Germany Hindemith, Schoenberg, Mahler: Tsotne Zedginidze (piano), Bayerisches Landesjugendorchester / Sir Simon Rattle (conductor). Herkulesaal, Munich, 28.1.2024. (ALL)
Hindemith– Ragtime
Schoenberg – Piano Concerto, Op.42
Mahler – Symphony No.1, Titan
Germany can pride itself on having numerous youth ensembles. In his previous roles in England and Berlin, Sir Simon Rattle frequently conducted young orchestras, professional and amateur alike. Naturally, this tradition continues in Munich. Last December, he conducted the musicians of the Academy of the Bavarian Radio Symphony Orchestra, and here he was at the helm of the Bavarian State Youth Orchestra.
For this particularly special evening the Herkulessaal was full. The audience, often composed of music enthusiasts of all generations, was even younger than usual but equally attentive. There were quite a few VIPs present in the hall, but most notably Lisa Batiashvili as the young soloist playing the Schoenberg is supported by her foundation.
The programmes that these young musicians present are typically anything but easy. Hindemith’s Ragtime is a dazzling and exuberant work reminiscent of Charles Ives’s fanfares. Here the full orchestra demonstrated its sonic power, and the brass instruments stand out with great strength.
A smaller orchestra remained on stage for nothing less than Schoenberg’s Piano Concerto. The evening’s soloist was the young Georgian pianist and composer Tsotne Zedginidze, who is only …14 years old.
Once the real surprise of seeing such a young musician on stage has passed, one naturally focuses on the music. In this far from simple work, Zedginidze highlighted the continuity of the piece, and in the softer passages the chords were rich with depth in the middle voices. He may not yet have the sound dynamics of more experienced pianists but showed great familiarity with and remarkable mastery of the score, leaving the audience in awe.
He received enthusiastic applause and performed an encore of Debussy’s Danseuses de Delphes once again bringing out the lines and harmonies with a charming personal rubato and playing the arpeggio chords towards the end with true elegance. One cannot help but feel concerned about whether this very young man will be allowed to develop serenely, but at the same time such talent and mastery are truly admirable.
In the second part, the orchestra returned to the stage in full force for Mahler’s First Symphony. The young musicians seemed a bit nervous in the first movement, and some tutti passages would have benefitted from a bit more clarity. But Rattle knows how to inspire them, and confidence gradually builds. Some of the phrasing, especially in the cellos, was quite original, and certain nuances very finely crafted. The second movement had momentum. The young musicians were careful not to make too pronounced a crescendo in the third movement, and they rose to the dimension of the superb finale once again, with a confident contribution from the delicate brass section.
In conclusion, allow me to share a personal anecdote. At the University of Munich where I work, one of my students from Berlin still fondly recalls her participation in the Bundesjugendorchester under the direction of Sir Simon Rattle. Another student, who studied violin at the Mozarteum in Salzburg, often speaks of her exceptional experience with the Bavarian State Youth Orchestra under the direction of Mariss Jansons. Although many of these young musicians ultimately do not pursue a career in music, the opportunity to make music in such extraordinary ensembles remains a source of joy for them and their country, but also for all of us.
Antoine Lévy-Leboyer
Featured Image: Tsotne Zedginidze and Sir Simon Rattle © Astrid Ackermann