|David Huang (Photo by Elias Gammelgård)|
Dmitri Shostakovich wrote his First Piano Concerto for himself in 1933. As usual with an ironic smile and an abundance of good ideas, all of which demand attention, not least from the mocking solo trumpet whose biting comments interject here and there.
The prize winning soloist David Huang displays his skills at the grand piano and Manfred Honeck conducts. The Austrian also leads Symphony No.7 by his countryman Anton Bruckner, one of the composer's most performed works and a towering giant in Bruckner's collection of grandiose symphonies.
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Dmitri Shostakovich (1906-1975)
♪ Piano Concerto No.1 (Concerto for Piano, Trumpet and Strings) in C minor, Op.35 (1933)* [22 min]
i. Allegro moderato. Allegro vivace. Moderato
iv. Allegro con brio. Presto. Allegretto poco moderato. Allegro con brio
Anton Bruckner (1824-1896)
♪ Symphony No.7 in E major, WAB 107 (1881-1883, rev. 1885) [1 hour 8 min]
i. Allegro moderato
ii. Adagio. Sehr feierlich und sehr langsam
iii. Scherzo. Sehr schnell
iv. Finale. Bewegt, doch nicht schnell
David Huang, piano*
Bengt Danielsson, trumpet*
Gothenburg Symphony Orchestra
Conductor: Manfred Honeck
Live from Gothenburg Concert Hall
Thursday, May 24, 2018, 07:30 PM CET
Live on Livestream
|Photo by Richard Frantzén|
In 2012 David made his first breakthrough winning the prestigious Vera Lothar-Schevchenko international piano competition in Yekaterinburg. This made him the first swede ever to win a russian piano competiton. He performed in the finale two concertos of Mozart and Liszt together with the Ural Philharmonic Orchestra.
Appointed as Swedish Radio P2 Artist in Residence 2014-2016 David is making numerous recordings and live performances on both national television and radio, playing both solo, chamber music and with orchestras such as the Swedish Radio Symphony Orchestra, Gothenburg Symphony Orchestra and Gävle Symphony Orchestra.
Today David is based in Stockholm, Sweden and enjoys performing both as a soloist and chamber musician. His passion and dedication for chamber music has led to many well established collaborations with some of scandinavia's finest musicians. As of 2015 he formed together with Swedish violinist Daniel Migdal and Norwegian cellist Frida Fredrikke Waaler Waervågen – Trio LEK, an ensemble dedicated to exploring contemporary music and also the already existing, vast repertoire. David is also a founding member of the chamber ensemble Sveriges Kammarsolister.
David was born 1988 in Taiyuan, China and moved to Sweden at the early age of three, he has already been awarded many honours, amongst them scholarships from the Royal Academy of Music in Sweden.
|David Huang (Photo by Richard Frantzén)|
Dmitri Shostakovich: Piano Concerto No.1 (Concerto for Piano, Trumpet and Strings) in C minor, Op.35
When Dmitri Shostakovich produced his Concerto No.1 in C minor for Piano, Trumpet and Strings, Op.35 in 1933, he was on top of the musical world in Russia. Not only that, but at age 27, he was already a composer of international renown, in the wake of the Symphony No.1: his glittering student masterpiece. In these post-revolutionary years, Soviet Musical culture was still sorting itself out, and Stalin's cultural goons had not yet begun their systematic terrorization of their nation's finest composers. Several years earlier, he had gotten a mild official "hand-slap" for his Tahiti Trot (his witty and whimsical take on "Tea for Two"), but the young genius was not to feel the regime's full wrath until Stalin and company viciously condemned his second opera, Lady Macbeth of Mtsensk, in 1936.
From then on, Shostakovich was forced to walk a tenuous artistic tightrope for the rest of his life, struggling to balance his creative integrity against the Kremlin's cultural dogma. But for now, his work – including two more regime-pleasing symphonies and his satirical opera The Nose (plus popular ballet, film and stage scores) had made him one of his country's musical darlings. And it was under such comparatively sunny circumstances that his first piano concerto came to sassy and vibrant life.
First performed in 1933 in Leningrad (St Petersburg) with the composer (also a brilliant pianist) at the keyboard, the work is full of burlesque swagger and impish, often sardonic humor. Even then, Shostakovich understood the official predilection for crude, even banal themes – but part of his genius was his ability to elevate the banal into the realm of art. And so it is often the case here, with a good bit of "common" musical material transformed into episodes of brain-teasing sophistication.
