ANDREAS BRANTELID

Cello

Critical acclaim

"Taking the solo spot of the evening, 23-year-old Andreas Brantelid illuminated Elgar's Cello Concerto with all the impetuousness and energy of youth….The Adagio was as poignant as any, subtle in its dynamic swells and phrasing, while Brantelid positively teased his way into the final Allegro molto, with its often edgy and unpredictable mood-swings."

New Zealand Herald, 21 August 2010. Elgar Concerto with Auckland Philharmonia/Marko Letonja. "The Danish cellist Andreas Brantelid is only 23, but, with his Armenian pianist, he reveals astonishing maturity, bringing youthful freshness and vigour. With their Norwegian violinist, they are delightfully exuberant in the trio."

The Sunday Times, 7 March 2010. Chopin disc on EMI. "This was a cohesive interpretation in which the lighter elements, deftly handled, were never over-shadowed by the adagio which was pensive and melancholy… The tussle between resignation and defiance was made all the more vital, with Brantelid’s vividly projected playing always matched by the orchestra."

Birmingham Post, 25 February 2010. Elgar Concerto with CBSO Youth Orchestra/Michael Seal. "Brantelid comes more to the fore in the Sonata and in the Grand Duo, and, in harmony with Shirinyan, does so with terrific panache and innate sensibility and with a tone that is both burnished and malleable...his interpretations reveal a stylistic insight, elegance and emotional power to match his striking technical aplomb."

The Telegraph, 26 January 2010. Chopin Disc on EMI. "Brantelid played the first theme beautifully. His technique and intonation were exposed in the demanding high register and particularly impressive was that this 22 year old crafted the slow movement elegantly, beautifully and full of feeling."

Schumann Cello Concerto. Rhein Zeitung, 26 January 2010. "Brantelid's ability to reach the emotional core of a work is as evident here as on his previous disc, particularly in the Sonata. There is more supple delivery of technical challenges too, whether silky-smooth double stopping, or fast runs executed with both precision and panache...The overall sound is warm, technically perfect, and imbued with a youthful enthusiasm that is underpinned by interpretational maturity."

BBC Music, 15 January 2010. Chopin Disc released on EMI

ANDREAS BRANTELID Page 2

"Andreas Brantelid's performance of the Saint-Saëns Cello Concerto no. 1 was fresh and brave with a dazzling technique and musical to perfection. It was the perfectly right way to go about the concerto - the ripe beauty was given freshness and new life. The performance ignited the audience and they did not stop applauding until they were rewarded with an encore."

Saint-Saëns Cello Concerto Skånska Dagbladet, 24 January 2009

"The cello is sometimes described as the instrument nearest to the human voice, and the lyrical melodic material of Schubert's Arpeggione Sonata certainly benefits from such a vocalised concept, as the young Danish cellist Andreas Brantelid demonstrated. He peppered the sequence of beautiful melodies with sophisticated nuance, commanded a wide and varied tonal palette and exhibited a gloriously fluid bowing technique. Following a mesmerisingly beautiful Adagio, Brantelid managed to create a tangible lightening of atmosphere at the opening of the finale. The auditorium breathed as one, and then was happily swept away by the melodic optimism of the music."

Wigmore Hall debut, The Strad, 1 October 2008

"Schubert's Arpeggione Sonata is a melodious if rambling piece yet the quality of Andreas Brantelid's cello playing on 28 June was evident virtually from the first, with every note, every phrase, precisely defined, every pitch exactly centered, his ease of movement seemingly complete. The long lines of the Adagio were most beautifully shaped, nimbleness in all registers unfailing in the Allegretto. Fauré's Cello Sonata No. 2 Op. 117 is an old man's typically concentrated music and therefore seemingly difficult for a player like the 21-year-old Brantelid, yet he very well understood this piece, for example the restlessness of the first movement, nicely underlined by Bengt Forsberg's offbeat piano support. The Andante borrows from Fauré's Chant funéraire, the noble elegiac tones being well sustained by each instrument. The light and joyous Allegro vivo is constantly inventive on two very contrasting themes that in this performance were subject to subtle differentiation. Brantelid adopted a woodier tone for the quasi-rustic thoughts of Janácek's Pohadka of 1907-08, this three-movement outing being characteristically unconventional while not wholly typical of the composer's later music. There was great execution by the cellist, especially in the closing Allegro, and fine playing by Forsberg throughout. Finally came a thoughtful reading of the César Franck's A Major Sonata, the tempos sensitively inflected and all leading to a sonorously brilliant conclusion."

Andreas Brantelid At The Wigmore, Musical Opinion, 15 September 2008 "'Schubert's Arpeggione sonata is a piece which can reveal itself through a cello, violin or clarinet. In a genius like Andreas Brantelid one can hear all three instruments in one. The theme which is introduced in the piano nearly bleeds to death in the cello but following one hears opera-like tones which are abruptly ended in the second movement, and finally all imaginable splendour breaks out in the last movement. In Janacek's Fairy Tales the enchantment is complete both in piano and cello. In Franck's Sonata Marianna Shirinyan and Andreas Brantelid carry us into distant worlds with magical pleasure. In the aftermath the music continues to sing in your mind. The fortunate audience is lucky to wallow in the riches of the festival. We are happy we could enjoy a little slice."

Frederiksværk Festival, Weekendavisen, 25 July 2008

ANDREAS BRANTELID Page 3

"An auspicious debut for a brilliant young player in cello favourites. Andreas Brantelid, yet another brilliant cellist of the younger generation, plays this attractive group of works with an exceptionally wide tonal range, matching the delicacy of the Danish orchestra in the subtlety of his pianissimo as he moves into the second subject of the first movement of the Saint-Saëns. The contrasts with the boldness of his attack at the start. There is a similar delicacy in the slow movement and a comparable range of expressions in the finale. In the first section of the Schumann Brantelid opts for a measured, reflective approach, using the most persuasive rubato. That contrasts with the spikiness with which he tackles the main subject of the finale, with the chattering passagework beautifully shaped. In the Rococo Variations he is magnetic throughout, characterising each variation compellingly, with rubato finely controlled. His spontaneity in the little cadenza-like links is most persuasive too and that leads to an impulsive account of the last variation and the coda, with flawless double stopping. First-rate sound, making this an excellent recommendation for anyone fancying the coupling."

Gramophone, 10 July 2008 "21 year old cellist Andreas Brantelid is already about to establish himself as an international artist. In EMI's Debut Series he presents himself with three romantic cello concertos. A little ways into Saint-Saëns I find something unexpected. In the sequence where the winds have the melody. Here I suddenly forget the soloist. His tone has melted into the music. Andreas Brantelid gives his solo a lightness which carries far. And it seems as though the old foxes in the Danish National Symphony Orchestra DR and conductor Michael Schönwandt blend nicely with Brantelid's slender but powerful sound. Brantelid controlled the Tchaikovsky Rococo Variations already when 16. He confirms now his understanding of the many sides of the variations. And in Schumann he reaches the bottom of the cello's low register, touches the top and adds the necessary shining dark red colours to the recording. One is reminded how important Schumann was to Brahms. For the next CD one might expect a repertoire which spans wider. But as long as Brantelid explores whatever hides behind the soloistic brilliance, he can play music from any epoch he chooses."

