Gidon Kremer at Tokyo Opera City Concert Hall, June 10th 2022

 


Founded in 1969, ECM Records is an independent label known from its atmospheric jazz recordings. Ranging from the avant garde of outfits like the Art Ensemble of Chicago, to the soothing sounds of early Pat Metheny, the Norwegian label runs the gamut of this American art form from an unabashedly non-mainstream point of view. In the nineteen eighties they started the New Series imprint dedicated to contemporary Western Classical music. The first record released under this banner is, along with the Steve Reich Ensemble version of Music for 18 Musicians, quite possibly the most emblematic recording of the series.

The first recording of the New Series was Tabula Rasa, which started the close relationship between Arvo Part and ECM. It closes with the work the recording is titled from. It also includes the dramatic Cantus in Memory of Benjamin Britten. Fratres, perhaps the best known Part composition, is showcased twice. Once in the middle in a version for 12 cellos and another right at the beginning with Keith Jarrett on piano accompanying this concert’s performer, the Latvian violinist Gidon Kremer.

Kremer is a renowned violinist expert in both the traditional Classical repertoire and the contemporary one. This concert reflected that apparent duality by being divided in that sense. A first half dedicated to contemporary work in which Kremer with the Lithuanian cellist Giedre Dirvanauskaite were featured as soloists and a second one showcasing the Sendai Philharmonic under the direction of Ken Takaseki conducting Jean Sibelius’ Second Symphony.

Of course I’m a huge fan of Part’s Fratres and when I heard about this performance taking place with the original soloist from that legendary recording I had to get a ticket. Got the cheapest one, which was still quite expensive to be honest, and headed back to this amazing venue. The thing is that this time I was on the shitty seats and they truly had a shitty view. I was not too happy about that. It is possible that contributed to me not having the out of body experience I was anticipating for Fratres. I also think the orchestra didn’t quite pull it off. This was also apparent with the program’s second piece, the Double Concerto for Violin and Cello by Philip Glass. Even though at times the orchestra sounded as it was flubbing the odd time signatures, especially during some passages that featured the percussion section joining the soloists, Glass can’t do wrong and this is one of his most accessible works. Very soundtrack sounding at moments, it reminded me of Piazzolla as well with its use of castanets and even maracas. It was an engaging piece enhanced by the soloists meticulous work.

The second half of the program was dedicated to Sibelius’ Symphony No. 2 and the orchestra did shine with this performance. It’s obvious that this is just powerful jaw-dropping music on its own, but the orchestra was able to reach those romantic peaks the composer was aiming for and more. All in all it was a great concert and a lovely return to the live experience after a six months absence. Being in the presence of a musician of Gidon Kremer’s stature and witnessing him doing what he does at ease, was definitely a privilege as well.

This year I didn’t write my Top concerts of 2021 article. My apologies. The ranking of all the concerts I went to last year would be something like this:


1. King Crimson at Tachikawa Stage Garden.

2. Shintaro Sakamoto at Liquidroom.

3. Krystian Zimerman at Muse Concert Hall.

4. Minyo Crusaders at WWW X.

5. Ryoji Ikeda at WWW X.

6. Ensemble Intercontemporain at Suntory Hall.


Only six was kind of a dud, but he first five were all excellent and worthy of top five status under any circumstances. 

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