But there are quite a few instances of more exalted thematic material as well, owing to the composer's well-known habit of borrowing themes from other composers, as well as from his own works. Here, he both begins and ends the work with modified themes from Beethoven: the first movement's opening downward piano triad was apparently inspired by the opening bars of the "Appassionata" piano sonata, and the concluding frantic passages of the finale are based on his G major Rondo a Capriccio, popularly known as "Rage over a Lost Penny". In between, there are quotes from several of Shostakovich's earlier scores – and even a tid-bit from Haydn.
Following the first movement's brief opening bright splash, the initial Beethovenian theme tries to cast a somber overall mood – but Shostakovich doesn't let that happen, leading the theme instead into material more typical of a music-hall. The trumpet enters, with intermittent snippets reminiscent of jazzed-up military bugle calls. The original theme reappears here and there, tugging the music back and forth between serious and saucy. It should be noted that the trumpet has not yet become a full partner to the piano at this point, instead providing mostly irreverent musical "commentary" here and there. The mood changes abruptly in the following Lento movement, where the music – save for a dramatic and more animated central climax – takes on a consistently subdued and melancholy tone. The trumpet, now muted, enters fairly late in the movement, its pensive melodic musings adding to the prevailing reflective atmosphere.
The very short third movement – and airy episode of seemingly aimless piano noodling leading downward into a somberly throbbing strings passage – serves more as an interlude (or prelude) than a complete movement. But then comes the headlong finale, as the piano and strings explode into a frantic, carnival-atmosphere tumble. The trumpet – still not quite an equal partner to the piano – butts in repeatedly, as if goading the other musicians forward, until it gets its own gauche-sounding dance-tune. From there the musical chicanery piles up, with piano and trumpet seeming to compete as reluctant partners in crime. The final furious flurry of notes leaves the listener hanging on by the fingernails as the combined forces hurtle to a frantic finish.
Source: Lindsay Koob, 2013 (delosmusic.com)
Anton Bruckner: Symphony No.7 in E major, WAB 107
Having recently gained acceptance in Vienna with the premiere of the Fourth Symphony, Anton Bruckner received a visit from famed conductor Artur Nikisch who offered to premier the composer's Seventh Symphony. The concert took place in Leipzig with the Gewandhaus Orchestra on December 30, 1884; Hans Richter and the Vienna Philharmonic gave the Symphony its local premiere in January 1885. Despite a cool reception from the critics, the work was an enormous success, and public enthusiasm helped to solidify Bruckner's growing reputation. Among the accolades was a telegram from Johann Strauss, Jr. which read "Am deeply moved. It was the musical experience of my life". Unlike most of his other symphonies, Bruckner's Seventh underwent virtually no revision; the one point of concern was a cymbal crash at the Adagio's climax which Bruckner added at the suggestion of friends, but then subsequently removed.
The Symphony commences with a string tremolo from which the searching main theme arises; this theme is said to have been whistled to Bruckner in a dream by his late friend Ignaz Dorn, and it reappears throughout the symphony in subtle transformations. This is followed by a plaintive, yet animated, theme for woodwinds, and followed in turn by an imposing dance-like third theme. The development is expansive, making effective use of theme inversion, and the recapitulation is varied; a long crescendo using fragments of the opening theme forms a glowing and dynamic coda.
The deeply felt second movement, an adagio in song form, is mournful and dignified. Said to have been inspired by a premonition of Richard Wagner's death, the opening threnody breaks into a sonorous hymn for strings. This alternates with a beautiful arching theme which offers consolation at each appearance. The climax occurs with the third appearance of the movement's opening theme which, against an ostinato of rising sextuplets, is propelled to a blazing C major climax. Finally, a dirge for Wagner tubas, said to have been composed upon Bruckner's learning of Wagner's passing, follows as coda with the strings intoning a poignant transformation of the Symphony's main theme.
With a contrast as stunning as the corresponding moment in Beethoven's Eroica, the windswept Scherzo which follows is one of Bruckner's best. The main theme is said to have been derived from the crowing of a cock; the wistfully nostalgic trio is deeply affecting.
The finale opens with an athletic transformation of the Symphony's opening theme. This is followed by beautifully modulating chorale for strings against a walking bass, and in turn following by a thundering unison transformation of the opening theme in minor. These three wonderfully contrasting ideas are interwoven deliberately, yet with great animation and vigor, until the heartily extroverted coda brings home the Symphony's opening theme in the full orchestra.
Source: Wayne Reisig (allmusic.com)
|Manfred Honeck (Photo by Jason Cohen)|
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