Tag: silvestrov

ProMusica celebrates a decade of artistic partnership to close season

On By Sam JacobsonIn columbusLeave a comment

ProMusica Chamber Orchestra
David Danzmayr, conductor
Vadim Gluzman, violin
Southern Theatre
Columbus, OH
May 11, 2024

Silvestrov: Hymn – 2001
Tchaikovsky: Violin Concerto in D major, Op. 35
 Encore:
 Bach: Sarabande from Violin Partita No. 2 in D minor, BWV 1004
Brahms: Symphony No. 2 in D major, Op. 73

There was a celebratory air to ProMusica’s closing performances of their 45th season in marking a decade of having both David Danzmayr and Vadim Gluzman in the fold as music director and creative partner respectively. As has become tradition, the final weekend was opened with a short performance by students from the Play Us Forward program – this year, an excerpt from Vivaldi’s Autumn – celebrating ProMusica’s impact in the greater Columbus community.

Vadim Gluzman performs with David Danzmayr and ProMusica, photo credit ProMusica

Valentin Silvestrov’s Hymn – 2001 began ProMusica’s program with a lush essay for string orchestra. There were fine solo passages from concertmaster Katherine McLin and principal second violin Jennifer Ross. Meaning was also drawn from punctuated moments of silence, with the Ukrainian composer acknowledging Cage’s 4’33” as an inspiration for this lyrical paean.

Tchaikovsky’s evergreen Violin Concerto served as the evening’s centerpiece, and put on full display the collaborative spark between Danzmayr and Gluzman. It’s a particular pleasure to see Gluzman play this work as he performs on a violin once owned by Leopold Auer, the concerto’s original dedicatee – in other words, the very violin this concerto was written for. I have fond memories of Gluzman performing this work with The Cleveland Orchestra and the late Michail Jurowski a few years ago – a privilege to hear this instrument in this work again.

Matters began with graceful charm, and the violinist filled the Southern with a resonantly lyrical tone. Gluzman gave an impassioned performance, and I was often simply in awe of the sound he drew from his storied instrument (Tchaikovsky must have liked it too!). Fleet fingers pulled off the more rapid passegework, further encouraged by a taut communication with Danzmayr, the product of a fruitful decade.

A choir of winds opened the central slow movement, and Gluzman answered with a long-bowed, somber melody, an articulate dialogue between soloist and orchestra. The finale was of rapid fire excitement, though a downtempo section of distinctly Slavic inflection contrasted before the blistering finish. An enthusiastic ovation brought the violinist back for an encore by Bach, a lovely pendant to the concerto, with Gluzman noting it an apropos choice given Silvestrov’s affinity for Bach.

Last season closed with a Brahms symphony, a feat reprised this past weekend with attention turned to the sunny Second. Once again, ProMusica, buttressed by an expanded string section, proved that the Brahms symphonies can be convincingly performed by a chamber-sized orchestra. A dip in the strings opened, warmly answered by horns and winds, with a particularly rich theme in the cellos to follow. Danzmayr opted out of the long repeat of the exposition, delving right into the energetic development. The slow movement proceeded as a beautifully lyrical paragraph, though seemingly all cares were left behind for the Allegretto grazioso, given with an abandon that was only a warmup for the jubilant finale.

Vadim Gluzman returns to ProMusica to lead neighborhood series

On By Sam JacobsonIn columbusLeave a comment

ProMusica Chamber Orchestra
Vadim Gluzman, violin & leader
Donna Conaty, oboe
Nadine Hur, flute
Aya Hamada, harpsichord

St Mary Catholic Church
Columbus, OH
February 25, 2024

Bach: Concerto for Oboe and Violin in C minor, BWV 1060
Silvestrov: Excerpts from Silent Music
Bach: Brandenburg Concerto No. 5 in D major, BWV 1050
Mendelssohn: String Symphony No. 10 in B minor

In his first appearance of the current concert season, ProMusica’s creative partner Vadim Gluzman led the ensemble in the Neighborhood Series, an event that sees the group perform outside the confines of their usual home in the Southern Theatre. Sunday’s afternoon performance in German Village drew a capacity crowd for a program that featured ProMusica players as soloists in Bach concertos, interspersed with works scored for string orchestra.

ProMusica at St Mary, photos credit ProMusica

Bach’s Double Concerto for Oboe and Violin brought forth Gluzman along with oboist Donna Conaty. Gluzman served dual role as a dynamic leader and charismatic soloist, sparking a fine chemistry with Conaty. The pair gave the piece an energetic workout, though perhaps most touching was the slow movement’s singing line in the oboe deftly answered by the violin.

