Lucky is the violin soloist whose conductor also happens to be a virtuoso on the same instrument. Such is the case with renowned violinist, Gidon Kremer, who performs under the baton of John Storgards, one of Finland’s most successful artists. Both appear with the National Symphony Orchestra this week in a program that showcases the Sibelius Violin Concerto in D minor, Op. 47.
“I’m looking forward to it,” said Storgards, who is making his concert debut with the NSO. “I have a positive picture from what I’ve heard; and from [listening] to their recordings.”
| Onstage |
| The National Symphony Orchestra |
| Where: Kennedy Center Concert Hall |
| When: 7 p.m. Thursday, 8 p.m. Saturday, 3 p.m. Sunday |
| Info: $20 to $85, 202-467-4600; 800-444-1324, kennedy-center.org |
Stogards has worked with Kremer before, but this will be the first time doing the Sibelius concerto together.
“I am always with violinists and I think it works for them and for me,” Storegards continued. “Violinists feel I know the pieces from the [soloist] standpoint. I think it is an advantage.”
Storgards notes he jumped at the chance to work with the NSO when he found out that the original Mussorgsky composition of “Night on Bald Mountain” would open the program which, in addition to the Sibelius concerto, also features Neilsen’s Symphony No. 5, Op. 50 and Liadov’s composition of “The Enchanted Lake, Op. 62.”
“I don’t know how often the Neilsen symphonies are played in the United States, but for me, [they are] a very strong and natural part of my repertoire,” he explained. I also do the original version of the Mussorgsky piece that is not much played. This one is wild and primitive. Most of the audiences know the Rimsky-Korsakov version — this one is quite different.”
And while “Night on Bald Mountain” is a strong, almost formidable tone poem,
Liadov’s “The Enchanted Lake,” which opens the second part of the evening’s program is by contrast a beautiful little composition, which conjures peaceful elements in which the imagination can indulge.
Whichever the feelings evoked, commitment to these works is paramount for a conductor of the caliber of Storsgard.
“The most important thing always is the intensity of the performance in whatever kind of music you are doing,” he said. “I am always trying to achieve one-hundred percent for the people I am working with. And for myself.”