Sydsvenskan, 8 July 2008 "He is just 20, Andreas Brantelid who here makes a strong debut. Saint-Saëns' brilliance, Schumann's melancholy and the beloved Rococo Variations. The Dane masters all this effortlessly, unaffected and with fine articulation."

Kultur SPIEGEL, 30 June 2008

ANDREAS BRANTELID Page 4

"The Danish cellist Andreas Brantelid, just turning 21 and here making his Wigmore hall debut needs no critical advocacy. The winner of the European Young Musician competition in 2006, and already signed up for several ‘rising star’ programmes, among them BBC Radio 3’s New Generation scheme, he is sure to have plenty of exposure on Europe’s concert platforms. This recital included an outstanding performance of the Schubert, one that made its episodic construction both within and between movements seem both logically inevitable and emotionally rich. The best thing about Brantelid’s playing is his intonation, which matches any string-player in the world in its effortless precision. Next is his unforced beauty of tone: always in perfect taste. When it is so easy to over-sentimentalise Schubert, Brantelid’s performance was striking in its expertly judged restraint. The Fauré was likewise a great success, its allusive, almost timid expressivity ideally suited to Brantelid’s virtues. Late Fauré is an acquired taste, a retreat (because of the composer’s deafness?) into its own world in something of the way that we hear in late Beethoven. Brantelid’s clarity of sound and thought made light of the piece’s intellectual difficulties, while allowing a singing plangency in the funeral-march-like slow movement, thought to be Fauré’s gesture to the centenary of Napoleon’s death. In both pieces Bengt Forsberg was unobtrusive, unassuming, but his great skill amply demonstrated a tremendously satisfying unity of ensemble and thought-world. Janáek’s Fairy Tales received an expertly balanced account, but sowed the first seeds of doubt in the listener’s mind. Brantelid’s playing was uncommonly beautiful, but it was not sublime. Eventually, the sensitivity and impeccable nature of his interpretation came to seem one-dimensional. And of all pieces, one cannot play the Franck (his Violin Sonata) with the allusiveness and diffidence that so suits Fauré. Brantelid has plenty of time for his playing to deepen and mature. One cannot help thinking that the most famous cellists have also had giant musical personalities, and extroversion of approach – Casals, Rostropovich, Jacqueline Du Pré.

Andreas Brantelid And Bengt Forsberg In Wigmore Hall, Classical Source, 30 June 2008 "Danish cellist Andreas Brantelid (born 1987) is already well bedecked with prizes and awards, including a period as artist in residence with the Danish Broadcasting Corporation. His debut EMI CD with the Danish National Symphony Orchestra/DR under Michael Schønwandt shows him to be a gifted artist, easy in delivery, eager and sometimes excitable in expressivity, but in a way that avoids forcing of tone. He frequently brings an attractive, almost vocal quality to his phrasing. Brantelid may not yet be as fully at home in Schumann's elusive concerto as in Tchaikovsky's Rococo Variations or Saint-Saëns's First Concerto, but he's still certainly a performer to watch out for."

The Irish Times, 27 June 2008 "The young Danish cellist Andreas Brantelid, who is giving a recital at London's Wigmore Hall next Saturday, makes his impressive recording debut with this combination of three classic 19th-century concertos. His playing - warm and supple of tone - has the lyrical allure, lithe technique and discreet dramatic flair to give this familiar music a fresh impetus, while his orchestral compatriots add a thoroughly integrated range of complementary colours that show a sympathetic response both to the soloist and to the music."

The Telegraph.co.uk, 21 June 2008 "In his debut recording this young Swedish/Danish cello comet plays some of the standard works for his instrument. Theavailable material for comparison is naturally overwhelming, but if one can make oneself heard through the impact ofcollected solo cello ocean half is won. And Brantelid does achieve just that. Not by playing with his muscles or lightning espression - Brantelid's technique gives a more easy flowing expression. The attraction lies in his natural lyrical and intensely beautiful playing which moves the focus from his fingers' dexterity to the introvert passages in the music. As one can hear in Schumann, where the cello sings beautifully together with the Danish National Radio Symphony Orchestra and conductor Michael Schønwandt. And if Tchaikovsky's sweet Rococo variations might seem a little on the strict side, Brantelid's makes magic when he downscales the last variation's longing Russian sadness to the most simple folk song."

Dagens Nyheter, 18 June 2008

ANDREAS BRANTELID Page 5

"The Norwegian violinist Vilde Frang and the Danish/Swedish cellist Andreas Brantelid have both caused sensations as children. Now they are on their way into the music's international adult world. They seem to have develop from concert to concert and it was a very special experience to hear them with Tivoli Symphony Orchestra. The concerto demands two fully developed soloists. One has heard it like this before and it sounded like that this time too. But it had gotten something in addition which is very rare. Often you imagine that you can hear when two soloists meet up for the first time and rehearse in order to melt two personal interpretations. Frang and Brantelid played up against each other and with each other with a mutual sensitivity and a temperament controlled through the corner of the eye. They opened new sides to Brahms' music. Their interaction ignited sparks. It sounded as though the piece had been composed for them and as though they were just discovering it in the moment."

Jyllandsposten, 9 June 2008 "The years are 1986 and 1987. Violinist Vilde Frang's and Andreas Brantelid's birthdates. It was the soloists and not the conductor who carried the evening's concert in Tivoli.' 'The best came after the intermission. Andreas Brantelid is a major promising name storming forward. He has just released his debut cd on the EMI label. Norwegian Vilde Frang has already performed in Tivoli numerous times although she is only in the beginning of her twenties. How brilliantly they suited each other in Brams Double Concerto. She seemed more at ease than when she performed not long ago with Anne-Sophie Mutter, but certainly not less focused than he. They both released Brahms' oil colours onto the canvas with light, vivid and constantly supple bowings. The weight which can seem a little exhausting in Brahms rather compact concerto was gone. It was all Richard Hickox and the Tivoli Symphony Orchestra could do but attempt to support what the standing audience afterwards excitedly applauded and cheered. The four hearts in this review are to be seen as an average for the concert on the whole, but with a little jump upwards, thanks to the soloists'."

