Review on the concert of Kristi Gjezi and conductor Krantja in Tirana

The first thing that comes into mind, if you think of writing on the concert of February 7th of violinist Kristi Gjezi and conductor Ermir Krantja is: Unforgettable! And this review is well deserved. How come?

 In the seriousness of selecting the program: Smetana’s two symphonic poems of Smetana, almost new to the Albanian public and that complete the recordings  by Krantja with the Symphony Orchestra of RTSH, as well as a wonderful Brahms concert, close linked with the first works.

This concert was unforgettable in the meaning of the quality of the two protagonists each  in his kind: Krantjas’s experience, competence and wisdom, and the almost unbelievable accuracy of Kristi.  We are right saying that Kristi Gjezi is of a extraordinary high level of violin interpretation. He is as simple and great, as natural and incredible in the sounds he spread, how delicate and frantic in the transmission of great musical ideas. His performance is a powerful “light” that leaves you speechless and all you can do is just to admire him.

 In my opinion I see art as a path that passes through the gap between right and wrong, between right and exclusion, between truth and illusion, but that does not matter, except for the artist. The rest of the picture remains unpleasant, starting with the hall of the Arts University and many others. I have never understood why the RTSH Symphony Orchestra does not find another hall for its concerts.

 I was thinking that it was the conductor Ermir Krantja and then others that have released this orchestra in the concert life as it once did only recordings. Actually, with just two concerts a month the orchestra seems unmotivated. The Orchestra members seem “tired” while saying: That’s enough for as much as I get paid”.

Still the last one to say one without going deeper.  The recording of this orchestra is made by an external mixer and by a simple unknown technician, while the pop songs of the Radio Festival are made by technicians and engineers coming from Italy and who are widely advertised. It seems as if everything here is backward and this passage creates a stable structure to which nobody stands up and defends the truth. The fact is this: After decades there will not be any valid documentation for this concert, as time will run much more faster than our technique up to date and a musicologist of tomorrow will not be able to describe the level of this concert that of course contained in himself such experience, experience, and emotion as it should also be affirmed as a historical fact. We need to stop and realize that for some elements we have national and historical responsibility that can not be justified, or underestimated.

/Nestor Kraja/


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