The victories and the losses of a façade
In the framework of the Kosova Kamerfest Festival, on October 23, 2018, it took place in Prishtina a concert of the Kosovo Philharmonic Orchestra under the direction of the American conductor Gregory Charette. The invited soloist was the Albanian violinist Rudens Turku.
Still we met an excellent Albanian violinist almost unknown in his native country. Once again we have here a talent of the third generation of Albanian musicians (as it has happened all over the world), who have arisen their name but also their parents genre of course our Albanian music school.
It was not only because of Rudens, but also because of the incredibly powerful program (which also includes Korsakov’s “Suita Sheherazade”) and the conductor Gregory Charette (about whom it is enough to say that he used to study with Pierre Boulez and later with Helmut Lachenmann) that there was a great interest about this concert.
On the one hand, the portrait of a mature cultured of a brilliant violin sound, of a special sensitivity and special technique, which with clear concepts presented to the audience a passionate romantic Bruch, of the most typical designs of the performance of this wonderful and well-known concert.
On the other hand, he presented an already full symphony orchestra, which has little need to call instrumentalists from outside of Kosovo (as it happened before), where the cellos sector is one of the best, but still there it have some lacks in other sectors such as the brass, violins, the violas and the percussion.
On the other hand, he presented an already full symphony orchestra, which has little need to call instrumentalists from outside of Kosovo (as it happened before), where the cellos sector is one of the best, but still there it have some lacks in other sectors such as the brass, violins, the violas and the percussion. Of course, we use the word “in general” as there are a lot of skilled and very capable instrumentalists, for example, like the first flute or any other that can be distinguished.
Because in most part the score the strings were not able to face the technical difficulty and were not in unison, as long the brass instruments had problems in the first oboe, clarinet, bassoon, brass, since in this work all appear as soloists.
It appeared some problems in the percussion, especially in its own dynamics, which was not in relation to the general fusion and so on.
Thankfully and unfortunately too, the excellent records on You tube have set some requirements, which can only be overcome when you finish the task. Otherwise, performance remains an unsuccessful attempt. Only on this responsibility, the leaders of important formations need to measure their work. However, one thing remains true. The audience in Pristina is art-loving, passionate about such concerts and I think politics should apology for not building a music hall.