(Nicolas Altstaedt)Durban audiences have had a feast of outstanding cello playing in the past ten days. The Russian Dmitri Kouzov played with the KZN Philharmonic Orchestra, then the South African virtuoso Anzel Gerber played for the Friends of Music and, in its latest concert, the KZNPO presented another distinguished cellist, the Franco-German Nicolas Altstaedt.
This KZNPO concert gave Wagner’s well-known Tannhauser Overture and two works that are not performed very often, Schumann’s Cello Concerto in A minor and Prokofiev’s Symphony No. 7.
The Schumann is a somewhat enigmatic work that has never achieved a fraction of the popularity of the composer’s piano concerto. It was written in 1850, six years before Schumann’s death in a mental home. It is ruminative, rather nostalgic, often tender and romantic, with a beautifully expressive slow movement. It is unusual in two respects. The three movements are played without a break, partly because Schumann detested the habit of 19th century audiences of applauding between movements. And the cello cadenza near the end has a discreet orchestral accompaniment.
Nicolas Altstaedt, the soloist in this work, is 29 years old, was born in Heidelberg, Germany, and is of French-German descent. He is establishing a big international reputation and it is clear that he is a cellist of prime quality. He played the Schumann with vigour and with a beautiful singing tone and he was given prolonged applause at the end.
The orchestra was conducted by Thomas Sanderling, a tall, dignified, grey-haired figure. Born in Russia, he has been around for a long time, working with distinction in Europe, North America and the Far East. Under his direction, the orchestra was a sympathetic partner in the Schumann concerto, but the players really came into their own in Sergei Prokofiev’s seventh symphony.
This was written in 1951-51, not long before Prokofiev’s death in 1953 (on the same day as the constantly menacing Joseph Stalin). When he wrote this work, Prokofiev was trying to regain favour with the unpredictable Soviet cultural authorities, with the result that the symphony is more traditional and simple and less avant-garde than much of his other music. It is strongly melodic, with some sweeping tunes for the violins. The second movement is a delightful quick waltz, the slow movement is eloquent and elegant, and the work ends in high good humour.
Thomas Sanderling has a restrained conducting style, but he obtained a very good performance from the orchestra in this exciting symphony which, judging by the applause, was much enjoyed by the listeners.
The audience was, however, rather sparse, for the third successive Thursday. The main works at these concerts have been by Prokofiev (twice), Bloch, Mahler, Liszt and Schumann, the latter two represented by compositions that are not widely known. It is right for the orchestra to move off the beaten track, but it might be wise to leaven the unfamiliar with some of the old favourites. The next concert offers Beethoven, Mozart, Schubert and Brahms, and it will be interesting to see if there are more people in the City Hall. - Michael Green
Posts