Politiken, 8 June 2008 "Here is a very promising cellist indeed. Taught by Torleif Thedéen and Frans Helmerson, Andreas Brantelid combines some of the tonal subtlety of the former with the big-scale muscularity of the latter. Even more promising is the relationship he seems to have struck up with Michael Schønwandt of the Danish National Radio SO. Too often in such recordings the orchestra is relegated to backing band to an inexperienced soloist, but here there is a real ensemble vision of the works. Schønwandt allows Brantelid space to dream in the Schumann, which he does with supreme lyricism. This is a convincing account, thoughtful and elegantly phrased. Yes, it lacks the impetuous fire and mystery brought by such great cellists as Rostropovich and Isserlis, and tends towards the careful, particularly in the final two movements. Angst and spontaneity are also lacking in Saint-Saëns' Concerto No. 1 which Brantelid plays so accurately that we are perhaps too aware of the actual notation. Where the 20-year-old is strongest is in the music of limpid grace such as in the second movement of the Saint-Saëns and in the more languid Rococo Variations. Here Brantelid's nonchalant flair and range of timbres is mesmerising. As he nears the end of a blazing cadenza in the Rococo, he releases the sound to magical effect, and returns to the melody with velvet tread. I, for one, shall be going to hear him at the Wigmore Hall in June."

BBC Music Magazine, 1 June 2008

ANDREAS BRANTELID Page 6

"Andreas Brantelid presents himself with three spirited warhorses in EMI Classics Debut Series. The series is a showcase for ambitious young musicians. At the same time it gives EMI the opportunity of spotting new talents. New stars like the pianist Simon Trpceski, composer Thomas Adés and the Belcea Quartet have contracts with EMI after having shown their talent in the debut series. The 20 year old Brantelid does indeed have talent to display. Next month he makes his debut in London's Wigmore Hall. The microphones are placed close to the cello, so one can actually hear the soloist breathe concentrated in Schumann's highly strung cello concerto. The cello tone is caught purely and precisely. Alive and strong. Together with the Schumann specialist Michael Schønwandt Andreas Brantelid takes time to explore Schumann's piece for cello and orchestra and here he is particularly successful. Andreas Brantelid adds primarily freshness and precision to Tchaikovsky's Rococo Variations, which is no small matter. His emphasis of the souldisturbing romance in Saint-Saëns' is balanced with a measure of classicism, which would please the composer, but the soul is not wrung inside out as one can hear in Jacqueline de Pré's playing, whose recording many probably still will use as comparison. With three demanding warhorses, all of approximately 20 minutes duration, the Danish cello comet has left a convincing impression."

Politiken, 22 May 2008 "20 year old Andreas Brantelid made a convincing impression out of the ordinary in Dvorak Cello Concerto. The melodic parts of the music were in particular very beautiful and moving. It will be very exciting to follow this young musician's development."

Aarhus Stiftstidende, 5 April 2008 "One of Danish music life's greatest talents cellist Andreas Brantelid played the finest concerto imaginable. The tone was pure and always in tune, the phrasing perfect and the structure solid throughout. It was pure cello enjoyment."

Jyllandsposten, 5 April 2008 "Andreas Brantelid, winner of the EBU Soloist Competitionin 2006 and winner of the International Paulo Competition 2007, is the "must happening" in the Pori Sinfonietta autumn programme. What could we expect? Competition winners and musicality are not always synonymous. Brantelid played the variations most beautifully. It was although he was savouring the music's charm and conveyed it to the listeners so clearly that all details could be heard. The audience was spellbound by his soft pianissimo and the power in the cadenzas."

Satakunnan kansa, 15 September 2007 "Swedish/Danish Andreas Brantelid made his debut with the Stockholm Philharmonic with Haydn C-Major Cello Concerto, possibly composed for Joseph Weigl, a cello virtuoso hardly twenty years of age – possibly his time’s Brantelid. The work floats between baroque and classicism, the first movement with its punctuated theme has certain improvised characteristics which Andreas Brantelid took care of with his virtuoso and poetical playing. Or was it rather flowing, with the kind of smooth elegance, which Riklke so much admired in the Danish and French languages. The size of the orchestra was perfect, giving room for a light and transparent sound under Lawrence Renes’ optimistic baton. The soloist contributed to this lightness in the adagio’s long violin theme. Also in the quicksilver finale, where soloist mixed pleasure with excitement. A lyric virtuoso performance which made the audience demand an encore. Brantelid played a Sarabande by Bach."

Debut With Stockholm Philharmonic, Svenska Dagbladet, 24 March 2007

ANDREAS BRANTELID Page 7

"He is young, still quite fresh as soloist. His debut with the Stockholm Philharmonic, if one does not count his appearance with the orchestra for the Nobel Prize seremony in December. And Brantelid, who is yet not 20 has already given numerous concerts. His first performance as soloist was when he was eleven, he has won a number of prizes, a.o. the Eurovision Competition for Young Musicians in Vienna in 2006. Brantelid is more an elegant than a muscular cellist, and he plays Haydn C Major concerto with an evident virtuoso volatility, and plays the phrases with a nonchalant superiority. The orchestra has enough to do to hang on, and the tempo in the finale the solopart is an air show, so effortlessly played that one tends to forget how spectacular Brantelid's playing is. At times I did miss the down-to-earth quality which also is an important ingredient in Haydn's music, but I am confident Brantelid will land there in time."

Dagens Nyheter, 24 March 2007 "Only after five bars of the singing main theme Andreas Brantelid proved Clara Schumann’s remark about her spouse’s cello concerto”so right in cello character” to be true. With his soft, gentle romantically expressively outstretched sound he paid true tribute to his marvelous instrument. He unfolded the concerto with a lovely tone and secure rhythm, losely followed by the orchestra, the concerto was played with rising passion. Dreamlike harmonies in the slow movement, composed like a duet for two cellos, flowed from the cello. In the final movement, titled “sehr lebhaft”, the virtuoso element is in focus. Here Brantelid also showed a masterly command of his instrument, that can only call for respect. The audience showed their enthusiasm and approval by a lengthy applause, and they will make a note of this newly discovered star on the sky of soloists."

Nordschleswiger Zeitung, 20 September 2006 "The prize of the evening was Andreas Brantelid. He lifted Saint-Saëns’ Cello Concerto with youthful sensitivity, sincerity and exuberance to an astounding expressive level, with an outstandingly beautiful and moving sound, which even in the virtuoso passages never came out of balance. And how cheeky it may be to tackle Sarasate’s virtuoso violin piece Zigeunerweisen, he not only succeeded in conquering the challenge, but also to do it with such a warmth and true passion that all vulgarity was blown away."

Politiken, 30 January 2006 "He adjusts the length of the peg once, twice, three times. The fourth time makes it just right, and the cello is firmly placed in Tivoli’s underground. The music can begin. Already at this point he has the audience in his spell. Andreas Brantelid is 19 years old and a virtuoso. Simply one of the greatest Danish string players ever. Both because this skinny cellist takes such great care with everything, he caresses every tone and tolerates only the perfect. And because he has such fun while doing it. His cello sounds like a violin; Just as clear, just as fast, just as fun. Yes, Brantelid’s performance in Tivoli’s Concert Hall was an outstanding success. There was not one false note in Saint-Saëns’ First Cello Concerto out of thousands. And not one tone without joy. The audience was wild. And he returned – to play Sarasate’s hysterically virtuoso Zigeunerweisen in full tempo – mind you. He was proud afterwards, and so were we."

