I used mostly my ears

a blog about music by Marc Haegeman


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Electrifying Rach 3 from Giltburg in Rotterdam

Sergei Rachmaninov: Piano Concerto No. 3 in D Minor, Op. 30
Pyotr Ilyich Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 “Pathétique”
Boris Giltburg, piano
Rotterdam Philharmonic, Stanislav Kochanovsky
Rotterdam, De Doelen, 10 February 2019

Boris Giltburg (© Sasha Gusov)

Boris Giltburg (© Sasha Gusov)

Can you ever get tired of Rachmaninov’s Third Piano Concerto or Tchaikovsky’s Pathétique? Not with the right performers, the Rotterdam Philharmonic Orchestra must have thought. And the Dutch always have a way to find the right people. They invited a couple of exciting young musicians and offered this high-pathos Russian double-bill on their home turf, De Doelen, no less than three times in four days. With great success too: an electrifying rendition of Rach 3 by Boris Giltburg reminded us how overwhelming this work can be, while Stanislav Kochanovsky highlighted Tchaikovsky’s supreme mastery of the orchestra in his final opus. There’s no way you can get tired of this music.

Read the full review on Bachtrack.


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Isabelle Faust shines in German early romantics programme from Gardiner and the LSO

Carl Maria von Weber: Euryanthe, Overture
Ludwig van Beethoven: Violin Concerto in D Major, Op. 61
Robert Schumann: Symphony No. 3 in E-flat Major ‘Rhenish’, Op. 97

Isabelle Faust, violin
London Symphony Orchestra, John Eliot Gardiner

Antwerp, Queen Elisabeth Hall, 30 January 2019

© Felix Broede

Isabelle Faust (© Felix Broede)

Sir John Eliot Gardiner and the London Symphony Orchestra visited Antwerp with a splendid programme of German early Romantic music. They captured the exalted homages from Weber and Schumann to the Germany of olden times in vivid and dramatic readings that made a good case – barring some rough edges – for traditional orchestras adopting period-style influences. Eventually it was a stellar performance of Beethoven’s Violin Concerto in D major by Isabelle Faust that made the evening really memorable.

Read the full review on Bachtrack.