Press

LATEST ARTICLES

Наверняка многим известно, что в Кокнесе, на берегу Даугавы, строится новый концертный зал «Сад судьбы». В поддержку этого проекта недавно состоялся концерт KREMERata Baltica и великого скрипача Гидона Кремера и последовавший потом аукцион.

Все доходы от билетов, а также от благотворительного аукциона художественных работ (его провел в Большой гильдии кандидат в мэры Риги от  Латвийского союза зеленых и предприниматель Гунтис Белевичс) поступит на строительство амфитеатра нового зала. В программе концерта была «Эпифания» и GidonSunSounds ведущего латышского композитора Петериса Васкса.

Как сообщил Focus.lv господин Белевичс, собрана достаточно весомая сумма – 26 тысяч латов. Кстати, в субботу, 4 мая в 22.25 по первому каналу Латвийского ТВ можно увидеть запись этого концерта великого Гидона Кремера и его камерного оркестра.

Андрей Шаврей, Focus.lv.

•••

Недавно побывавший на концерте Михаила Плетнева выдающийся скрипач Гидон Кремер сказал Focus.lv, что вскоре от него стоит ожидать новый сюрприз. И вот этот сюрприз: как сказала нашему порталу директор оркестра KREMERata Baltica Ингрида Земзаре, уже 28 апреля классик и его оркестр примут участие в благотворительном рижском проекте. А летом будет проведен новый фестиваль оркестра в Сигулде и в Риге, гостем которого, среди прочих, станет великий виолончелист Миша Майский.

Наверняка многим известно, что в Кокнесе, на берегу Даугавы, строится новый концертный зал «Сад судьбы». В поддержку этого преокта и будет дан концертKREMERata Baltica и великого Кремера, который состоится 28 апреля в 12.00 в Большой гильдии.

Все доходы от билетов, а также от благотворительного аукциона художественных работ (его проведет Гунтис Белевичс) поступит на строительство амфитеатра нового зала. В программе концерта: «Эпифания» и GidonSunSounds ведущего латышского композитора Петериса Васкса.

Ну а традиционный и уже юбилейный (10-й по счету) фестиваль KREMERata Balticaсостоится 27—30 июня в Сигулде и 5 июля в Риге. Именно в концерте 5 июля, который пройдет в рижской церкви св. Иоанна и примет участие великий виолончелист Миша Майский (как ни странно, как и Гидон Кремер, он тоже родился в Риге).

Девиз нынешнего фестиваля: «Мы – романтики!»
Все подробности – на сайте kremeratabaltica.lv

Андрей Шаврей, Focus.lv.

•••

EXCERPTS FROM PRESS REVIEWS

"Mr. Kremer, leading his fine young ensemble of players, remains one of the truly interesting musicians among us today."
-- The New York Times (November 23, 2004)

"Kremer and his new string orchestra, made up of extraordinary young players from the Baltic States...are special...They animate everything their bows touch."
-- Los Angeles Times

"Die Kremerata Baltica ist ein Kammerorchester von seltener Qualität. Die jungen Musikerinnen und Musiker sind geübt, ohne eigentlichen Dirigenten zu spielen, sie kommunizieren wie ein Kammerensemble miteinander, intensiv. Ihr Streicherklang ist eindrücklich homogen, farbig und warm."
-- Neue Zürcher Zeitung

[Reviewing a performance of Tchaikovsky's Souvenirs de Florence] "When Gidon Kremer's Kremerata Baltica [performed] it...So many phrases were beautifully turned, you almost had to smile. The concertmaster and principal cellist played sweetly to each other against the delicately humming background of the slow movement, their melodies having a natural ease and fluency...Though the piece, originally scored for sextet, was being played by about four times as many musicians, the rhythm was joyously precise."
-- The New York Times

"Zwei Kremer(ata)-Sternstunden im Konzerthaus. Seele gesucht, Seele gefunden."
-- Die Welt

"Gidon Kremer...the great Latvian violinist and the brilliant chamber orchestra he has drawn from his own and neighbouring republics...performed with flair, intensity, precision and delicacy."
-- The Independent

•••

Desyatnikov premiere is triumph for Kremer

Gidon Kremer is without doubt one of the cultural heroes of our time. His persistent inclination towards the broadening of academic music genres has finally gained him the glory of a trailblazer.

His young string orchestra "KREMERata-Baltika" has developed an extensive repertoire, in which Piazzolla's passionate and melancholic tango shines equally alongside the meditative Cancelli, the minimalist Pärt and the romantic verbosity of Schubert and Liszt.

KREMERata-Baltika's tours satisfy the expectations of a wide range of the Philharmonic-going public with its combination of gaiety, well-formed melodies, the beautiful, united sounds of stringed instruments and well-packaged musical postmodernism in all its most comprehensible and easily-mastered forms.

The orchestra's performance in St. Petersburg last Sunday included the premiere of the 38-minute long Desyatnikov composition "The Russian Seasons," written for a string orchestra, violin solo and a female voice, which in this case was performed by Yulia Korpacheva.

Korpacheva did not perform, however, in the 1999 Arvo Pärt composition "Orient-Occident," which musically elaborates on the theme of the linking of cultures and the works of Schubert and Liszt. The concert continued with Piazzoli and Latvian composer Oscar Strock's Tango, popular in the 1930s, and the premiere of Cancelli's "Daneliadi."

The work, the title of which is a tribute to the famous film director Danelia, was used for the soundtrack of the film "Kin-dza-dza." The concert ended with a nostalgic Nino Rota church march from the Fellini chef d'oeuvre "Eight and a half," performed in the manner of Hayden's "Farewell Symphony": every orchestra member taking their music and stand and quietly leaving the stage.

Most remarkable from a sociological point of view was the fact that people went to the St. Petersburg Philharmonic not simply to see Liszt or Schubert being performed by the orchestra - that already happened five years ago - but to see the performances of the contemporary works of Pärt, Desyatnikov and Cancelli. Thus one can conclude that the musical affinity of the Philharmonic regulars on the threshold of the 21st century has not only undergone a change, but a veritable revolution.

Desyatnikov's "The Russian Seasons" turned out to be a very likeable composition indeed, full of material founded on folk music. Some of the material, both text and melody, were borrowed from Razumovsky.

A precise structure based on the agricultural calendar, the work is formed from 12 different suites after the manner of Tchaikovsky's "Times of the year," and even Vivaldi's "Four Seasons."

The author's will is present mainly in the original treatment of the songs, the refined instrumentation and the paradoxical harmonisation. Moreover, the conscious self-limitation unexpectedly frees the composer's creative energy.

This work, amidst his deliberately programmed manner and its apparent simplicity, is written with more will and with fewer constraints than any previous Desyatnikov composition.

On the whole the impression was a favorable one, the separation of the material diversified the sensations it produced, the sound aspect of which was accurately found, in which the unity of the stringed line effectively stratified the second part, in the spirit of the drawn-out polyphonies of Russian songs.

"The Russian Seasons" is surely one of the most significant of Desyatnikov's compositions over the last few years. True, the oppressive intonation of Russian songs, filtered through a prism of irony (or more accurately, perhaps, through the self-irony of the composer's own sensitivity) leaves in its wake a dual sensation: until the end of the work it is not clear whether or not the author's pronouncement should be taken seriously, or whether it should be considered as a kind of aesthetic discourse aimed at the national tradition.

-- Giulara Sadykh-zade from "THE ST. PETERSBURG TIMES", Issue # 653 (March 16, 2001)