Iván Fischer is an extremely rare conductor, only he has not understood in Berlin. As conductor laureate, he returns regularly to the concert house orchestra, otherwise he is devoted to his Budapest Festival Orchestra and composed. If the Concertgebouw or the Berlin Philharmonic call, then a concert per season in there, and that was that. fishing is not a traveler Pultstar, rather, he is of the Belief that there is a need for deeper commitments to make music beyond the mainstream. Anyone who has seen him with his Hungarian musicians, know that this is not a pretty phrase.
his current program with the Berliner Philharmoniker can be read as a rejection of any Routine: Antonín dvořák’s “legends”, as well as the Phil harmonic Canon, such as Hugo wolf’s orchestral songs. And if there is, in the second part of Franz Schubert’s great C-major Symphony, but a classic, swirls Fischer the Seating arrangements on the Podium in such a way that even the orchestra need to ask around first. With the baritone Christian Gerhaher is a soloist joins in, sings always on a knife edge – the best conditions for a stimulating evening.
landscape of the soul moments
in fact, you would prefer to hear immediately, all ten of the “legends”, the Dvořák has summarized his Opus 59. Landscape of the soul moments, captured in a narrative tone that resonates from the Eswareinmal to continue to still always true. Fischer avoids the intoxicating brilliance of the “Slavonic dances”, roughens the sound surface easily, and the orchestral lights breaks, as in the November fog. Not a bad introduction to the singing of dark-laced songs with orchestral accompaniment by Hugo Wolf, Christian Gerhaher. He does heavy as expected, you can not blame only the Interaction with the conductor. Sure, the two rarely find a common Legato, orchestra throw Gerhahers threaten to swallow voice. But there is something in the wolf’s music, this may not show up this time, really, even if “The fire rider” blazes ecstatic through the hall.
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Christian Gerhaher in the chamber music hall, Two chambers of a heart
Udo Badelt
For Schubert Fischer, the passion is experimenting with orchestra statements, and the Philharmonic’s new: the Front of oboes, flutes, bassoons, and clarinets play behind the horns, and then the generous of the occupied strings. In order for balance to be moved, which could charge the big singing arc of Schubert’s last completed Symphony, in addition with voltage. There really are some beautiful moments of delicate abruptness, such as in the second sentence. But Fischer’s sound concept, wonderful with his Budapest orchestra on the CD implemented, will open the Philharmonic’s only half. Some of the device all of a sudden defiant – and that’s a mood in the dances themselves can take (even today, Saturday, 19 PM).
