A Beethoven evening

On the Symphonic Concert of RTSH Orchestra of April 4 – th 2019)

It is always a pleasure when we see on our scene the leading figures of Albanian music and the young instrumentalists who are having their career abroad. This is mostly because of two reasons: first, we need such high-level artists like the conductor Eno Koço, and secondly, facing with artists who have studied abroad certainly lead us not only to a curiosity but they also bring their individual experiences as well. Especially when they are well known in the world of European music or beyond, these are much more worthy. I would like to stress  their spiritual closeness as Albanians and the increase of the national pride  that they give to us.

On these spirit it took place the last concert of the RTSH Symphony Orchestra, which included the debut of the conductor Eno Koço and the pianist Olta Tashko Rey, who lives and works as a pianist in the High School of Music in Geneva.

The program based on  Beethoven works included the “Koriolan Overture”, the Concerto n. 3 for piano and orchestra and the Symphony n. 4 of this great author. From this Beethovenian background the concert has had some news as well as  few problems to accompany it. The audience listened to an orchestra that sounded quite compact with clear stylistic concepts. We listened to some beautiful works transmitted by the power of a serious and cultured conductor, always distinguished by the well-planned and precious opinion in selecting the repertoire, which enriched the Albanian musical background. We listened to a pianist, unknown to us, who, on her first debut with the orchestra, presented a good music education and a good job. We also followed a series of works from the beginning of the nineteenth century (Koriolan in 1807, Concerto for piano No. 3, 1800- 03 and Symphony No. 4, 1807) which define the most productive period of the author in the construction of the period of his fame and masterpieces known as the symphony n. 9.

But what could have been different in this concert? So not to repeat the ideas already mentioned in previous articles, we may mention the lack of elitism or the previous atmosphere of the concert ritual no longer exists. And it’s not that there isn’t an educated public. There are always some people of culture, art or important fields who use to attend the concerts permanently.

Not out of nostalgia, but we miss the getting tickets anxiety, going from the wardrobe to the Great Hall of Opera, concerts or shows, breaks between acts, meetings and taking autographs from the artists after the show had their magic of the divine elite ritual. Is this what we call old fashioned? We live among the suspects that the fault lies in public ignorance or in the low interest and pragmatism of the leaders of this national formation.

While in the Balkans as in Europe the tickets are sold online, to our audience they are not, we face only a few words about the authors, without references, without reviews, there is also the difficulty of sitting down in the chairs of the Hall, there has always aroused the fear of applause between the movements of the musicians relatives, etc. It has already become very common – the concert begins with a full hall and ends with a halved audience. To the  organizers this is a completely solvable problem. It is insoluble to think of details, just as the conductor looks at all the lines of instruments. Perhaps we should evaluate and analyze how many times this concert can be given, in which cities, in which rooms, how should the audience prepare, how it should support the TV commercials, which in this case is free and many more for the instrumentalists’ divisions. But apparently the orchestra as an important institution should be guided with wisdom, investment and productivity.

 Let us list some considerations about the artists. The pianist Tashko, with a remarkable education, artistic sensibility and simplicity in the drama made to the same public who were looking forward to applaud her.  With this first debut with the orchestra she did a serious job, a serious school showing an artistic passion. But in her playing  there was also a rhythmic precipitation and a moment to overcome style. The duo Koco – orchestra worked very well they were as solid despite the tolerances radiated by Koco ‘s secure baguette and his expressiveness from gestures to the limbs. Eno Koço, like a good Englishman (already with a passport), is serious, accurate, competent and highly artistic in his lead-in game that is guided by rationality, sensibility and skills. This asset radiates his wealth throughout the orchestra, but not everyone has the opportunity to absorb his skills. A part, sometimes not a small one, is left not only in the physical reading of music but mainly in the details that make up the music itself.

Trying to summarize the thoughts can be said to have a lot of reasons to keep this concert in mind: for the wonderful program or for that classic Beethoven link of the early 800’s for the pleasure that a new soloist donated in our musical scene, for the inspiration created by conductor Eno Koco baguette and the harmony that is created on stage, but on the other side of the problematics or futuristic-idealistic demands that in this case can “fantasize” the audience inspired by magic of music. ‘

Nestor Kraja

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