BTN News: Last Friday, August 9, the Bogotá Philharmonic Orchestra, under the baton of Swedish maestro Joacim Gustafsson, delivered a captivating performance that brought to life the latest piece by composer Niklas Sivelov. The event, held in a recording concert, featured an eclectic program that also included Schumann’s “Concertino for Four Horns,” Blas Emilio Atehortúa’s “Divertimento a la manera de Mozart,” and Mozart’s Symphony No. 41, known as “Jupiter.” The evening was a brilliant blend of tradition and innovation, showcasing the intersection of classical forms and contemporary experimentation, a hallmark of Sivelov’s unique compositional style.
Niklas Sivelov, born in Skellefteå, Sweden, is a renowned pianist, composer, and professor at the Royal Academy of Music in Copenhagen. He is celebrated for his ability to fuse traditional and experimental elements in music, creating works that resonate with both the past and the present. At 56, Sivelov has already composed six symphonies and six piano concertos, a testament to his prolific career and deep connection to musical traditions. “I suppose I’m very authentic in connecting with tradition, but at the same time, I want to create something of this era. For me, it’s about being free. It’s a mix of traditional and modern styles,” Sivelov explained, reflecting on his creative process.
The evening’s centerpiece was Sivelov’s “Divertimento for Orchestra,” composed in 2022. This piece marked a return to the roots for Sivelov, who hadn’t written in this style since he was 17. Traditionally, a divertimento is a light and playful form of music, often written for a small ensemble. However, Sivelov broke convention by incorporating a full array of strings, winds, and percussion, adding depth and complexity to the piece. Gustafsson, who has been the artistic director of the Bogotá Philharmonic since 2012, led the orchestra in this dynamic and multifaceted work, which was being performed for the first time.
The performance began just after 7 p.m., with Gustafsson bringing Sivelov’s vibrant composition to life. The piece stood in stark contrast to Sivelov’s recent symphonies, No. 5 and No. 6, which the composer described as “quite dark and dramatic.” In contrast, the “Divertimento for Orchestra” was infused with humor and a sense of entertainment, offering a fresh and lively experience for the audience. Natalia Ríos, attending her first concert by the Bogotá Philharmonic, described the experience as almost cinematic. “It made me think of silent films; it felt like I was running and stopping whenever the music asked me to,” she said, capturing the energy and narrative power of the performance.
The performance of the divertimento concluded around 7:40 p.m. to a hesitant round of applause, as the audience was mindful of not interrupting the recording process. Gustafsson then invited Sivelov, who had been discreetly seated in the upper section of the Fabio Lozano Auditorium, to join him on stage. The two Swedes, collaborators and friends for eight years, received a warm ovation from the audience. “I like this piece; it has a bit more darkness and drama in the second part, but the rest is unusually happy, and I like that. It holds a special place for me,” Sivelov remarked, reflecting on the significance of his latest work.
Following this, the orchestra performed Schumann’s “Concertino for Four Horns,” featuring soloists Jorge Mejía, Kevin López, Gabriel Betancur, and Deicy Restrepo, who was making her debut in a solo role. Restrepo expressed her excitement about the experience, saying, “I was very excited for my first time. Being accompanied by these colleagues, I felt confident we would succeed.” Betancur highlighted the technical demands of the piece, noting, “It’s a very exciting concert for a horn quartet because it requires a high level of technical skill, but we’ve worked hard and enjoyed it because we know each other as colleagues, which makes the work easier.”
After a brief intermission, the concert resumed with Blas Emilio Atehortúa’s “Divertimento a la manera de Mozart,” composed in 1970. The piece served as a perfect prelude to the evening’s grand finale, Mozart’s Symphony No. 41, “Jupiter.” Gustafsson, reflecting on the program, noted, “It’s interesting how so many things come into consideration when building a program. For this concert, we chose a program that aligns with Niklas’s style: we found Atehortúa’s Divertimento, which fits perfectly.”
Mozart’s Symphony No. 41, often hailed as the pinnacle of his symphonic output, brought the evening to a close. Jorge Mejía, one of the horn soloists, described the symphony as the masterpiece of a program that “communicates a light, dynamic, and colorful discourse that weaves together beautifully.” The audience, which had remained subdued throughout the concert, erupted in enthusiastic applause as the final notes of “Jupiter” resonated through the auditorium. Zuly Restrepo, an attendee who had developed a love for symphonic music during her time in Germany, praised the event as “on par with the concerts in Germany.” Her companion, Natalia Ríos, added that it was a “very affordable plan that needs more promotion and more youth participation.”
As the audience gradually filed out and the musicians began packing up, Gustafsson, still brimming with energy, joined Sivelov on stage. “After a premiere, you end up with so much energy. You would think you’d be exhausted, but it’s not like that. The music gives me a lot of energy. When you perform a piece for the first time, it’s as if a new light is born: this music had never been heard before,” Gustafsson explained, reflecting on the evening’s triumph.
Sivelov, smiling at his colleague, acknowledged the challenges of his compositions, saying, “Niklas writes very difficult music for orchestras.” Gustafsson nodded in agreement, adding, “I had a great structure, but I also have excellent musicians. They contribute things that benefit the music because the baton itself doesn’t make a sound.” Their camaraderie and shared passion for music were evident as they basked in the afterglow of a successful evening.
The Bogotá Philharmonic Orchestra repeated this program the following night, August 10, at the León de Greiff Auditorium of the National University, continuing their mission to bring both classical and contemporary music to new audiences.
