Kadesha at the opening of the concert season at the RTSH Orchestra
Following it for years, we can say that the opening of the concert season of the Symphony Orchestra of ART this year had special elements both in the organization and at the artistic level. First of all, we should greet the initiative the season started to be organized with tickets. So far, giving concerts free has unveiled the work, and the art value about which the artists are struggling. Kadesha’s arrival in Tirana has always arisen a great curiosity and interest. This time the change of the hall and the tickets reduced the audience but that did not diminish enthusiasm and exaltation about his performance. Meanwhile, it should be stated that Jonian Kadesha this time came on stage even more matured, more suggestive and certainly performing the full range of his art. Friday evening’s concert had a connecting tie that was the rhapsodic character. The Lisz Rhapsody No. 2 for orchestra, with its improvisational character and storyteller, despite any violin non synchronization noted what was expected: the capability and communicative strength of the conductor Jonathan Bloxham to prepare the audience for Kadesha and the young cello player Vashti Hunter with a very impressive CV.
Henryk Wieniawski’s brilliant polonaise was astonishing, not because of well-known improvisational strength of the Jonian, but because his strength lies in the brilliant treatment of what he experiences at the moment given. Though we’ve heard this work many times by the big names that have each set individual conceptions such as Fischer’s astonishing correction with accelerated metronome Jascha Hejfetz, or explosions of the technique of Pinchas Zukerman, etc., however, there is something special about Kadesha. He is much more unexpected, thinner in painting the sensations, fully accurate in reading the text giving a fully personal performance, thus adding day by day the strength of his personality. It remains to you that conquer you feel when you hear it, the wonder that captures in every phrase, the adrenaline behind any interesting ideas that it broadcasts. In these plans was the special treatment that he made to the sentimental waltz of Tchaikovsky, on which the synchronized orchestra, compact and quite plastic in the transmission of the main lines and emotional fractures, was almost melted with it.
The Double Rhapsody Concert by Thoma Gaqi featured the curiosity about the special guest’s performance the astonishing Vashti Hunter, a member of Trio Gaspard, along with Kadesha and Nicholas Rimmer, whom we heard a year ago in Tirana. With a completely different approach comparing of we are used to, much more tempered in the temp, but also more spontaneous in painting the lines, this work revealed a new panorama and emotion of the time it was penned. It was obvious that pleasure of the soloists when performing as much the enthusiasm of orchestra, even though today it can also be read any restriction that the suppressed period left over the well-known work.
The second part, which began after some delay, captured the audience with totally a different aspect. Bach Duo of two inventions for violin and cello solo distinguished the magnifying portrait of the author, painted up to the smallest details the baroque period, the dress, the gestures and the philosophical atmosphere.
The attendees realized how in two small and short works the instrumentalists did not think to stop on the surface. The performing was quite different from that of Nigel Kennedy & Juliet Welchman and was based on timbres, colors, blooms, or in general, on special colorist and portrayal of late Baroque thought.
Than a brilliant performance of Xenakis work, full of broken rhythms, in a dialogue where it was felt the strength, vitality and the echo of ancient. Still the performance was different from the best heard models, and perhaps even better from their previous. The playing was more spontaneous, closer to the native country of origin, much more thought of its kind and realized in every tissue of it.
Vashti Hunter’s performing of Tchaikovsky’s capricious part revealed, among other things, her beautiful and full sound, the sensitivity and especially the brilliant cello player technique, despite any mistake.
Finally, the Romanian Rhapsody of Enescu for violin and orchestra, arranged by Christian Lolea. This time it was performed along with the heart of the orchestra – the strings ensemble. “As soon as I heard it – said Kadesha when being on stage – I liked it a lot and I started studying it.”
Not only the Romanian dances, nor the laconic narrative of Romanian melodic styles, so unique and with endless contrasts, but also the passion with which Kadesha performed were magic. He seems as if he was playing with the same spontaneity of Enescu’s music as if he is playing the dance of his village where he grew up, but it is difficult to approach for his seriousness, perfection, where expressive elements converge as magic into a divine work. We can not but emphasize that this electrified mood was wonderfully supported by the ensemble of the ART Orchestra. It was an evening that will be long remembered. Although the concert was over two and a half hours we experienced it as too short.