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Transfigured Knight
Reviewed in the United States on September 15, 2015
Let me first say that I like a good bit of Vasks' music ("Distant Light," "Vox Amoris," "Concerto for Cor Anglais," "Musica Adventus," etc.), but what I have found on this particular recording are two works that show the composer in a musical light that doesn't suit him. Vasks always seems to be grouped together with composers like Part or Silvestrov. The truth is all of these composers couldn't be more different from each other. Vasks seems to inhabit a world somewhere between the folk stylings of perhaps Bartok or Enescu with a good mixture of solemn contemplation and sparser moments. One thing I don't think Vasks does well in is the symphonic form. None of his symphonies have much substance to them. They seem, if anything, to be a hodgepodge of musical ideas that are unrelated and lack formal structure. He doesn't develop his ideas very well either in the symphonic form. The opening of "Symphony No. 3," for example, is ravishing, but then it veers off into absolute nothingness and the whole thing felt aimless. The introduction was the best part of this work sad to say. The "Cello Concerto" fairs somewhat better, but I think he tries too hard to evoke drama when there really seems to be nothing to substantiate or warrant the drama in the first place. Again, the lack of direction and development of ideas just aren't there.I know many people like the "Cello Concerto", and "Symphony No. 3" for that matter, but I could find no redemptive qualities about either work. I have heard better music from Vasks like the afore mentioned works and it seems he does better when I believe he's not trying so hard to make a dramatic statement and the music itself unfolds naturally instead of coming across as being forced.Check out these recordings for, what I believe, is great Vasks:
Michael Roof
Reviewed in the United States on June 12, 2012
Over the past year, I have become a huge fan of Baltic choral music (Vasks, Esenvalds, Miskinis, Bryars, Praulins)and in my pursuit to find music that provided the same ethereal beauty and expression, I purchased this highly recommended CD of Vasks orchestral faire. Alas, the Baltic choral magic is not to be found here, at least not for me. The music is OK, periodically even lovely and expressive; but in my view, the peace and beauty is too often dashed by the 'shouting' and ugliness of a common, mid-20th century sound that just won't go away - like an angry Shostakovich without the clever tunes.This material may please those who appreciate mid-20th century orchestral racket, but this is not the remarkably beautiful and expressive music that Vasks gives us in his many choral compositions. 'Pater Noster' and 'Plainscapes' are both superb and meaningful offerings. This release just doesn't work for me.
B. R. Merrick
Reviewed in the United States on May 12, 2009
Vasks begins his Third Symphony in the manner of Brahms's First: a long line of melancholy driven forward in triple time, that confronts the listener with a wall of solid orchestral sound. It's absolutely stunningly beautiful.From there, he veers off into various contrasting musical ideas, hinting at Scandinavian influence and also the spare modern writing of Eastern Europe (although his orchestrations are as thick and serious as his harmonies). The Tampere Philharmonic does a nice job of keeping the music flowing from start to finish, in both the symphony and concerto.Like a lot of contemporary composers (I'm thinking of Danielpour, Rouse, and Kirchner here, and I think you all know which CD I'm talking about) Vasks's Cello Concerto pushes the orchestra far out in front. However, Vasks has some extraordinarily fascinating things to say in doing so.The music comes out pretty clear on this recording, although it is a tad more muted than what I think you would expect. I can't tell if that's the orchestration or some other factor. It isn't so much a complaint as simply an observation. It's well worth the purchase to hear such a fine composer, conductor and orchestra.
CSB
Reviewed in the United Kingdom on February 17, 2008
The Tampere Philharmonic Orchestra is one of Finland's finest, and they do Vasks' third symphony and Cello Concerto proud. This follows on from their award winning and equally excellent recording of Vasks' second symphony and violin concerto 'Distant Light'.Vasks work stands well alongside his Northern European contemporaries: Part, Rautavaara and Tuur. Less well known than Part, his work is perhaps more accessible and incorporates traditional elements from his native Latvia, and though it is by no means 'easy' listening it never gets tangled in a modernist knot. The third symphony repeats the emotional depth of the second symphony, though is perhaps gentler. Vasks makes full use of a large orchestra and those familiar with the second symphony will recognise the similarities.The Cello concerto builds gently and slowly through five movements to a tremendous, soaring finale in the Cantus II, before rising softly and fading. Too challenging for a Classic FM listener but the form is still very classical, Vasks' composing is measured and he never allows the medium dominate his message. Marko Ylonen's playing is precise and is balanced well by conductor John Storgards, with the excellent Tampere PO showing why Finland punches above its weight in the classical music world.Worth the money for the Cello concerto alone. I can see this being well played over the coming months.
Jerry
Reviewed in the United Kingdom on December 29, 2008
I couldn't wait to get this - Vasks has long been one of my favourite modern composers. And, oh dear, what a disappointment. Yes, the music is very fine and is (probably) ably performed. But the sound quality is murky and ill-defined. I can't really hear what is going on at all. It's the same on both the CD and SACD layers. What a shame! How can they screw up this badly?
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