Piano concert at the Stockholm Concert Hall, with Arkadij Volodos playing Aleksandr Skrjabin and Franz Schubert.

The concert leaflet describes Skrjabin as innovative and boundary-breaking. To me it just sounded dissonant and chaotic. I read that the brain releases dopamine both when it hears things in music that it recognizes or predicts, and when it is surprised. With Skrjabin, I felt there was nothing predictable at all so there was nothing to hang on to. No melody line to follow, no recognizably recurring phrases. It was like… stuff just happening, all the time. Music that’s a hundred years old, and it’s still too modern for me.

Schubert is always Schubert, though!

Volodos also played several extra pieces after the official programme, and the third of them was such a glorious piece of music that I didn’t even hang around to see if there might be more. There was just no way he could top that. Konserthuset kindly publishes updates to the concert programme after the fact, so I now know it was his own arrangement of La Malagueña, a flamenco piece originally written for the guitar I’d guess. You can see a somewhat blurry video of it here. There’s just… fingers absolutely everywhere, and I can’t see how could possibly hit all those notes with any kind of control, but clearly he does. Absolutely magnificent.

Speaking of Schubert, the last concert in the chamber music series that Eric and I go to together also started with Schubert. An octet by Schubert, and followed by another octet by Jörg Widmann, who wrote it as a tribute to Schubert’s octet. And my opinion here was the same – liked the Schubert, but Widmann’s octet was too un-melodious for my taste.