This weekend marked the two year anniversary of the Russian invasion of Ukraine, and meaningfully, a work from Gluzman’s Ukrainian compatriot Valentin Silvestrov followed, as the conductor-violinist put it, “in hope of a better tomorrow.” The deeply reflective Silent Music dates from 2002, and is cast in three movements – though ProMusica opted to play only the first two. Solemn strings opened the Waltz of the Moment, and a wistful waltz gesture eloquently took shape. Evening Serenade occupied a similar space, marked by a melody gently cascading.

Bach’s Brandenburg Concerto No. 5 was quite a contrast, being in the highest of spirits. It boasted substantial solo parts for flute (Nadine Hur) and harpsichord (Aya Hamada). The flute offered a lyrical presence throughout, and the sparkling, bright effect of the harpsichord captured one’s attention, above all, in the cadenza. One of the single most impressive moments in all of Bach’s keyboard writing (which is saying a lot!), Hamada purveyed a self-assured virtuosity.

Between the ages of twelve and fourteen, the astonishingly precocious Mendelssohn wrote a set of twelve string symphonies. No. 10 closed the afternoon’s program, a single movement conception that opened in the lushness of the strings. More animated material took flight, providing glimmers of the gossamer textures that would come to define the very word Mendelssohnian.

Nadine Hur, Aya Hamada, and Vadim Gluzman perform Bach

Gluzman and Roman terrific soloists with ProMusica

On By Sam JacobsonIn columbus1 Comment

ProMusica Chamber Orchestra
David Danzmayr, conductor
Vadim Gluzman, violin
Joshua Roman, cello
Southern Theatre
Columbus, OH
April 2, 2022

Golijov: Last Round
Mendelssohn: Violin Concerto in E Minor, Op. 64
 Encore:
 Silvestrov: Serenade
Roman: Confluence
Haydn: Symphony No. 94 in G major, Hob. I:94, Surprise

April’s ProMusica program began in the always intriguing world of contemporary Argentine composer Osvaldo Golijov, namely with the 1996 string orchestra work Last Round. It was a lively, high-octane opener, marked by rhythmic drive and astringent harmonies. The more languid, tango-inflected latter section contrasted in its impassioned lyricism.

Vadim Gluzman, Joshua Roman, David Danzmayr, and ProMusica Chamber Orchestra, photo credit ProMusica

Mendelssohn’s evergreen Violin Concerto followed with ProMusica’s Creative Partner and Principal Guest Artist Vadim Gluzman as soloist. The haunting opening melody was clear-toned as it seared and soared, and Gluzman projected well atop the vigorous and supportive orchestral accompaniment. The cadenza displayed his virtuosity and control over whole range of the violin’s register, with the work clearly ingrained deep in his fingers. The Andante proceeded as a gentle song without words, and the finale was fleet and featherlight. As an encore, Gluzman turned towards music of his Ukrainian home country in Valentin Silvestorv’s deeply poignant Serenade. In contending with a heartbreaking global situation, Gluzman reminded us of the importance of art, referencing the Soviet quote “when the cannons are heard, the muses are silent. When the cannons are silent, the muses are heard.”

The latter half saw saw the latest entry in ProMusica’s enterprising Composer/Performer Project, an endeavor which features musicians distinguished in both disciplines – and has resulted in now 68 commissions. Joshua Roman’s Confluence was at last brought to life almost exactly two years to the day of the originally scheduled premiere, owing to covid cancellations. Roman was appointed principal cellist of the Seattle Symphony at age 22 – the youngest principal player in that ensemble’s history – but left after just a few years to pursue a solo career, and this marked the fourth work of his featured on a ProMusica program.

Confluence is a fifteen-minute work that hearkens back to the double concerto, featuring both cello and violin as soloists. A pulsating marimba made for a striking opening, and Gluzman’s rapid violin blended well with Roman’s lyrical cello. Roman did much to capitalize on his instrument’s resonant bass register, and true to the title, the work was marked by a confluence of harmonious, lyrical voices. A glass harp (wine glasses) added to the colorful soundscape, and a tender ending felt at peace with the world – in a way, at odds with the uncertain backdrop in which the piece was written.

The program closed with Haydn’s Surprise symphony, and Austrian conductor David Danzmayr showed a natural affinity for music of his compatriot. An effervescent joie de vivre made matters all the more delightful, and the musicians were clearly having fun in emphasizing the dynamic contrasts of the Andante which earned this symphony its moniker.

Post-concert Q&A with David Danzmayr, Joshua Roman, and Vadim Gluzman