Helsinki Philharmonic Orchestra

perform Sibelius

Part of Birmingham International Concert Season 2015/16 Concert Package,
SoundBite, Birmingham International Concert Season 2015/16 and
Competitions highlights

Thursday 10th December

Symphony Hall

Helsinki Philharmonic Orchestra
John Storgårds conductor
2015 International Jean Sibelius Violin Competition Winner:

Christel Lee violin

Sibelius En Saga Op 9 20’
Violin Concerto Op 47 in D major 31’
Karelia Suite Op 11 14’
Symphony No 7 Op 105 in C major 21’

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Helsinki Philharmonic’s encore – Sibelius- Scene with Cranes

BBC Radio 3 – Live in Concert – available here for 29 days

Breaking News: The winner of the International Jean Sibelius Violin Competition, and soloist in this concert, has been announced as Christel Lee (USA).

‘Simmering intensity’ is how Gramophone described the way the Helsinki Philharmonic plays Sibelius under its chief conductor John Storgårds. And as the Sibelius anniversary year draws to a close, you won’t hear more authentic or insightful performances than these: in a concert that spans Sibelius’s whole life, from the early En Saga to the monumental Seventh Symphony.

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Review by Peter Marks, BachTrack:

Click here for full review

…      “The orchestra played with remarkable ensemble and precision but also with warmth where this was required. I have rarely heard the timpani flourish that opens the Seventh Symphony played with such clarity, for instance, and this important part was unusually clear throughout. Also, the crystalline sound of the Helsinki strings became much warmer as the violas and cellos gradually and tenderly laid the foundations for the first of the three great trombone solos that permeate the symphony at such key moments in the work. These solos were played with an edge that ensured they sang out above the orchestra without being too brash. The final return of this solo was truly hair-raising.

Storgårds’ conception of the symphony was spacious and tempi felt just right, such that phrases seemed to ebb and flow in and out of existence quite seamlessly. There was a feeling of gravitas even in the section that might be considered to be the ‘scherzo’ if following symphonic convention, which of course this symphony does not. The shock of the supposed tonic final chord of C major only emphasizes this point and Storgårds ensured this chord was both crystal clear and short-lived. 

An insert in the programme was necessary as the identity of the winner of the 2015 International Jean Sibelius Violin Competition was not known at the time it went to press. This prestigious competition is held every five years in Helsinki. Famous past winners include Viktoria Mullova and Leonidas Kavakos. The final round mandates a performance of Sibelius’ Violin Concerto and so this year’s American winner, Christel Lee, had the benefit of a practice run of the concerto she brought to Birmingham, albeit under rather different circumstances.

Lee was certainly in command of the formidable technical challenges this work presents.”   …

Belshazzar’s Feast

  • Thumbnail     Raise the Roof

Saturday 26 April 2014 at 7.00pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra 

John Storgårds  conductor
Mark Stone  bass
William Gardner  treble
CBSO Chorus
CBSO Youth Chorus  

Holst: The Hymn of Jesus 23′
Bernstein: Chichester Psalms 19′
Walton: Belshazzar’s Feast 34′

1931: William Walton takes a huge choir and a massive symphony orchestra, adds a couple of brass bands – and blows English music sky-high. Big, brassy and shamelessly savage, Belshazzar’s Feast caused outrage back then, and it still knocks you backwards today! It’s a stunning showcase for the CBSO’s famous choruses; and John Storgårds gets things buzzing with two joyous choral classics by the composers behind West Side Story and The Planets. We think you’ll love them.

If you like this concert, you might also like:
Der Rosenkavalier, Saturday 24th May
Mozart’s C Minor Mass, Thursday 26th June
Bluebeard’s Castle, Wednesday 2nd July

http://www.cbso.co.uk

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Review by Diane Parkes, BehindTheArras:

Click here for full review

…     “Mark Stone sang the baritone role here, perfectly complementing the chorus and occasionally slowing down the action for a moment of reflection.

By its rousing Alleluias at the finale, there was no doubt that the chorus was thoroughly enjoying tackling the piece, which is not the easiest to carry off well.

There was also plenty of life in Bernstein’s Chichester Psalms. Ever the showman, Bernstein may have taken the words from the Biblical Psalms but at times the pieces sound more akin to a music hall show than a church.