Belingske Tidende, 28 January 2006

Datum: 15.05.2013

Neue Zürcher Zeitung8021 Zürich044/ 258 11 11www.nzz.ch

Medienart: PrintAbo-Nr.: 831004Themen-Nr.: 831.4

Medientyp: Tages- und WochenpresseAuflage: 119'537Erscheinungsweise: 6x wöchentlich

Seite: 19Fläche: 15'762 mm²

MedienbeobachtungMedienanalyseInformationsmanagementSprachdienstleistungen

ARGUS der Presse AGRüdigerstrasse 15, Postfach, 8027 ZürichTel. 044 388 82 00, Fax 044 388 82 01www.argus.ch

Argus Ref.: 49892650Ausschnitt Seite: 1/1

Das Duo Brantelid-Johansson in der Tonhalle

Thomas Schacher Man könnte demjungen Mann stundenlang zuhören. DieArt, wie er aus seinem Stradivari-Cellodie wunderbarsten Melodien hervor-bringt, bezaubert. Sein Cantabile-Spiel,bei dem sich das Cello gleichsam in eineSingstimme verwandelt, ist sein stärks-ter Trumpf.

Der 26-jährige schwedisch-dänischeCellist Andreas Brantelid trat, zusam-men mit seinem Duopartner Peter FriisJohansson, im Rahmen der «S&ieJeunes» in der Tonhalle auf. Das darge-botene Programm legte es offensichtlichdarauf an, die besagte Qualität ins besteLicht zu rücken. Dies war einerseits dieStärke, gleichzeitig auch die Schwächedes Abends.

Den Einstand gab das Duo mitRobert Schumanns «Fünf Stücken imVolkston» op. 102. Dass es sich dabeikeineswegs um simple Volksmusik-Imi-tationen handelt, wurde schnell hörbar.Dem Liedcharakter am nächsten kamder langsame Satz, am weitesten ent-fernt davon bewegte sich die Deutungdes sperrigen Schlusssatzes. Eine Musiküber Musik stellt auch Igor Strawinskys«Suite italienne» dar, eine kammer-musikalische Bearbeitung von Sätzenaus dem Ballett «Pulcinella», das seiner-seits auf Musikstücken des 18. Jahrhun-derts beruht. Andreas Brantelid undPeter Friis Johansson spielten die Fas-sung für Klavier und Cello, die Strawin-sky in Zusammenarbeit mit dem Cellis-

Singendes Cello

ten Gregor Piatigorski hergestellt hatte.Bei der Interpretation kamen die Ele-mente des Verweisens auf alte Musiksehr schön zum Zug. Die verfremden-den Züge des Werks hätten jedoch nochdeutlicher hervortreten können.

Dass das Duo unter den fünf Cello-sonaten Ludwig van Beethovens geradedie A-Dur-Sonate op. 69 mitbrachte, istwohl kein Zufall. Denn das lyrisch ge-prägte und konfliktarme Werk kommtdem Naturell der beiden Musiker sehrentgegen. In allen Sätzen gab es reich-lich Gelegenheit zur Entfaltung weit ge-fächerter Melodien, bei denen die Füh-rung bald dem Pianisten, bald dem Cel-listen oblag.

Zum Schluss warteten Brantelid undJohansson mit einer Rarität auf, näm-lich mit der Cellosonate in a-Moll desrussischen Komponisten Nikolai Mjas-kowski. Das 1949 vollendete Werkblickt stilistisch in die Romantik zurück,als ob es hundert Jahre früher kompo-niert worden wäre. Und es lebt ganz undgar von den Kantilenen des Cellisten.Dieser holte aus seinem Instrument dasMaximum an Sentimentalität und Me-lancholie heraus. Betörend, wie er daskann. Und trotzdem erweckte diesesZelebrieren des immerwährendenSchönklangs das Bedürfnis nach einemGegengewicht, das aber auch in der Zu-gabe nicht auftauchte.

Zürich, Tonhalle, 13. Mai.

Datum: 15.05.2013

Tages-Anzeiger8021 Zürich044/ 248 44 11www.tagesanzeiger.ch

Medienart: PrintAbo-Nr.: 831004Themen-Nr.: 831.4

Medientyp: Tages- und WochenpresseAuflage: 188'602Erscheinungsweise: 6x wöchentlich

Seite: 22Fläche: 10'070 mm²

MedienbeobachtungMedienanalyseInformationsmanagementSprachdienstleistungen

ARGUS der Presse AGRüdigerstrasse 15, Postfach, 8027 ZürichTel. 044 388 82 00, Fax 044 388 82 01www.argus.ch

Argus Ref.: 49890814Ausschnitt Seite: 1/1

Konzer

Ein skandinavisches Duound seine geliebten Russen

Zürich, Tonhalle - Im Programmheftleistet sich die Tonhalle einen Fehler.Die abgedruckten Sätze der «Suite ita-lienne» von Igor Strawinsky entspre-chen der Fassung für Violine und Klaviervon Jascha Heifetz und nicht derjenigenfür Cello und Klavier von Gregor Piati-gorsky. Und diese spielen der Cellist An-dreas Brantelid und der Pianist PeterFriis Johansson, und also holt Brantelidetwas aus. Er erklärt nicht nur die unter-schiedlichen Fassungen und die Beson-derheiten des Werkes, sondern erläutertdann auch das letzte Stück, die eher un-bekannte und selten gespielte Gelb-sonate Nr. 2 a-Moll des russischen Kom-ponisten Nikolai Mjaskowski.

Dieses eher ungewohnte Heraus-treten der Musiker aus der Rolle derstummen Interpreten macht die zweiskandinavischen Wuschelköpfe sympa-thisch und eröffnet eine zusätzliche Per-spektive auf das Werk. Denn obwohl dieInterpreten mit der Musik schon viel er-zählen, wenn sie die schwungvollen,melodiös-melancholischen Melodie-bögen in sehnsuchtsvollen Klängen ent-fesseln, wird ihre Leidenschaft für dieSonate noch spürbarer und die Interpre-tation noch persönlicher, wenn manweiss, wie sehr sie den jungen Musikernam Herzen liegt.

