό που θα το παρακολουθήσει και είναι απολύτως λογικό. Δεν προσφέρει κάτι έτοιμο ούτε ευχάριστο και έρχεται σε ευθεία αντιπαράθεση με τη στρωτή αφήγηση και θεματολογία των ταινιών που παρακολουθεί ο κόσμος που αγάπησε μια διαφορετική πλευρά του Aronofsky από αυτήν που παρουσιάζει ο ίδιος εδώ. Η συμβουλή μας είναι ακόμη και αν δεν θελήσετε να μπείτε σε διαδικασία αναλύσεων, να προσπαθήσετε να διασκεδάσετε με την έλλειψη ορίων του φιλμ, αφού κάτι τέτοιο είναι πραγματικά εφικτό και θεωρούμε πως είναι μια από τις πιο ζωντανές κινηματογραφικές εμπειρίες εδώ και καιρό. Το σίγουρο είναι πως όποια και αν είναι η γνώμη σας για το "mother!", όταν τελειώσει θα έχετε καταλάβει ακριβώς τον λόγο ύπαρξης του θαυμαστικού στον τίτλο του.

Πηγή: Γιάννης Μόσχος, Οκτώβριος 2017 (clickatlife.gr)











































More photos



See also


Okja (2017) – A film by Bong Joon-ho – Ahn Seo-hyun, Tilda Swinton, Paul Dano, Steven Yeun, Jake Gyllenhaal, Giancarlo Esposito, Lily Collins, Shirley Henderson (Download the movie)

Im Keller / In the Basement (2014) – A film by Ulrich Seidl (Download the movie)

Maurice (1987) – A film by James Ivory – James Wilby, Hugh Grant, Rupert Graves (HD 1080p)


Shostakovich Against Stalin: The War Symphonies – A Documentary by Larry Weinstein – Netherland Radio Philharmonic, Kirov Orchestra, Valery Gergiev (HD 1080p)


Florence Foster Jenkins (2016) – A film by Stephen Frears – Meryl Streep, Hugh Grant, Simon Helberg (Download the movie)


Son of Saul (2015) – A film by László Nemes – Géza Röhrig, Levente Molnár, Urs Rechn (Download the movie)


Amour (2012) – A film by Michael Haneke – Emmanuelle Riva, Jean-Louis Trintignant, Isabelle Huppert, Alexandre Tharaud (Download the movie)


Dmitri Shostakovich: Katerina Izmailova (Lady Macbeth of Mtsensk), 1966 – A film by Mikhail Shapiro – Galina Vishnevskaya, Konstantin Simeonov


The New Babylon (Novyy Vavilon), 1929 – A film by Grigori Kozintsev & Leonid Trauberg – Music by Dmitri Shostakovich (HD 1080p)


Farinelli (1994) – A film by Gérard Corbiau – Stefano Dionisi, Enrico Lo Verso, Elsa Zylberstein (Download the movie)


Copying Beethoven (2006) – A film by Agnieszka Holland – Ed Harris, Diane Kruger (HD 1080p)


Eroica (The Movie, BBC 2003) by Simon Cellan Jones – Ian Hart, Leo Bill, Claire Skinner, Frank Finlay – John Eliot Gardiner (HD 1080p)


Tous les Matins du Monde / All the Mornings of the World / Όλα τα Πρωινά του Κόσμου (1991) – A film by Alain Corneau (Download the movie)


Death in Venice (1971) – A film by Luchino Visconti – Dirk Bogarde, Björn Andrésen, Silvana Mangano – Music by Gustav Mahler (Download the movie)


Wednesday, January 10, 2018

Dmitri Shostakovich: Passacaglia from Lady Macbeth of Mtsensk – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)














Under the baton of the talented Finnish conductor Santtu-Matias Rouvali, the Gothenburg Symphony Orchestra performs Dmitri Shostakovich's Passacaglia from his opera "Lady Macbeth of Mtsensk". Recorded at Gothenburg Concert Hall, on October 26, 2017.

The opera "Lady Macbeth of Mtsensk" is a terrifying story of betrayal, violence and murder. In the second act, the heroine of the opera, Katerina Ismailova, has poisoned her father in law who has severely beaten her lover. The Passacaglia is a musical comment to those horrors, and also a premonition of the next scene where Katerina and her lover murder her husband.



