Ghostly remembrances: Weinberg championed in Birmingham

By Mark Pullinger, 25 November 2018

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“despite its sprawling nature, Gražinytė-Tyla exerted a firm grip over the symphony's architecture”

Reviewed at Symphony Hall, Birmingham on 24 November 2018

Weinberg, Symphony no. 21 "Kaddish", Op.152 (UK première)

Shostakovich, Symphony no. 15 in A major, Op.141

Gidon Kremer, Violin

Freddie Jemison, Boy soprano

Maria Makeeva, Soprano

Kremerata Baltica

City of Birmingham Symphony Orchestra

Mirga Gražinytė-Tyla, Conductor

Two to tango: Gidon Kremer celebrates Piazzolla in Prague

Frank Kuznik, 22nd November

With superb support from Kremerata Baltica and a smart set of soloists, Gidon Kremer continues a love affair that began 25 years ago.

*****

From tangos to Viennese cafés at Hamburg's Martha Argerich Festival

Linda Holt, 25th June

Piazzolla rubs shoulders with Lanner and Kreisler at the Martha Argerich Music Festival in Hamburg's Laeiszhalle.

****1

Bach goes Baltic: Kremerata Baltica at the Elbphilharmonie

Alexander Hall, 12th November

An intriguing combination of three contemporary Baltic composers matched against Bach, delivered with consummate musicianship by Kremerata Baltica.

*****

Gidon Kremer at Prague Spring: political consciousness and superb musicianship

Frank Kuznik, 16th May

Gidon Kremer brought the latest version of his Kremerata Baltica ensemble to Prague Spring on Friday night for more than a concert., in which he proved there is still no one quite like him who combines political consciousness with superb musicianship.

****1

Revivir la leyenda: Martha Argerich y la Kremerata Baltica

Leonardo Mattana Ereño, 26th November

Un concierto magistral, de altos vuelos, gracias a intérpretes excepcionales, Martha Argerich y la Kremerata Baltica, además de un programa interesante y equilibrado.

*****

Dépouillement et vérité chez Arvo Pärt, avec Gidon Kremer et la Kremerata Baltica à la Fondation Louis Vuitton

Manuel Gaulhiac, 31st March

Avec Fratres et Tabula Rasa, c’est un nouveau chemin qui s’ouvre à la musique. Mais plus qu’un chemin de la nouveauté, c’est le chemin d’un retour à une certaine forme de pureté de l’inspiration, qui passe dans l’écriture et la réalisation par une économie de moyens.

****1

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Ghostly remembrances: Mieczysław Weinberg championed in Birmingham