Was sich schliesslich noch steigert, in-dem sie den langsamen Satz als einzigeZugabe geben. Schon vor der Pause prä-sentierten Brantelid und Friis JohanssonSchumanns «Fünf Stücke im Volkston»und Beethovens 3. Cellosonate A-Durmit kraftvoller Energie und in einemdurch intensive Kommunikation gepräg-ten Zusammenspiel. Höhepunkt bleibtjedoch die erwähnte «Suite italienne»:In den zahlreichen Gestuswechseln undden changierenden Spielweisen zeigtdas Duo seine Vielseitigkeit, Ausdrucks-stärke und unbändige Spielfreude.Rebekka Meyer

Edition:U.S./Global

Search All NYTimes.com

Enlarge This Image

Hiroyuki Ito for The New York Times

Chamber Music Society of Lincoln

Center,with the pianist Juho

Pohjonen,the violinist Jessica Lee and

Andreas Brantelid on cello at Alice

Tully Hall.

Breaking news about the arts,

coverage of live events,criticalreviews,multimedia and more.

Go to Arts Beat »

Asortable calendar of noteworthy

cultural events in the NewYorkregion,selected byTimes critics.

Go to Event Listings »

A version of this review appeared in print on May 21,2012,on page C4of the New York edition with the headline:

Selections by the French,From Tortured to Carefree.

FACEBOOK TW ITTER GOOGLE+ EMAIL SHARE

Classical Music

Get Free E-mail Alerts on These Topics

Chamber Music Societyof Lincoln Center

MUSIC REVIEW

Selections bythe French,From Tortured to CarefreeSaint-Saëns and Chausson on Lincoln Center Program

By VIVIEN SCHW EITZER

Published:May 20,2012

The French composer Ernest Chausson was puzzled byhis bouts of

depression,which occurred despite a seeminglycharmed life that

included a contented marriage,children,good health and an

inherited wealth that allowed him to compose at leisure.But while he

didn’t suffer the financial woes and chaos that often plague artistic

careers,what he described as his “wretched,uneasyand violent

brain”led himto write melancholy,tortured music.

Asense of despair certainlypervades

the Grave movement of Chausson’s

Concerto in Dfor Violin,Piano and

String Quartet,which received a full-

blooded,inspired performance from

the Chamber Music Societyof Lincoln Center in the last

programof its season on Fridayevening at Alice TullyHall.

Chausson,sometimes accused of having been an amateur

composer,since he didn’t earn (or need to earn)a living

writing music,enjoyed a major success and fleeting

happiness with the premiere of this work in 1892.

The pianist booked for that premiere declined because of

the score’s difficulty.But on Fridaythe excellent pianist

Inon Barnatan sailed through the challenging passages with

flair,playing with poise,passion and a beautiful sound,

beginning with his pearlytone in the rippling arpeggios of

the opening movement.

His colleagues —the violinist Elmar Oliveira in the solo

part;Jessica Lee and Kristin Lee,violinists in the quartet;

Beth Guterman,violist;and Andreas Brantelid,cellist —

also played with polish and commitment in the unusually

constructed work,part chamber music and part double

concerto.

There is no sense of a tortured soul in Saint-Saëns’s Piano

Trio No.1in F,which opened the program.Saint-Saëns is thought to have composed the

work on a holidayin the Pyrenees,and his biographer,the Irish musicologist Arthur

Hervey,described it as “the evident outcome of youthful spontaneity,suggesting the

lightheartedness of one who has for the time being thrown cares to the wind.”

The genial nature of this melodious,sensuallyscored trio was elegantlyrevealed in a

passionate interpretation bythe pianist Juho Pohjonen,Jessica Lee and Mr.Brantelid.

This was the first time the Chamber Music Societyhas presented the work.

Saint-Saëns’s Violin Sonata No.1in Dminor is darker hued;French Romanticismat its

lushest.Mr.Pohjonen and Mr.Oliveira dexterouslynavigated both its bravura challenges

and its more intimate moments.

Log In With Facebook

Le Bernardin inMidtownManhattan

Creating JobsWasn’t Romney’sJob

MOST E-MAILED RECOMMENDED FOR YOU

Log in to discover more articlesbased on what you‘ve read.

PRESENTED BY

W hat’s This?|Don’t Show

People.

Theymake an airline.

Log in to see what your friends

are sharing on nytimes.com.

Privacy Policy |W hat’s This?

What’s Popular Now

Privacy Policy

Get the TimesLimited E-Mail

1.MUSIC REVIEW

Revenge in a Bowl,Served Cold

2.MUSIC REVIEW

Time Travel via Baton,With Narya Pit Stop

3.MUSIC REVIEW

Capturing the Essence of Cage,if Not WithJackhammers

Chopard at CannesALSO IN T MAGAZINE »

Tiina in Amagansett,N.Y.

Nate Berkus's boxes

ADVERTISEMENTS

HOME PAGE TODAY'S PAPER VIDEO MOSTPOPULAR

MusicWORLD U.S. N.Y./ REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYLE TRAVEL JOBS REAL ESTATE AUTOS

ART & DESIGN BOOKS DANCE MOVIES MUSIC TELEVISION THEATER VIDEO GAMES EVENTS

FACEBOOK

TW ITTER

GOOGLE+

EMAIL

SHARE

PRINT

REPRINTS

Log In Register Now Help

Page 1 of 2Saint-Saëns and Chausson on Lincoln Center Program -NYTimes.com

23/05/2012http://www.nytimes.com/2012/05/21/arts/music/saint-saens-and-chausson-on-lincoln-...

MONDAY 23 JANUARY 2012

BBC SSO, City Halls,Glasgow

Even in his bicentenary year I do not recall that we were swamped with performances of Robert

Schumann's cello concerto, nor was young Danish cellist Andreas Brantelid's recording of the

piece joined by a myriad others.

The instrument's repertoire is not so large that the more often played works of Dvorak and Elgar couldn't

use the competition, so its rarity is mystifying. It has a fine champion in Brantelid, with his gloriously toned

17th century instrument, best heard on the melodious central movement with SSO principal cello Martin

Storey supplying harmonies over the pizzicato strings accompaniment.

The concert was otherwise a showcase for the orchestra's artist-in-association Matthias Pintscher, who

conducted and whose Ex-Nihilo received its world premiere, but there was plenty of opportunity for others to

shine. That work was in some ways a single movement concerto for the contrabass clarinet of Alan

Andrews, but it kept everyone on stage and in the auditorium focused for its 12 minutes. It would have been

interesting to hear it lead into the Third Symphony of Brahms, as a response to which it was commissioned,

but for that the SSO had to expand to full symphony strength for an account that Pintscher kept rhythmically

rigorous while revelling in its lush tunes.

Introducing his own work, the composer had spoken warmly of the flexibility of the SSO musicians and this

programme might have been designed to show off just that, from the light chamber strings of Mendelssohn

to the mature Brahms, as well as the new work. It was a big clarinet night too, with principal Yann Ghiro and

Simon Butterworth sharing the limelight.

HHHH

in Share 0

Related Articles

Joining the dots News • Fri 13 Jan 2012

What do you think?

Please sign in to comment on this article

Showing 0 comments

Are independence scare stories more likely to havethe opposite effect?

