Symfonieorkest Vlaanderen enjoys a solid reputation internationally. Great soloists are keen to stop by and perform there with full confidence. Guest conductor is Frenchman Adrien Perruchon, conductor of the Ochestre Lamoureux since '21-'22.
The opening work chosen is the Overture from 'Don Giovanni', KV527 by W.A. Mozart, one of his great three, alongside Cosi Fan Tutte and Le Nozze di Figaro and starts with a few chords that immediately command the attention of the audience. His music whirls through the centuries.
The following work is by Kalevi Aho (1949) one of Finland's most leading contemporary composers. He is described as one of the best new Romantic composers of the post-war generation. His compositions combine the best of both traditional and modern musical forms and structures. He is a particularly brilliant and colourful writer for full orchestra, and many of his works for symphony orchestra contain brilliant solo passages for individual players. This is certainly the case in this Concerto for harp, flute and orchestra. He created this double concerto bespoke for Symfonieorkest Vlaanderen.
The two soloists are on the one hand our Flemish Anneleen Lenaerts. Since 2010 engaged as principal harpist with the Wiener Philharmoniker and the renowned American flutist Marina Piccinini, who actively contributes to expanding the repertoire for her instrument.
The ladies appear in a glittering silver outfit. Both parts are more or less evenly matched, demanding extremes both technically and in terms of expression. The ethereal tones of the flute with the fluid tones of the harp as counterpart create a dreamy atmosphere. It becomes a concert full of surprises: fierce and moving, small and delicate, serene and stately. Sometimes they complement each other, sometimes they play in unison. Moments of flute fireworks are alternated with sparkling and harmonious passages from the harp. Sometimes they also dialogue. Alongside hectic and volume there is lightness in the composition and the orchestra can also make itself heard.
Flutist Marina Piccinini is literally and figuratively shining. Her silver paillette dress catches sparks of light with her movements, like the sun on a water surface. A beautiful appearance and also a phenomenal flutist. Her playing is simply virtuoso.
The composer was present in person and saw that it was good. By chance he sat next to me. He intensely experienced the concert. His composition was enormously appreciated by the audience. Afterwards he was invited onto the stage and received enthusiastic and prolonged applause together with the soloists and the orchestra.
After the interval the audience can become acquainted with the work of young composer Jonathan Pinchuk (2001) 'Werden de jaren stil'. A creation within the framework of SOV Composers' Academy. With a contemporary perspective Pinchuk casts a look at Mozart's classical style. This is done by way of a memory.
It concludes with the Symphony no. 40 in G minor, KV 550 by W.A. Mozart which is one of his last symphonies. The summer of 1788 was not the happiest time for Mozart. In spring he lost a child, his wife was sickly and his own health was also moderate and financially they were on the ground. His spirit dealt strategically with the craters that life had struck into his soul. With willpower he forced himself to accept everything. His outlet was music. Mozart was 31 when he began his last symphonic works. No commission, but purely from passion and willpower he set three symphonies to paper in six weeks.
Works in G minor always have a special emotional value for Mozart. The first movement Molto Allegro sounds the most familiar to the ear. The symphony is undoubtedly one of Mozart's most admired works. It is frequently performed and recorded and thus belongs to the collective memory. The whole is composed of complex harmonies and extended melodic lines.
Conductor Adrien Perruchon tackles it with passion. The orchestra responds in a convincing manner full of nuance and empathy. The palette between 'Light and dark' is played with finesse.
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