Dmitri Shostakovich (1906-1975)

♪ Passacaglia from Lady Macbeth of Mtsensk (1932)


Gothenburg Symphony Orchestra
Conductor: Santtu-Matias Rouvali

Gothenburg Concert Hall, October 26, 2017


(HD 1080p)
















The 2017-2018 season sees Santtu-Matias Rouvali (b. 1985, Finland) begin two new tenures; Chief Conductor of the Gothenburg Symphony and Principal Guest Conductor of the Philharmonia Orchestra, alongside these positions he continues his longstanding Chief Conductor-ship with the Tampere Philharmonic close to his home in Finland. Hailed by The Guardian as "the latest sit-up-and-listen talent to emerge from the great Finnish conducting tradition", until last season Santtu-Matias Rouvali was also Principal Guest Conductor of the Copenhagen Philharmonic.

Rouvali has upcoming debuts with the Leipzig Gewandhausorchester, Münchner Philharmoniker and Orquesta Nacionale de España in Madrid, as well as regular relationships with other orchestras across Europe, including the Orchestre Philharmonique de Radio France in Paris, Oslo Philharmonic Orchestra and the Deutsches Symphonie-Orchester Berlin; and has ambitious touring plans with his own orchestras over the next few seasons in Europe, Japan and North America. His first season as Chief Conductor in Gothenburg includes a substantial Nordic tour with pianist Hélène Grimaud.


Previously a Dudamel Fellow at the conducting programme with the Los Angeles Philharmonic, last season he made a triumphant return as a highlight of their subscription season, alongside other American debuts with the Minnesota and Cincinnati symphony orchestras.


In June 2017, as Chief Conductor-designate, he joined Gustavo Dudamel and the Gothenburg Symphony in their El Sistema Side by Side project with the Gothenburg Symphony, which has been a hugely successful summer camp for children and young people.


As another cornerstone to his tenure in Gothenburg, he looks forward to adding his mark to the Orchestra's impressive recording legacy. Rouvali's latest disc – of Nielsen and Sibelius' violin concertos is with the Tampere Philharmonic Orchestra and Baiba Skride – was released in summer 2015 on ORFEO. Rouvali has been Artistic Director and Chief Conductor of the Tampere Philharmonic since 2013, and in addition to his other recordings, highlights of the tenure so far include a Sibelius symphony cycle in autumn 2015, and the Orchestra's first tour to Japan in spring 2017 where they were accompanied by an exhibition of original Moomin drawings by Tove Jansson to mark the opening of the new museum at the Tampere Hall.


Alongside an extremely busy symphonic conducting career, as Chief Conductor in Tampere he has conducted Verdi's La forza del destino with Tampere Opera and his next project with them, in spring 2018, is a world premiere of Olli Kortekangas's My Brother's Keeper (Veljeni vartija) with Tampere Opera.


Source: harrisonparrott.com








































More photos


See also


Santtu-Matias Rouvali – All the posts


Gothenburg Symphony Orchestra – All the posts


Dmitri Shostakovich – All the posts

Monday, January 08, 2018

Dmitri Shostakovich: Symphony No.12 in D minor "The Year 1917" – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)














Under the baton of the talented Finnish conductor Santtu-Matias Rouvali, the Gothenburg Symphony Orchestra performs Dmitri Shostakovich's Symphony No.12 in D minor "The Year 1917", Op.112. Recorded at Gothenburg Concert Hall, on October 26, 2017.

The year 2017 marks the centenary of the Russian revolution. Shostakovich, twelve years old, experienced this extraordinary transformation of society which would affect his life and future forever. In 1961 he composed the expansive and fateful Symphony No.12, which portrays the revolutionary Petrograd (St Petersburg), Lenin's planning of the revolution, the first grenades fired at the Winter Palace from the armoured cruiser Aurora, and finally the triumphant apotheosis with hopes of a better future.



Dmitri Shostakovich (1906-1975)

♪ Symphony No.12 in D minor "The Year 1917", Op.112 (1961)

i. Revolutionary Petrograd (Moderato – Allegro – Più mosso – Allegro)
ii. Razliv (Allegro. L'istesso tempo – Adagio)
iii. Aurora (L'istesso tempo – Allegro)
iv. Dawn of Humanity (L'istesso tempo – Allegretto – Allegro – Moderato)

Gothenburg Symphony Orchestra
Conductor: Santtu-Matias Rouvali

Gothenburg Concert Hall, October 26, 2017

(HD 1080p)
















There are five Shostakovich symphonies of his 15 that have political/historical programs: Nos. 2, 3, 7, 11, and 12. Probably one of the strongest arguments put forth by those who support the Volkov view of the composer (i.e., that he felt constant oppression in both his professional and personal life under the Stalin and post-Stalin Soviet regimes and thus satirized his persecutors with veiled symbolism in his music), is that these five patriotic symphonies are his least effective. The Twelfth is probably his most approachable symphony, not least because it contains several attractive, quite memorable themes. But its expressive language is self-consciously straightforward, as if the composer were striving with every note to avoid complexity and controversy at all cost.

