Nemanja Radulović dazzles Gstaad with radical Beethoven and Rimsky-Korsakov – Seen and Heard Worldwide

Switzerland Gstaad Menuhin Pageant – ‘Trans-Classics’: Nemanja Radulović and Double Sens. Kirche Saanen, Gstaad, 15.7.2024. (LV)

Beethoven – Violin Sonata in A serious, Op.47, ‘Kreutzer’ (arr. Nemanja Radulović for violin and strings)
Rimsky-Korsakov – Scheherazade (arr. Alexander Sedlar for violin, piano and strings)

Classical music is more and more turning to new approaches for making its works accessible and thrilling to wider audiences, notably these within the extremely fascinating 18 to 35 age group. The charismatic Serbian virtuoso Nemanja Radulović and the Double Sens ensemble he based in 2008 made a dramatic affect on a full home right here by mixing beloved classical traditions with passionate, sometimes outrageous, up to date sensibilities. Within the liner notes to a recording of his association of Beethoven’s ‘Kreutzer’ Sonata, Radulović wrote, ‘Whereas remaining trustworthy to Beethoven, I allowed myself to train my creativeness’. On Monday night time on the Gstaad Menuhin Pageant, he did simply that – and with Rimsky-Korsakov’s Scheherazade too.

The ‘Kreutzer’ began out with the music’s sensible opening solo violin prospers to a deceptively candy accompaniment, adopted by a superb cello flourish after which Radulović shifted into excessive gear with the cellos and basses including large weight in what could be pretty referred to as an industrial remix for the Beethoven gods. Donald Tovey described Beethoven’s Violin Concerto as gigantic, however it couldn’t examine in measurement to what we heard Monday which positioned the Kreutzer someplace between the Ninth Symphony and the Grosse Fuge.

The depth all through was relentless, with sensible solos from the concertmaster (sporting a topknot like Radulović), however there have been occasional moments, like one of many gradual motion variations with a solo quartet, that confirmed Radulović’s actual musicianship. The final motion was undoubtedly Presto with the light-hearted really feel of a gig at instances however, as within the first motion, there have been lengthy stretches when he and the ensemble redefined heavy-handed. The sonata was winding up when a terrific thunderclap rocked the church and torrents of rain started to fall. The violins scrambled briefly earlier than Radulović milked the final drops of sentiment out of the ultimate bars, at which level the supposedly staid Swiss viewers responded with their very own rain of shouts and applause.

For these like me who’re keen on this type of risk-taking, the recording of Australian violinist Richard Tognetti’s association with Antje Weithaas and Camerata Bern provides a special take. It has a readability of thought and breathtaking delicacy in essentially the most stunning spots, as within the final motion when the backing strings present a rare glowing impact paying homage to the celebrities in a planetarium. Alternatively, sixty years in the past in Paris whereas I used to be discussing the deserves with Étienne Ploix, the proprietor of an iconic music retailer on Rue Placide, of Manuel Rosenthal’s preparations of OffeNBAch tunes into the favored ballet Gaîté Parisienne, the elfin M. Ploix smiled gently as he commented that ‘it was not an association. It was a dérangement’.

Whereas the Kreutzer saved to its unique forty minutes, Aleksandar Sedlar’s association for violin, strings and piano of Rimsky-Korsakov’s Scheherazade was a completely completely different matter, shedding twenty minutes from the orchestral model. Whereas Radulović, the solo cellist and concertmaster had been doing their rhapsodically dramatic issues, there have been savage outbursts from the strings. Within the third motion, lights flashing by the church’s home windows with thunder within the distance lent a pleasant romantic contact to the Prince and Princess. Radulović performed the little particulars with beautiful intimacy, threw off double stops with exuberant glee, sometimes launched right into a surrealistic clog dance accented by his clunky platform sneakers stomping on the stage and engaged in a duet with a whistling second violin. On the finish, exhausted maybe for the second by all of the musical and bodily calisthenics, the music simply wound up.

Energized by the viewers response, much more ferocious than for the Beethoven, Radulović performed twenty minutes of encores from his Roots CD, beginning off with the ‘Méditation’ from Thaïs and together with a little bit sad-happy musette referred to as ‘Indifférence’, Jonce Hristovski’s ‘Macedonian Lady’ and a surprisingly restrained ‘Csardas’ by Vittorio Monti.

General, as certainly one of my workshop college students in Maribor wrote fifteen years in the past a couple of program (coincidentally designed by Richard Tognetti) that was reaching out to new audiences – together with two cellists taking part in on one cello, a unadorned soprano singing Handel and Mario Formenti’s first-ever efficiency of John Cage’s infamous ‘4′ 33″’ – ‘I wouldn’t like to listen to it once more, however this one time it was superior’.

Laurence Vittes