Robertson slams SNP for 'reckless' defence plan

Fury as MSP claims council is 'barely fit forpurpose'

Tam is top of the pops for fans of the Bard

Scotland is the fake cocaine capital of the world

CLASSICAL HOME COMPANIES NEWS REVIEWS & PREVIEWS TUMELTY'S GUIDE MAIN SITE

TEXT SIZE

Keith BruceArts Editor

Most commentedMost read

© Copyright 2012

Herald & Times Group

All rights reserved

Our News Services

Mobile

Kindle

Newspaper

Digital Editions

Back Issues

Online Archive

Email, Twitter, RSS

Syndication

Our AdvertisingServices

Family Notices

Book Your NewspaperAd online

Contact the Sales Team

The Facts and Figures

View Newspaper Ads

Our Personal Services

Help, Feedback &Contact

Dating

Travel Services

Photo Sales

Crosswords & Sudoku

Our Colleagues

Evening Times

s1

Scottish Farmer

TGO

Newsquest Media Group

About Us

Herald & Times Group

Terms & Conditions

Privacy Policy

Employment

Page 1 of 2BBC SSO, City Halls, Glasgow | Herald Scotland

25/01/2012http://www.heraldscotland.com/classical/reviews/bbc-sso-city-halls-glasgow.16544365

Wednesday 25 January 2012

All rights reserved © 2012

You are here Lifestyle > Music > Album reviews

Like 0 0

Classical review: BBC Scottish Symphony Orchestra, Glasgow City

Halls

By Ken Walton

Published on Sunday 22 January 2012 00:00IT’S fascinating to watch someone so steeped in contemporary musical thought direct aprogramme of German Romanticism.

As artist-in-association of the BBC SSO, that’s exactly what composer/conductor Matthias Pintscherdid on Thursday, revealing many fresh and perceptive thoughts on three Teutonic stalwarts:Mendelssohn, Schumann and Brahms.

What defined every one of these performances was a clean, clinical attention to textural detail, butnever at the expense of expansive phrasing and a sense of the molten Romantic spirit.

Mendelssohn’s overture The Fair Melusine bubbled with liquid purity of a mountain spring;Schumann’s Cello Concerto won its colours through theatricality delivery and the effervescentcoupling of Andreas Brantelid’s light-fingered solo performance and Pintscher’s nimble control of theorchestral accompaniment. Brantelid’s playing was in a class of its own, not least in theunaccompanied encore that followed the Schumann.

There was more than just Brahms’ Third Symphony in the second half, for this was part of a broaderscheme by the SSO to commission new works intended as homages to each of Brahms

Pintscher’s Ex Nihilo had, by his own admission, little in common with the Third Symphony, though itselemental containment and whispered subtleties hinted at a shared serene quality.

The SSO’s crystalline delivery fed its delicate gestures with a nuclear frisson – minimum scale,maximum impact. In turn, the Brahms was tight-knit but effusive.

Rating: ****

Page 1 of 1Classical review: BBC Scottish Symphony Orchestra, Glasgow City Halls - Album re...

25/01/2012http://www.scotsman.com/lifestyle/music/album-reviews/classical_review_bbc_scotti...

| Cultura i Espectacles | 41EL PUNT AVUIDILLUNS, 14 DE NOVEMBRE DEL 2011

que va néixer el 1999 a No-va York, també promouuna pila de projectes i es-deveniments que han sa-but teixir una potent xar-xa de complicitats amb de-senes de milers de segui-dors. E-flux ve a ser comuna bíblia per als profes-sionals de l’art. Vidokle tédos col·laboradors fidels,que també l’acompanyenen la llista: Julieta Arandai Brian Kuan Wood. Untrio rus, mexicà i americà.

Un Sir taquillerEn sisè lloc, un altre totpo-derós del ram dels mu-seus: Sir Nicholas Serota,el director del grup de mu-seus britànics Tate, càrrecque ocupa des del 1988.Artífex de la seva gran ex-pansió (física, conceptuali, és clar, econòmica), Se-rota és una fura en l’orga-nització de grans exposi-cions taquilleres. Ara bé,a diferència de Lowry,no hi ha tant consens en-torn la seva figura.

Un altre gegant és l’ar-tista nord-americana Cin-dy Sherman (1954), unareferència difícil de classi-ficar, però ineludible per aun munt de generacionsde creadors simpatitzantsde la dimensió conceptualde la fotografia. Aquest hi-vern, el Moma presentaràl’exposició antològica mésgran de tota la seva carre-

ra. L’obra de Sherman, ir-reverent, evoca i invocamolts dels mals d’identi-tats de la societat contem-porània. Ocupa un dignís-sim setè lloc.

I en el vuitè i novè, hi hados galeristes més, tot ique l’any passat ocupaven,respectivament, el tercerlloc i el quart. El suís IwanWirth (de la galeria Hau-ser & Wirth; Hauser és el

cognom de la seva esposa ide la seva sogra, amb lesquals treballa de costat),un home que va començarvenent dibuixos de LeCorbusier i gravats de Mi-ró i que va anar pujantgraons en el stablishmentde l’art gràcies al seu bonnas empresarial. Té sucur-sals a Zuric, Londres iNova York. El galeristaDavid Zwirner té diversos

espais a Nova York, tot ique ell és alemany.

En desè lloc, la comissà-ria alemanya Beatrix Ruf,directora de la Kunsthallede Zuric, confirma encaramés el que és una evidèn-cia en el món de l’art, i nod’ara sinó de fa temps: elsmés poderosos procedei-xen de l’òrbita anglosaxo-na i germànica. Amb elpermís d’Ai Weiwei. ■

La conclusió és dura: no hiha cap personalitat del mónde l’art català que exerceixiuna influència significativainternacionalment. En la llis-ta d’Art Review, que constade 100 noms, no hi ha ni ras-tre de cap artista, galerista,col·leccionista, crític, comis-sari o director de museuscatalans. Només hi ha unarepresentant espanyola, lagalerista i col·leccionistamadrilenya Helga de Alvear,que ocupa el lloc 74 (l’anypassat, era en el 71).