The Lord is My Shepherd has plenty of moments of calm and was beautifully sung by Trinity Boys Choir member William Gardner. But Bernstein quickly introduces a riot of percussion so we can almost imagine the chorus taking to the stage to dance in a West Side Story like showstopper. It was also a great opportunity for the CBSO to get to grips with lots of fun and exuberant music.”     …

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Review by Roderic Dunnett, MusicWeb, SeenandHeard:

Click here for full review

…     “When we get to Sitwell’s hymnic bit (‘God of Gold…God of Wood…God of Brass) – slightly improbable, but huge fun – we are saturated by a kind of corrupt Benedicite. Alto saxophone, bass clarinet, and contrabassoon get their look in; James Burke’s clarinet positively screeched with impropriety. Percussion snaps and blips, and clops from wood blocks, abound. A riot of (as the notes put it) ‘onomatopoeic’ colour. No wonder the Lord (Jahweh – on our side) took a dim view of it all.

The resplendent additional brass (Beecham’s idea: here two septets, I believe, arrayed along both sides, high up) that toasts Belshazzar’s bluffing celebrates God’s inevitable triumph. Weighed in the balance, the oriental despot meets his  sticky end (double basses, low woodwind, flibbertigibbet flutes and piccolo see him off with an almost Bartókian atonal savagery – shades of Bluebeard.)The full-blooded chorus remained splendid thereafter, though Walton doesn’t: the penultimate (or middle of ultimate) section sounds like the thinnest of note-spinning. Yet at ‘Then trumpeters and pipers are silent, and the harpers have ceased to harp…’ he redeems himself, writing for them an alluring sequence like some succulent church anthem by Leighton or Hewitt-Jones – or Walton himself (The Twelve).

The most relishable, perhaps thrilling achievement of Storgårds’ conducting of the Walton came at the culmination, where in the final build up or recap he has to maintain a firm four in a bar while the bravado chorus sings effectively in three. The result produces excitement of almost fugal intensity, without being remotely banal. As the composer pops in a few whole tone scales to underline their whooping, he must have been feeling pleased with himself; for we are treated to a distinct burst – a sneak preview – of his First Symphony (which he was poised to embark on). Either he thought it a jolly good idea, and reused it, or his symphonic notepad jottings were already getting crammed.”

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Review by Christopher Morley, Birmingham Post:

Click here for full review

“It’s many, many years since it has been my privilege to hear a concert as joyous as this one: three works, all with a religious impulse, and each approached from a different direction.

Full marks all round, but primarily to Simon Halsey’s remarkable CBSO Chorus celebrating 40 years of existence, and delivering Gnostic mysticism, Old Testament blood and guts, and Hebrew fervour (in the original language).     […]

[…] Storgards drew a thrilling reading from all these forces, chorus projecting with their customary clarity of diction, orchestra taut and rhythmic, and baritone soloist Mark Stone the most authoritative I have ever heard him. For technical nerds such as me, his maintenance of pitch in the lengthy unaccompanied passages was exemplary. This was an exhilarating performance.”

*****

Mozart’s Clarinet

Thursday 4 November 2010 at 7.30pm

Symphony Hall, Birmingham +44 (0)121-780 3333

City of Birmingham Symphony Orchestra

John Storgårds  conductor
Kari Kriikku  clarinet

Beethoven: Overture: Coriolan 8′
Mozart: Clarinet Concerto 28′
Sibelius: Lemminkäinen Suite 50′

“A mighty hero / in his veins the blood of ages / head erect and form commanding…but, alas! he had his failings.” In all Finnish legend, there’s no-one to match the hero Lemminkäinen. Seducing the girls, battling his enemies, and cheating death itself (with a bit of help from his mum), it’s an extraordinary story, and Sibelius puts it all into even more extraordinary music. His Lemminkäinen Suite tells the tale in unforgettable style – including the haunting Swan of Tuonela. It all adds up to the greatest symphony Sibelius never wrote, and the perfect challenge for the superb Finnish conductor John Storgårds. But first, after his breathtaking performance last season, we’re thrilled to welcome back another Finnish legend – virtuoso clarinettist Kari Kriikku, in Mozart’s chart-topping concerto.   www.cbso.co.uk

Review by Christopher Morley, Birmingham Post:

http://www.birminghampost.net/life-leisure-birmingham-guide/birmingham-culture/music-in-birmingham/2010/11/12/review-cbso-mozart-s-clarinet-at-symphony-hall-65233-27633525/

…”There was some wonderful playing here, not least from Jill Crowther’s cor anglais in the lugubrious Swan of Tuonela, full-throated strings, and Cliff Pick’s ubiquitous but so eloquent bass drum.” … 4/5

(The Sibelius was my favourite piece of the night, “doodlings” et al!)