The time I stood

Two takes on Satu Vanska in one day, and this one in the wondrous brutalist space of the High Court foyer playing Shostakovich and the like, for which I have a new awareness and love, and with a fellow hugely capable pianist.  I think I was the first to stand for an ovation and normally I never stand.  Oh, and front row, close, getting a seat as the recordist for the session.  What's not to like.  But it's more than like, of course.  This is powerful, challenging, unrelenting, mind-altering, in its time dangerous music which makes for much of its power, no doubt.  Konstantin Shamray and Satu Vanska performed a program called Echoes of the Iron Curtain with music by Galina Ustalskaya, Shostakovich, Arvo Part and Prokofiev.  We heard of Shostakovich's love of Galina and this work as perhaps her response (suffice to say negative).  I was struck by relentlessness note patterns as a harmonic underlay and unexpected flourishes and the demands of the whole, although perhaps more from Ustvolskaya and Prokofiev than from the Shostakovich, which here seemed more melodic, and the Part.  The program was Galina Ustvolskaya  Sonata for violin and piano, Shostakovich selections from preludes for violin and piano op.34, Arvo Part Fratres for violin and piano and Prokofiev Violin sonata no.1 Fmin.  Just overwhelmingly capable playing, huge sound, imposing space, challenging music, exceptional seating.  This just had it all and I remain in awe.

Satu Vanska (violin) and Konstantin Shamray (piano) performed Ustvolskaya, Shotakovich, Part and Prokofiev for CIMF at the High Court.

Finland's further fields

I didn't particularly know what to expect, but with one past and one current and renowned member of the Australian Chamber Orchestra I had high hopes.  Suffice to say they were fulfilled.  This was called VIULUT and the performers were both violin or viola and they were both of Finnish extraction, presumably Finnish citizens.  It was held at the Finnish Embassy, so comfy and a fairly small audience.  Quite intimate, always something special.  Erkki Veltheim seemed to gather or direct the event, indulging in all manner of alternative viola and violin, even e-violin, playing, with a pedal board worthy of a rock guitarist, sometimes improvising to his own recorded backings.  And it was fascinating, tuneful, capable improv.  I could hear some jazz lines, but mostly a form of melodic classical improvisation perhaps over moving chordal structures, as famed players of the past could.  Not just adventurous noise.  But he was no slouch in the standard repertoire, occasionally backing Satu Vanska's voice for a Finnish tradition song (translation: There is my sweetheart) or playing with Satu for several pieces from Finnish composers or just sitting while she blew our minds with various cadenzas.  There was one Sibelius, of course, as required, but mostly, I guess, more modern.   Satu was just disarming, playing with such fluency, ease and clarity that had me chuckling at times at the rapid fire scales of immense clarity or the purposeful readings.  But all round this was Intriguing and adventurous and perhaps homely and always  hugely capable  Loved this one.

Satu Vanska (violin, voice) performed with Erkki Veltheim (violin, viola, electronics) at the Finnish Embassy for CIMF.