Aquesta pobríssima pre-sència és gairebé una cons-tant, no cal ni dir que moltpreocupant i molt simptomà-tica, des que s’elabora la llis-ta. L’any 2002, la col·leccio-nista Carmen Cervera va sor-prendre el sector perquè vaarribar a ocupar el lloc 22. Iaixò que d’influència, el que

Cindy Sherman (a la imatge, una de les seves fotografies) presentarà el febrer de l’any que ve al Moma de Nova York l’exposicióantològica més important de la seva brillant carrera ■ CINDY SHERMAN

es diu en art contemporani, labaronessa Thyssen no en téni n’ha tingut gaire. Un anydesprés, l’artista SantiagoSierra i la consultora d’artIsabela Mora es van instal·larmolt còmodament en les po-sicions 11 (tota una gran es-

calada) i 88. Però la perma-nència no els va durar ni unany. El 2004, el tàndem decomissàries Maria de Corrali Rosa Martínez –que des defa molts anys viu a Barcelo-na– va marcar el seu territorid’influència des del lloc 63.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Ni rastre de personalitats catalanes en tota la llista

Carmen Cervera va ocupar el lloc 22 l’any 2002 ■ ARXIU

L’artista xinès Ai Weiwei, el més poderós

a fa 15 anys que Virgi-nia García i DamiánMuñoz treballen –i ba-

llen– les emocions, dibui-xant el·lipses que vessendels excessos sentimen-tals i les empenyen amunti avall constantment forad’equilibri i havent de cer-car noves formes per sos-tenir-se. Però en aquestaniversari han decidit mi-rar endins i trobar el seueix, l’Ataraxia. Amb aquesttítol han desenvolupat laseva idea d’un espai deno-desig, ni de pertorba-cions de cap mena. Unaespècie de paradís emo-cional que en moments decrisi sembla encara mésirrealitzable, sobretot sillegeixes diaris. Per tant, jaque l’entorn no ho propicianaturalment, han fet ús deles eines de la imaginació

J

per associar imatges querecreïn el seu propi món.

La bola de neu que ensacsejar-la fa volar milflocs amb extrema suavi-tat és la perla de l’espec-tacle. Construïda a midahumana, la bombolla con-té els elements per novoler-ne sortir mai més:la llar de foc, els flocs deneu i fins i tot un ocellque voleia. Però ni l’unaescalfa, ni l’altra refreda. Iquan l’ocell xoca contrales parets transparents,es trenca l’encanterique ens feia creure quel’aïllament a través del’artifici seria possible.L’art cura, però no aïlla.

Visualment aguda iamb una implicació artísti-ca total, Ataraxia acaba re-ferint-se, més que a un es-tat, a un camí que es vafent amb la farmaciolasempre a mà. Una maletaque enlloc de pastillesconté petites obres d’art.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Críticadansa

Art curatiu— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Bàrbara Raubert

AtaraxiaLa Intrusa4 de novembre

a bona impressió queva causar el violon-cel·lista Andreas

Brantelid fa dos anys quanva tocar al cicle de cambrade l’Auditori ha fet que aral’incloguessin directamenta la temporada de Cambrai Recitals d’enguany. Haestat un encert perquè apart d’apreciar el bon sodel seu Guarnerius, hemcopsat una manera dife-rent d’interpretar músi-ques conegudes. I és lògic,perquè un noi danès queals quatre anys es va ini-ciar pel mètode Suzuki, vapassar al conservatori deMalmö i d’allí al de Esto-colm forçosament du unbagatge diferent al delsconservatoris americans ocentreeuropeus. Ho vamapreciar especialment enel primer moviment de laSonata núm. 5, de Beetho-

L

ven, que va descriure desde fora per dur-nos des-prés a un magistral Ada-gio. També el pianistasuec Peter Friis Johanssonens va sorprendre en en-frontar-se sense prejudicistant a la Sonata per a vio-loncel i piano, de Debussy,com a l’Havanera, de Ra-vel, que van tocar com asegona propina, desprésd’una peça, Guitarre, deMoritz Moszkowski. Elsva tocar amb molt vigor,sense l’habitual pàtinaimpressionista, quasi comsi es tractés de dos epí-gons chopinians. Gransmoments en els FümfStücke im Volkstone op.102, de Schumann, aixícom en el superb Allegrocon spirito de la Sonataop.4, de Zoltán Kodály.

Brantelid domina espe-cialment els acords, elspizzicatos, els cops d’arc iles percussions possiblesdel seu instrument. Unconcert interessant dedos bons intèrprets.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Críticaclàssica

Joves i solvents— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Jordi Maluquer

A. Brantelid, violoncel,i P.F. Johansson, pianoCicle de Cambra i RecitalsL’Auditori. 10 de novembre

O.J.D.:

E.G.M.:

Tarifa:

Fecha:

Sección:

Páginas:

No hay datos

No hay datos

No hay datos

14/11/2011

CULTURA

41

1L'AUDITORI; MUSICA CLASICA

58 LAVANGUARDIA C U L T U R A DOMINGO, 13 NOVIEMBRE 2011

Violoncelodeplata AltadensidadCRÍT ICA DE MÚSICA CLÁSICA CRÍT ICA DE CANCIÓN

Una visitante frente a El levantamiento, de Diego Rivera, esta semana en el MoMA neoyorquinoRICHARD DREW / AP

FRANCESC PEIRÓNNueva York. Corresponsal

L os tiempos corren pa-ralelos. La crisis del2008, cuyos efectostodavía amenazan ala economía mun-

dial, se han comparado por suefecto devastador a la Gran De-presión que arrancó en 1929.Como hace ocho décadas, Die-

go Rivera, el pintor de la indigna-ción colectiva, okupa el MoMA.“Noes exactamente una coinci-

dencia”, responde Leah Dicker-man, comisaria de esta nueva ex-posición dedicada al genio mexi-cano en elMuseo deArteModer-no de Nueva York. “Rivera tienealgo que decir en este momento.Él habla de los grandes valores so-

ciales. El tipo de cuestiones a lasque hoy nos enfrentamos se lasplantearon otro artistas en otrasépocas y las respuestas que die-ron aún tienen significado”.En 1931, el MoMA dedicó una

retrospectiva a Diego Rivera. Pa-ra la ocasión, el artista realizóochomurales portátiles, de temá-tica compartida entre la revolu-ción mexicana y el impacto delcrack financiero en la ciudad delos rascacielos. Ochenta años des-pués, cinco de esos frescos –losmás grandes son de 1,83 por 2,44

metros, y 454 kilos– vuelven asus paredes a partir de hoy y, has-ta el próximo 14 de mayo.El regreso del comunista Rive-

ra se produce a los dos meses dela ocupación de Wall Street, unmovimiento que se ha expandidopor Estados Unidos en su denun-cia de la codicia y la injusticia enla distribución de los bienes. Esel grito del 99% contra la riquezadel 1%. “No sabíamos que surgi-ría estemovimiento –reconoce lacomisaria–, pero cuando empeza-mos a planear esta muestra en el2009, en medio del desastre ban-cario, pensamos que Rivera eraimportante. Esta iniciativa habladel servicio público del arte”.La ausencia de tres de las pie-

zas originales está justificada.Dos son propiedad del museo deArte de Filadelfia, que no ha acep-tado prestarlas. Falta una, de laqueno se ha sabido nadamás des-de que se subastó en 1977.¿Dónde está Taladro neumáti-

co? “Se cree que en México”,aventura Dickerman. Esta nuevaexposición neoyorquina dejaconstancia del mural desapareci-do con uno de los dibujos amedi-da que realizó su autor.Según explicó el mismo en su

día a la periodista Gladys March,esta pintura describe a los traba-jadores en las tareas de prepara-ción para construir el Rockefe-ller Center, en la Quinta avenida,y uno de los símbolos del capita-lismo. Sin embargo, la industria yel avance tecnológico en EstadosUnidos representaban para Rive-ra la esperanza de la utopía obre-ra de la liberación.La presentación del MoMA