The Symphony No.12, being rather simple and straightforward, contains nothing of the hidden symbolism one hears in other Shostakovich symphonies, like the Fifth, Seventh, and Tenth. Thus, its apparently sincere depiction of the Bolshevik Revolution as a heroic and liberating event becomes hard to reconcile with the view of Shostakovich as a dissident. Yet it is possible that the composer disapproved of the Soviet system under Stalin and the oppression that still lingered, but still harbored a positive view of Lenin and the revolutionary movement.

The Symphony No.12 has four continuous movements, each having subtitles relating to the Revolution: "Revolutionary Petrograd" (marked Moderato – Allegro), "Razliv" (Allegro – Adagio), "Aurora" (Allegro), and "Dawn of Humanity" (Allegretto – Moderato). It should be mentioned here that the second-movement subtitle, "Razliv" (Overflow), refers to the locale north of St Petersburg where Lenin hid out to conduct his revolutionary activities in safety; and Aurora was the name of the ship that fired a shot through a window of the Winter Palace, initiating the Revolution.

There are two main themes that occur throughout the Symphony. The first symbolizes oppression (in the first movement introduction) and a rallying against it in the Allegro section that follows. The ensuing second theme, which is similar to the first, though more hymn-like and serene, symbolizes hope and ultimately victory over the oppressors. Both have strong appeal, and as Shostakovich develops them throughout the symphony, their metamorphoses yield music of colorful bombast, including the march near the end of the third movement and the percussion-laden coda of the finale, the drama as found in the development of the first movement, and the restlessness of the second movement.

As a populist drama, this symphony offers thematic appeal but tempers its attractive qualities with the composer's overly simplistic expressive language and blatant bombast in his apparent artistic acquiescence to Soviet authorities. Was Shostakovich a true dissident, like Solzhenitsyn, or an opportunist?

Source: Robert Cummings (allmusic.com)















The 2017-2018 season sees Santtu-Matias Rouvali (b. 1985, Finland) begin two new tenures; Chief Conductor of the Gothenburg Symphony and Principal Guest Conductor of the Philharmonia Orchestra, alongside these positions he continues his longstanding Chief Conductor-ship with the Tampere Philharmonic close to his home in Finland. Hailed by The Guardian as "the latest sit-up-and-listen talent to emerge from the great Finnish conducting tradition", until last season Santtu-Matias Rouvali was also Principal Guest Conductor of the Copenhagen Philharmonic.

Rouvali has upcoming debuts with the Leipzig Gewandhausorchester, Münchner Philharmoniker and Orquesta Nacionale de España in Madrid, as well as regular relationships with other orchestras across Europe, including the Orchestre Philharmonique de Radio France in Paris, Oslo Philharmonic Orchestra and the Deutsches Symphonie-Orchester Berlin; and has ambitious touring plans with his own orchestras over the next few seasons in Europe, Japan and North America. His first season as Chief Conductor in Gothenburg includes a substantial Nordic tour with pianist Hélène Grimaud.

Previously a Dudamel Fellow at the conducting programme with the Los Angeles Philharmonic, last season he made a triumphant return as a highlight of their subscription season, alongside other American debuts with the Minnesota and Cincinnati symphony orchestras.

In June 2017, as Chief Conductor-designate, he joined Gustavo Dudamel and the Gothenburg Symphony in their El Sistema Side by Side project with the Gothenburg Symphony, which has been a hugely successful summer camp for children and young people.

As another cornerstone to his tenure in Gothenburg, he looks forward to adding his mark to the Orchestra's impressive recording legacy. Rouvali's latest disc – of Nielsen and Sibelius' violin concertos is with the Tampere Philharmonic Orchestra and Baiba Skride – was released in summer 2015 on ORFEO. Rouvali has been Artistic Director and Chief Conductor of the Tampere Philharmonic since 2013, and in addition to his other recordings, highlights of the tenure so far include a Sibelius symphony cycle in autumn 2015, and the Orchestra's first tour to Japan in spring 2017 where they were accompanied by an exhibition of original Moomin drawings by Tove Jansson to mark the opening of the new museum at the Tampere Hall.

Alongside an extremely busy symphonic conducting career, as Chief Conductor in Tampere he has conducted Verdi's La forza del destino with Tampere Opera and his next project with them, in spring 2018, is a world premiere of Olli Kortekangas's My Brother's Keeper (Veljeni vartija) with Tampere Opera.

Source: harrisonparrott.com







































More photos


See also


Santtu-Matias Rouvali – All the posts

Gothenburg Symphony Orchestra – All the posts

Dmitri Shostakovich – All the posts