Finish the edition with a relentless concertmaster


Beethoven sounded like a relentless military march on most of the songs, with rigid timing without a single inflection. A brilliant symphony can hardly come to life when the conductor’s arms are occupied by a violin and his bow in full swing and the facial countenance is hidden for half an orchestra.

Beethoven sounded like a military march in most of the songs, with rigid times, without an inflection


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Whose brilliant idea was it: the headline, who is supposed to be the director of the rehearsals until two days before the concert; of the concertmaster, who did her best, to the point of exhaustion, in the confidence that the symphony orchestra is the same as a chamber ensemble; or from the orchestra itself in a reckless outburst of optimism?

The difference was already in the program, which began with a work for bows, the beautiful and popular Divertimento in D, K136, for a quartet or string orchestra. Although a little over-volume, it sounded in tempo, very clean in all instruments, bright and friendly in its elegant worldliness.

Very curious the Three equali for four trombones (without orchestra) by Beethoven, Wvo 30. Splendidly played by the interpreters, led by Bernard Doughty, soloist of the Orchestra. We hear for the first time in the Islands an unprecedented structure, whose equal elements (not the final form) differ in treatment. They sounded with a beautiful melancholy, sad even, and loyal to the funerary use they had.

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