There is a time link between the two austrian composers this evening. On the one hand, of Anton Bruckner, whose marble bust Hitler had installed in marmorbyggnaden Walhalla as a metaphor for how Austria would be incorporated into the Third reich. On the other hand, Franz Schreker, who because of his jewish origin, was forced away from Berlin’s vibrant cultural life by the nazis. So different can two konstnärsöden tea when the policy gets to decide over who should be immortalized or be rejected.
a klangvisionär who found that existing instruments were inadequate, but which at the same time could be regarded as old-fashioned romantic. His ”Kammarsymfoni” learn not to have abated in the Stockholm concert hall since 1921, but both of these ideals find expression. Motive, he picked out his unfinished opera ”Die tönenden Sphären”, about a man who collects sounds. Violinerna wakes up from an enchanted sound of the celesta, harmonium, piano and harp in a wonderful music that retrieves nutrients from both the grand senromantik that mysteriously glittering impressionism.
Wagnervurmaren Bruckner is, in turn, staple of the repertoire, although the Symphony no. 2 is far from the main. In the usual order, is the piece in addition, in several revised versions. Sometimes it has been called the ”Paussymfonin” because the music occasionally seems to pause to catch my breath. But with the German conductor Christoph Eschenbach as an authorized guide, one can safely vantaa around during Bruckner’s massive arches and take a closer look at the klangliga the details that adorn every nook and cranny in this huge room. When träblåset forming an island in the slow movement, or when a rhythmic motif being shifted around among the pepprande bleckblås and spot the drums.
to get the most stubbornly repeating features that appear to be important and brings out a wonderful luster with constantly renewed energy. He knows what is important and what you should rather rush past in order not to get caught up in the repetitive and rhythmic.
