It is not his first appearance, since last week, the musicians reported the name, the Daniel Barenboim accused of humiliating behavior in his work as a conductor and General music Director. On Sunday he had conducted in the state Opera in Strauss’ “Elektra” – matter-of-factly, but very tired and up to the middle of the piece, up to the encounter ELEKTRA’s with Clytemnestra. Then, as the trench was awake, was suddenly feel that there is something.
And now, the Symphony concert of the Staatskapelle on Monday evening, to counteract the busy focus, Yes fit, and taking the applause of the audience, “his” audience, smiling. Signs, whether and how the debate around its busy Person, are not seen and not heard: The opening piece to succeed urge.
In the case of Schubert’s “Unfinished” Symphony, to create basses and cellos from the first breath in an atmosphere of tense Lauerns, primed by the eerie sixteenth-notes in the violins, over which the main theme in the Oboe. The ländler-like side topic, the main reason for the popularity of this hull, the Symphony, the low strings, before Barenboim leads the orchestra in a world of gloomy minor modulations. The second set, the light E-flat major, the b minor of the first on the greatest possible way of contrast, it dynamically differentiates and stands the next of the three topics with the most powerful Forte – beats of his more contemplative sound environment.
Macho and confident orchestra
How much of the sound you would hear Martha Argerich in a solo evening with Schubert sonatas, and non-plugged. But, alas, the great pianist and master of the honed narrative Details occurs for a Long time only together with the other, in chamber music or in orchestra. Daniel Barenboim, who knows Argerich for decades, and with it, the Argentine origin shares, you know, like the orchestra on the piano game must be received. But in Prokofiev’s third piano Concerto, he does not leave you largely alone, puts them in the solid, and Yes macho triumphant orchestra of the state chapel, in the sensitive fine-drawings of the sound is often lost bonfires – even if you master the part ludicrously rapid thirty-second figures in the three sentences, without any apparent effort.
And in the Grand final Allegro set it skin anyone from the curve, blows, breathing a soloist and Tutti is actually the same air. Nevertheless, the impression of an orchestral piece with obbligato piano accompaniment. Even the addition of one of the pieces from Bizet’s “Jeux d’enfants”, plays Argerich not alone, but with Barenboim four hands.
The main work of the Evening is a kind of foreplay for the Premiere of Jörg Widmann’s Opera “Babylon” at 9. March in the Linden Opera. After the Munich premiere in 2012, Widmann has created from the most important motives of a “Babylon-Suite” – not an unusual procedure, one need only think of Richard Strauss’ der Rosenkavalier Suite. With Strauss Widmann combines not only the birthplace of Munich, but also the love for the brilliant bombast, to steam Pathos.
Suddenly, the Isar flows into the Euphrates
“Babylon” is not as bloodthirsty as the ancient Opera, but musically before this. Power of attorney, epic, the orchestra, the score quickly switches between a high tone (which arises inevitably when one such as Peter Sloterdijk writes the Libretto), and the intensity of a thinning of the sound image in the love scenes. Clarinettist Widmann on a strong brass section, concert master, Wolfram Brandl has the solo violin all the time do. The highlight: the desire to full Disassemble of the Royal-Bavarian defilier March in an orgiastic Celebration of the ancient city of society. Mahler is likely to have been modeled on – and suddenly, the Isar flows into the Euphrates.
more and more Difficult, the Finale: A new, modern agreement of people and gods is closed, but Widmann revels in right consonants blessed, film music, suspicious Kitsch. The state of the chapel opposite to the plays all of this as detached, with a clear, bright sound as they strut in the sun.
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Daniel Barenboim and his musicians bask in the sun, in a standing ovation. Euphoric applause is determined to love and also a little bit defiant.