–Diego Rivera, murales para elMuseo deArteModerno– conecta

con su historia. Hacía un par deaños que había abierto sus puer-tas cuando montaron la retros-pectiva del mexicano, la segundaque hacían después de una dedi-cada aHenriMatisse. Rivera sólotenía 45 años, pero su fama comomuralista revolucionario le des-pejó el camino, en una época enque la economía estadounidensenaufragaba, con un paro del 25%.La idea de mural, por defini-

ción fijo en un lugar, hacía impo-sible transportar las piezas desdesu país. Así que Rivera y su espo-sa, Frida Kahlo, se trasladaron aNueva York seis semanas antesde la apertura, fijada para el 23de diciembre de 1931. En el bar-co, el capitán habilitó un espaciopara que el pintor pudiera ir ha-ciendo bocetos.Ya en la ciudad, elMoMA le fa-

cilitó las galerías del edificioHec-kscher, en la Quinta Avenida y lacalle 57, enclave original del mu-seo. Junto a tres colaboradores,Rivera reeditó la tradición delfresco sobre paneles móviles de

acero y hormigón. A la inaugura-ción llegó con títulos, de temáti-ca mexicana: Zapata líder obrero,La sublevación, Guerrero indio–las tres expuestas ahora–, Cañade azúcar y Liberación del peón.El acto de apertura se convirtióen un gran acontecimiento, enuna ciudad que se volcó con el ar-tista mientras hacía las obras.Él siguió trabando. Así, el 6 de

enero de 1932 se colgaron losotros tres murales, los dedicadosa Nueva York (el citado taladroperdido, Fondos congelados yEnergía eléctrica). En las cinco se-manas de exposición se batieronrécords de asistencia.Una vez desmontada la mues-

tra, el mural de Zapata se incor-poró en 1940 a la colección delMoMA, dos viajaron a Filadelfiay otro a Northampton (Massa-chusetts). Cuatro quedaron olvi-dados en un almacén, hasta queen 1977 salieron a subasta. Loscuatro se fueron a México. Perouno de ellos tiene otra historiaque contar, si algún día aparece.c

Andreas Brantelid-Peter Friis JohanssonObras de: Debussy, Schumann,Kodály, BeethovenLugar y fecha: Sala Oriol Marto-rell (10/XI/2011)

JAUME RADIGALES

Con razón, el joven danés An-dreas Brantelid es consideradouno de los violoncelistas más im-portantes de su generación. Losmedios técnicos concurren –so-brados– y la sensibilidad aparecesin problemas a la hora de dibu-jar frases que parecen extraídasde la nada para ocurrir realida-des compactas y sólidas, con undiscurso coherente y bien ordena-do. El suyo podría ser un vio-lonchelo de oro porque no le fal-tan méritos, pero sin embargo se

queda en la plata. Eso sí, unaplata noble, y eso no es en absolu-to poco.¿Qué le falta a Brantelid para

que su tarea sea pluscuamperfec-ta? Pues precisamente emplearseun poco más en la nitidez de unsonido que ocasionalmente pier-

de consistencia, especialmenteen el registro agudo, como unavoz bien timbrada que al pasar alregistro de cabeza perdiera aquelpunto de apoyo para una emisiónde afinación segura. Y ya se sabe

que el violonchelo es uno deaquellos instrumentos que másse acercan a la voz humana.Acompañado al piano por otro

excelente músico, el sueco PeterFris Johansson, Brantelid senten-ció de manera inapelable las dospiezas del siglo XX que ocupa-ban la primera parte, dos sonatasde Claude Debussy y de ZoltánKodály, en que supo crear textu-ras tímbricas absolutamente sen-sacionales. Pero había otros dosplatos fuertes, las Fünf Stücke imVolkstone de Robert Schumann yla Sonata Opus 102 número 2 deBeethoven. Fue en estas piezasclave del sigloXIX –especialmen-te en la primera– en las que Bran-telid acusó algunos de los proble-mas apuntados más arriba. Pro-blemas que de hecho no lo son yque obedecen, seguro, al impulsoy el espíritu joven de este músi-co, por otra parte excelente.c

Brantelid sentencióde manera inapelablelas dos piezasdel siglo XXde la primera parte

Sílvia Pérez Cruz

Lugar y fecha: TeatroColiseum (11/XI/2011)

DONAT PUTX

El 10 de noviembre del 2010fallecía el músico y divulgadorde la habanera Càstor Pérez.Un año después, su hija, SílviaPérez Cruz, ha querido recor-darle con dos recitales conse-cutivos que tuvieron lugar enGirona yBarcelona. Enun aba-rrotadoColiseum, la ampurda-nesa protagonizó una veladade alta densidad en lo emocio-nal y en lo musical, y provocóhurras y bravos de una audien-cia literalmente rendida, yasombrada una vez más porsu privilegiada voz y su ex-traordinaria expresividad.

Una noche en la que nuestraartista contó con una larga lis-ta de asociados, desde Refreehasta el grupo de percusiónCoetus, pasando por Toti So-ler. Con el sentimiento a florde piel, unido a un inteligentí-simo y vanguardista tratamien-to musical, Sílvia Pérez Cruzplanteó una programa rico enmatices. Junto a canciones decosecha propia que formaránparte de su primer disco en so-litario (11 de novembre, Paremeu, con letra deMariaCabre-ra...), visitó entre otros territo-rios la canción de autor catala-na (He mirat aquesta terra deRaimon/Espriu junto a To-ti...), se detuvo en América La-tina (Atahualpa Yupanqui, Si-món Díaz...), y creó gran im-pacto en su relectura de Gallorojo, gallo negro o la habaneraVestida de nit, final de la gala.c

El caprichode la señoraRockefellerFaltan tres piezas: el

propietario de dos noha accedido a dejarlasy de otra no se sabenada desde 1977

]La exposición de DiegoRivera no se limita a loscinco frescos portátiles.Hay, además, materialadicional –bocetos depiezas mayores- y otroscuadros, así como un pro-totipo de mural. Entreese material se recuerdala estancia moscovita delmexicano o retazos delmural que pintó paraRockefeller, para su edifi-cio de la Quinta avenida.La esposa del magnateestaba encaprichada conRivera, pero su maridoordenó destruir el granfresco que le pintó por lanegativa del autor a bo-rrar a Lenin.

Elmuseo recupera losmurales queDiego Riverales pintó en la época de la GranDepresión

La ‘okupación’delMoMA

O.J.D.:

E.G.M.:

Tarifa:

Fecha:

Sección:

Páginas:

183067

846000

2990 €

13/11/2011

CULTURA

58

1L'AUDITORI