a concert was Advertised, under the direction of Pierre-Laurent Aimard, then it is Vice versa, being familiar with Aimard rather the concertmaster Candida Thompson. His wing is in the rear part of the tight-pull up a chair stage of the chamber music hall, from there Aimard throws glances, to hear visible the attention, but Thompson is on the first violins-the console, the switches, and managed, and on the fabulous virtuoso, compelling way.
by the Way, was for this evening, which, in turn, to the Philharmonic concert series “In memoriam Claudio Abbado”, a Twinning of the presented works is called for, but even that did not appear to redeem. Because on paper, W. A. Mozart and the born in 1908, Elliott Carter may be close, especially through the intermediary figure of the French composition teacher Nadia Boulanger, recalls the musical scientist Melanie Unseld in the program, numerous American composers taught, and again and again the “purity” of Mozart’s scores implored.
is Played but the place. And here it sounds more as if between Mozart and Carter not only centuries, but also compositional worlds. Thus, if two Mozart piano concertos are associated with two chamber music works by Carter, then the sounds colorful and also very exciting, but the inner workings of self-to tap into the inclined ear immediately.
the Greatest attention for each other and for the composition
So you are in for a very different listening experiences. First heard Mozart’s Concerto, K. 450, worn by aimard’s Engagement at the piano, and the wonderful spring intonation of the orchestra, is of the utmost attention for each other and for the composition of the plays. After a nearly half-hour, felt quite a long Opus of Carter, in 1991, on the occasion of Mozart’s 200. Date of death and for the same occupation was as the famous wind quintet. This is a trail less accessible, even if aimard’s energy and willingness to impress, as well as the virtuosity of Philippe Tondre (Oboe), Romain Guyot (clarinet), Chris Parkes (Horn) and Matthew Wilkie (bassoon), members of the orchestra for which, in turn, Abbado was a key Mentor.
the music are As excellent musicians from the COE, then the same again at the twelve-dance of the Carter”: Epigrams” of 2012, with Aimard, Thompson, and Richard Lester on cello: a finely chiseled result from harmonic talks, lush melodies, attacks, and an idiosyncratic twist in the end, to look again, a little Cadenza for the corner seems.
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The DSO and Pierre-Laurent Aimard magical lights in white nights
Frederik Hanssen
The final man denies, once again, with Mozart. Hardly the timpani and trumpet advanced orchestra is still on stage, the more magnificent the piano Concerto KV 503 blades (including a nod to what would later become the “Marseillaise”), the more energetic the applause afterwards.
