A concert entirely traditional, what you give in these days. That brings together Brahms and Haydn, highlighting some of the first roots that sink more or less deeply in the second.
now to report the disposition of the orchestra, a hybrid between the unusual layout High German and modern bass line in front, bottom, brass all right, violas and cellos to the stage back, and especially timpani (and triangle) on the far right on the table, almost in the foreground.
The links between Brahms and Haydn emerge from the first track program, Brahms Variations (for orchestra, because there is a version for two keyboards) a Theme by Haydn (or what purports to be, actually ...) A theme - Choir of St. Anthony said - 10 bars of two sections of 5:
and subjected to eight variations, followed by the lock.
Zhang has strictly complied with all the choruses, and gave a reading of his eighteenth-century (avoid misplaced emphasis) of this work that Brahms used as a last test before deciding to plunge: entering the world of the symphony (the first followed three years later).
Arriva now Alison Balsom (a nice little mother, I must say, although yesterday - sin - his legs were covered by a long scarlet , sure to avoid the public every distraction from the music) to try his hand in the famous Concerto for trumpet of Haydn. Which is practically the only classical piece on a concert (a) solo trumpet has available to it, however, which should allow (the) to master perfectly. Concert by Balsom already interpreted Zhang in Berlin recently. But here ( 1. , 2-3. ) a performance at the Proms 2009, when it was still the beautiful Alison become a mother.
In the first movement there is room for a rate, usually left to the inventiveness of the interpreter: the Balsom has its own (see youtube) as well as yesterday's got revived. Does not reach the super-high Eb (as does the black boy Wynton Marsalis here at 6:05) but anyway we are satisfied!
The theme of the beautiful Allegro in Ab major, has the opening words reminiscent - who later became famous as the national anthem - Poco adagio cantabile of the third Quartet Op. 76, the famous Emperor , made close to the trumpet concerto. And you remember - coincidentally - just Brahms when opening his Requiem:
Alison exposes with great pathos, perhaps the best part of his interpretation.
The last time has a theme, well known, in the key of Eb basis:
Here, unfortunately, there have been a couple of inaccuracies, but willingly forgive. As the little freedom that usually takes Balsom: to close the concert (the last 8 bars) an octave higher than Haydn wrote the score. Which is highly effective, but still ...
great triumph for her, that gives us as a its transposition to a trumpet Syrinx that Debussy wrote for the flute.
It closed the concertone tenth of Beethoven, as an admirer (pro tempore) of Wagner had to define the bizarrely First Symphony of Brahms .
Zhang has given to me, absolutely classical interpretation, Giulini à la, say, lowering the strict severity perfectly gruff bear of Hamburg. Already by the detachment of the introduction of time, marked by resolute, but never pompous, good shots of the eardrum Viviana Moloney. Then we rightly spared the refrain of exposure (which in fact will insist on today just do) to conduct 's Allegro very clean and precise gesture.
delicate and the subheading ' Andante sostenuto, closed by the remarkable cadenza is accented with horn Joseph Amatulli and violin Luca Santaniello .
The third movement, allegretto, pretty little , has a theme and actually pretty long, that seems the product of a wonderful inspiration. Then, if you examine it closely, it turns out that there are two sections of 5 (again!) Characters each, where the latter is obtained by simply reversing Mirror the first!
short, a simple mechanical operation that produces a visually brilliant! And Brahms was a master of these - let's say - tricks (Flemish?) As can be seen in his other famous passages like the beginning of the Fourth Symphony , a trivial sequence third descendants, but with some inversion of intervals ... And what was the Brahms liked to Hanslick, who saw confirmation of his theories on the beginning and end of music itself .
the introduction of Finale, where we hear the famous call of the horn, which falls off by a dominant, which Brahms had written several years earlier, bringing it on a postcard sent from Switzerland to Clara for her birthday, September 12, 1868:
The postcard reads:
Also Blus heute das Alphorn:
Hoch auf'm berg, tief im Thal; Grüß ich dich, viel tausend mal!
(So she rang the Alphorn today:
from upstream, from the deep valley, I greet you, a thousand times)
Moreover, the reason is something that had already heard in musical theater:
As you can see, the notes are just a few! But these are content when they are arranged so brilliant.
All triumph in the end, as you are well deserved.
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