Today we heard two other interpretations of Four Odes to the Tidings of Flowers, two other perspectives on the compulsory work by Fang Man. She gave an explanation about her work just before the start of the final week. Julia Littleton noted down what she learned yesterday about Man's composition. At the same time, the Casals cello was exhibited. Here you can read everything about how Fang Man shaped the composition commission and you can ask yourself whether Pablo Casals' cello was even a cello...
Fang Man (°1977) - Four Odes to the Tidings of Flowers
Speaking of an aggressive and at the same time assertive, ambitious opening... Extremely virtuosic, the work thrown about - something the composer has foreseen - and showing that such playing is not immediately the friend of the warm cello. Do you hear music or do you see a show? Kitamura has perfect technical mastery of the instrument and the bow. That much is certain. What are we missing? A musical story. It is difficult to understand what he wants.
Sergey Prokofiev (1891-1953) - Sinfonia concertante op. 125
Prokofiev also has lyricism to offer best candidate, it seems to escape you... Once again we get 100% enormous virtuosity, speeds you can barely follow... Yes, he can do that in a way that makes you jealous, but where is the great musical insight? There are some finer moments, gentle, questioning and fortunately. Yet this cellist is too self-absorbed over everything that the music encompasses. And all the time the show, no, that doesn't appeal to your reviewer. The audience even hesitated at one point: "Is it finished now?", and cautious applause began... What do such people do in a music competition? It's not about an Olympic sport, is it?
Fang Man - Four Odes to the Tidings of Flowers
"Make the work your own", that is what Fang Man wanted and that is exactly what Sendetsky does. He interprets, he makes music and does so very maturely. He chooses for a much more lyrical approach that aligns much better with what the cello stands for in the public eye: warmth. Virtuosity is one thing, but being it and not letting it dominate is another, it is where the born musician can prove himself and that is exactly what this thirty-year-old man does. Silence, attention, creating atmosphere is what Sendetsky shares with the audience. And the orchestra? It lets itself be swept along and follows in the same refinement. Even the fierce passages are pure poetry and then, how he concludes with the wink to Bach from composer Man. That is it, it can be done, he does it.
Dmitry Shostakovich (1906-1975) - Concerto no. 1 in E-flat op. 107
Full of measured rhythm, although you must keep strict time and not look around, the concerto sets in and that continues for a while. This demands more technique from the cellist and in that first movement does somewhat come at the expense of drawing a general musical line through the first movement. The second movement is then one of phrasing, musical control and utmost refinement. Here you hear a musician who interprets with great understanding and again commands silence in the hall. You hardly dare breathe so as not to disturb anything (what an annoying cough - yet again one! - does. That irritating Bozar cough still exists, although greatly reduced). The third movement is one of both rhythm, severity and 'do well and look not back', go for it, swift and short. That is exactly how Ivan Sendetsky does it. A performance that is more than an example!