Reviews
of the Lindberg Cello Concerto performance in
London 7.2.2002 with the Philharmonia Orchestra and
Esa-Pekka Salonen:
The
Sunday Times 17.2.2002
"...the
dense 1999 Cello Concerto, a big, refractory,
glintingly impassioned work whose London premiere
at the QEH benefited from the amazing Anssi
Karttunen, a soloist who could persuade anyone of
anything."
Paul
Driver
The
Guardian
"...The solo
writing is fiendish - it was written for Anssi
Karttunen, who played it superbly here. Everything
builds towards a big cadenza (unusually these days,
left to the soloist's own invention),"
Andrew
Clements
The
Times
"...Cello
Concerto, written in 1999 and receiving its British
premiere with the mesmerising Anssi Karttunen as
soloist..."
Richard
Morrison
Financial
Times
"...One of
the new-to-London works was Lindberg's recent Cello
Concerto for the tireless virtuoso Anssi Karttunen
(can anybody else actually play it?), in which
perpetual interplay and echoing between soloist and
orchestra form the main burden."
David
Murray
The Daily
Telegraph
"The
concerto is a typically active piece, with an
exacting solo part played with commanding power and
agility by the dedicatee, Anssi
Karttunen."
Geoffrey
Norris
Ojai:
Performances at festival both virtuosic and
playful
Lindberg's
Cello Concerto, which had just been given its world
premiere by Salonen and the Toimii cellist Anssi
Karttunen in Paris three weeks ago was on the
program in Libbey Bowl with the Los Angeles
Philharmonic, and it was more virtuosic still. I
don't know that a concerto has ever requireda
cellist to leap about with such agility as
Lindberg's new piece does, and I have never heard a
cellist play with a touch as light as Karttunen's.
He seems to skim on the strings with bow and
fingers as if this were music as sleight of hand,
meant to amaze. Other Finnish contributions to the
festival included Kaija Saariaho's wondrously
sonorous "Amers" for cello and ensemble (Karttunen
again was the unbelievable soloist).
Mark
Swed, Los Angeles Times 7.6.1999
Magnus
Lindberg's Cello Concerto
There was
also a world premiere last week, of Magnus
Lindberg's Cello Concerto - commissioned by the
Orchestre de Paris with Rostropovich as prospective
soloist, but Lindberg decided to write it for
Karttunen instead. Reasonably enough, since
Karttunen is not only a close collegue, but an
ultramodern world-class virtuoso. Where soloists
are concerned, Lindberg revels in far-out
virtuosity.
David
Murray, Financial Times 12.5.1999
The
Beauvais cello festival
The Finnish
cellist Anssi Karttunen played three shorter solo
studies by Berio, Betsy Jolas and Kaija Saariaho
with scorching intensity. He is among the most
brilliantly creative cellists alive. No wonder
Magnus Lindberg got away with accepting a
commission for a new cello concerto next year while
insisting that it should be for Karttunen instead
of Yo-Yo Ma, the soloist of first choise! Here, the
composers were as amazed, gripped and braced as the
rest of us by what Karttunen made of their brief
pieces.
David
Murray, Financial Times 20.5.1998
A
Finn´s New York debut
Anssi
Karttunen, a rising Finnish cellist, recently made
his American orchestral debut with Mr. Salonen and
the Los Angeles Philharmonic; on Monday night, he
made his New York debut with an intriguingly
constructed program of 19th- and 20th- century
music.
The
highlight of the program was its most recent entry:
"Moto" by Magnus Lindberg, a Finnish composer who
has become one of the most intriguing voices in
contemporary European music. Composed last year for
Mr Karttunen, "Moto" is a shimmering post-serialist
soundscape, rigorous in design and impressionistic
in effect. Mr Karttunen, accompanied at the piano
by Tuija Hakkila, brought off the complex
sonorities with fierce conviction. The performers
had a similar command of Anton Webern's Sonata and
"Three little Pieces."
Mr
Karttunen's tonal versatility brought to life two
tango pieces by Astor Piazzolla and the Sonata No 2
of Enescu; ... in Schumann's Romances and Fantasy
Pieces the intensity and intelligence of the
playing overwhelmed any doubts about
technique.
Alex
Ross, New York Times 11.1993
20th-Century
Solo Cello
Anssi
Karttunen imbues what can sometimes be quite
complex writing with ease and understanding. He is
able to draw a thread through the myriad of
textures, and generate a marvelously interesting
variety of sound. His enthusiasm for this music is
unquestionable, and this is coupled with a
formidable technical armoury... Of all the works on
this fascinating disk, I found Ysaye´s Sonata
the most appealing, in terms of colour and
virtuosity, pursuing an improvisatory quality that
veritably sparkles in the hands of Karttunen.
CD
REVIEW 1994
Complete
Beethoven works for Cello and Piano Vol.
1
Anssi
Karttunen plays an English cello with a pleasantly
buzzy tone and prominent upper harmonics, and
Hakkila´s fortepiano is based on a Walter of
1795. The result is bright, almost brilliant, in
tone, and the overall effect is much more forceful
than we expect from traditional modern
performances.... The forthright, nervous, powerful,
but above all accurate, performances of all the
works bring the music to life most vividly. These
young Finnish artists truly understand the spirit
of early romanticism...
CLASSIC
CD 1995
A. Karttunen
and T. Hakkila play as if they really are exploring
ideas of startling novelty, daring each other on,
and pushing their instruments to the limits of
their capabilities... In the op.5 No.1 Sonata they
recreate the energy of those two itinerant
virtuosos, Beethoven and Duport, in whose hands the
work first came to life. Rhythms snap one against
the other, as the sudden mischiefs of brief song,
so prophetic of the compact dramas of the op.10
piano sonatas, spring to new life.
GRAMOPHONE
1995
Complete
Beethoven works for Cello and Piano Vol.
3
Anssi
Karttunen and Tuija Hakkila play on period
instruments with spaciousness and flexibility of
phrasing, complemented by keen attention to the
finer points of articulation; a seemingly
effortless command of their instruments, which is
put entirely at the service of the music, never
succumbing to bravura display; and an ideal
instrumental balance is beautifully enhanced by the
recorded acoustic.
Hakkila is
one of those all too rare fortepianists who never
slam into the keys, forcing the instrument beyond
its optimum dynamic range - a failing especially
rife in "period" Beethoven. Nor does Karttunen opt
for the doctrinaire ban on vibrato that makes so
many "historical" performances so tedious. The
sound is certainly denser than one expects of
conventional cellists, but never distractingly or
frustratingly so. Their mutual discourse is a joy
to hear, each player beautifully sensitive and
responsive to his/her partner with no hint of
jeopardy to the overall unanimity of view.
***** -rich,
musicanly playing, warrants repeated listening.
CLASSIC
CD 1996
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