My personal impressions upon the performance of a true genius

For the third time in the artistic life of Tirana, on November 16 and 17, the Albanian violinist Jonian Kadesha made an appearance performing a Beethoven-themed concert for violin accompanied by the orchestra of RTSH, under the direction of the Italian conductor, Maurizio Dones, as well as a concert recital accompanied by another celebrated piano virtuoso, the pianist Nicholas Rimer. An eminent person such as he has most certainly achieved fame due to the many awards he has received during his career throughout Europe, but we cannot leave unspoken the tremendous impressions he has left in the previous two concerts in Tirana’s artistic district. The amount of curiosity to be part of and follow one of his concerts can be shown by the fact that the hall was almost full. What makes it even more special is the fact that for the very first time all the professors and teachers of the artistic schools of Tirana had gathered together to join this event and such a thing has not happened for as long as it can be remembered.

In the previous two concerts we were left astonished by Jonian’s creative potency who through his violin was able to bring upstage a version of Mozart that was completely different from the traditional one we were accustomed on hearing, but conjointly he was also able to deliver an improved version of Glazunov for us to hear an admire, highlighting the characteristic side of their creative portraits based on deep knowledge of the relevant literature. This time, curiosity had brought many musicians to raise the question: – What about the Beethovenian concert? What will our ears be listening there? It was a natural question that was based on Jonian’s creative potency, but it would certainly be stifled by the solid figure of the genius, majestic and marvelous Beethovian figure. Of what would the recreational genius potency of our violinist consist of? We truly witnessed and listened to a completely new version of a Beethovian concert breaking all the crystallized frames of his musical figure. We were able to enjoy the performance of a modern Beethoven up to our present times, a lyrical-Beethoven who carried within the potency of developing furthermore the stream of musical art, a colorful Beethoven.The cadence written by Alfred Schnittke, among the dozens of cadences written by different authors for this concert, was definitely the one that best-connected with the treatment of the concert depicted by a unique concept of renewal of the Beethovenian figure. It was the first time that the Albanian stage faced such an interpretation and for the first time it was able to recognize renowned concepts on classical authors starting with Beethoven. And this all thanks to our genius Jonian who was bestowed by nature in playing his instrument so naturally and with great ease, bringing us the new contemporary concepts of European interpretation. But of course we do not lack on alternative thoughts shared by conservatives. Evil thoughts that are generated by our balky behavior also, but there are also remarkable minds of culture that bring arguments based on the reality and legitimacy of the instrumental treatment of past acts that enrich the thought and debate without sacrificing the greatness and of Jonian’s geniality. We did not have the chance to meet up with him after the concert to talk and clarify through his thoughts the questions which geniuses usually struggle with, but we are optimistic and convinced that today’s forms of connection will make it possible. In essence, we may think that the 25-year-old Jonian is still on the path of creative research and consolidation of the treatment of works that he has skillfully presented to the public. We are convinced that his geniality will set a milestone in the culture of world music interpretation. The second night of Jonian Ilias Kadesha’s recital, along with other piano genius, Nicholas Rimer, was just wonderful. The repertoire of the improvisational lettering chosen by artists, who also promoted their successful CD across Europe, contained the compositions of the authors Mozart (1778), Enescu (1926), Zadeja (1974) “Cigane e Ravelit” (1924) (Albanian for “The gypsy of Ravel”, etc.
As we can see the contemporary repertoire dominated the most and with this, Jonian probably stressed its tendency for century music and the tendency of the century to renew and individualize. Based on this he unveiled all his talent.. The audience was struck by the accuracy of originality, spontaneity, and profound thought over the details that shaped the unheard of and personally stunning figures of the various authors of our time. However, as all new things and the discussion of the different sides of this interpretation was not scarce. Personally, I think that Çesku’s sonata drifted away from the semantic meaning of the score and did not bring the musical taste it possesses. However it should be said that certain moments were quite interesting and there were quite realistic interpretative findings. We would not be feeling tranquil if the article would not mention the pianist who in this case left us speechless. He was just as interesting and genius part of this wonderful duo. With the highest German accuracy, the profound English thought he had also gained the exquisite Mediterranean sensitivity, thus presenting as one of the most prominent pianists to perform on our stage. We remain in hopes that they will return to this stage and hopefully as a trio, which so far has been distinguishing themselves on the European scenes.

Nestor Kraja


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