Great concert with Xian Zhang , which engages with a late-Romantic program.
Orchestra hypertrophic (except for Ciajkovski) with the double basses lined up in the bottom line, in front of and behind the drums and horns.
The appetizer is the English Capriccio of Rimsky , a classical piece suitable to break the ice and put the audience in a good mood. The Russian composer based it on a collection of English folk music, Ecos de España (hence the title proper Capriccio on English Themes ) of Inzenga y José Castellanos . L ' Alborada, which is present twice (1st and 3rd song) in different keys (LA and Bb) is from a song of shepherds greet the morning. The changes (2nd song) come first dall'asturiana Dance (danza serale). La Scena e canto gitano (n°4) viene dall'Andalusia, con le sue caratteristiche note diminuite (secondo, sesto e settimo grado della scala). Chiude in bellezza il Fandango asturiano con un travolgente Presto , che scatena l'entusiasmo.
Fasciata in un lungo scarlatto, arriva poi - per deliziarci con il Concerto per violino di Ciajkovski - Arabella Steinbacher . Che nulla ha da invidiare – a mio modestissimo avviso – con il Leonidas Kavakos ascoltato nello stesso impegno settimane fa con Gergiev alla Scala. Invitation to sdolcinature, they did write to Hanslick of music that stinks (and more recently have been making music that invites you to drink ) the beautiful Arabella, and Zhang with her, we propose a Ciajkovski with a scent of air fresh, dry and nervous. Great victory for the violinist Kraut-Japan, which also gives us an encore (Ysaye?)
It closes with the Zarathustra and his mistreated too (outside the walls, not here, performed in so excellent) introduction of the Astra nascent horns, the symbol of Nature . A listener naïve (we all we have been at least once) one imagines that it is not blazing start, in fact, just the beginning, and that his brilliance should go back, necessarily, and even magnified, during and especially at the end of the song. Oh no, here we are in the philosophy and the beginning is not really a bright dawn which necessarily followed by a sunset, not even the brightest dawn ... word Nietzsche (who also did not invent anything, but maybe he thought interpret Anaximander of Miletus ). Of course, in the central episode of the convalescent the theme is repeated, but almost with arrogance and even irritating, with the brass (2 tube included) in a heavy fff . Then come back - and finally at the very end - almost as un'impersonificazione 's apeiron .
long way in Man no room for religion, and will not be a coincidence that - just in the initial Von den Hinterweltlern (the inhabitants of the transcendent world) - Strauss we stick a couple of references liturgical I and Magnificat:
The work closes with a sort of tug of war - where, however, attention, the two opposing shaking hands with supreme force - including agreements in the key of e di DO (quanta simbologia si portano dietro, e quanta musicale e filosofica distanza):
E quando pare che sia la prima – l'Uomo, lo Spirito - ad avere il sopravvento, ecco che la seconda, la Natura (l' apeiron ?) si riprende l'ultima parola, per quanto appena appena esalata: in pizzicato , violoncelli e contrabbassi ne ripercorrono, due volte, il tema iniziale (l'ascensione DO-SOL-DO) e infine, dopo l'ultimo accordo di SI maggiore dei flauti col primo violino sulla dominante FA# superacuto, chiudono, sempre in pizzicato, con tre DO gravi:
In a concert hall (perhaps not the case with headphones listening to a CD), these notes, in triple p , you risk losing them altogether if you do not know a priori that there are. Anyway, our ear very hard to distinguish, in the grave, a C from an SI: and who knows if it was not exactly what we wanted ... Strauss
Convincing in every aspect of the approach Xian Zhang supported by a truly remarkable performance of the orchestra (performance unfortunately disfigured by a pair of defaillances the trumpet in the second part of the convalescent , one that leads to Tanzlied : cose che capitano, evidentemente) che le ha meritato un grande successo.
Ancora Zhang per il prossimo appuntamento con Mahler .
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