such A tasteful evening with classical music, that it is almost to the old-Fashioned, Yes Bräsige borders: moderately occupied room. A solo concert of 1803, a Symphony of 1804. Probably applause with each Juchzern, a tightly-bound bouquet of flowers for the soloists wool. Beethoven from early to late, so from the beginning to the end of the program – only the addition of, Seong-Jin Cho’s plays, comes from Mozart. If it would be allowed to personalize concerts, would you quote with a view to this evening in the Philharmonie, Georg Büchner, “he did everything, as the others did, but it was a terrible Emptiness in him.”
Marek Janowski, who has just made his 80. Celebrated a birthday, and the WDR Symphony orchestra, with which he is in these days on the birthday tour, do not deserve this write-up, of course. On the contrary, the Maestro returns with the appearance in the old place of his Ministry, he was from 2002 to 2015 boss of the local radio Symphony orchestra. And the Affection of the Berlin audience is also feel now, just like the reputation of the 1994-born Cho at the piano has played, not least as the winner of the Chopin competition in 2015.
At the end of fragmentation hazard
looming, However, Cho is not in Beethoven’s third piano concert. Instead, the paradoxical Situation, that even the solo has a part to little space. Already considering whether the whole genre is just not for Cho, if this is, perhaps, rather for solitary Recital evenings where be clear of the stop, the impeccable technique, the small, lacquered refinements of better – because the second sentence begins. And Cho plays him to the top all alone, with such a beautiful Echo and longing effects, and many-colored chords (which appear even after the attack still continue to hum), that one is at once aware that this Pianist is much better than this orchestra, the Cho is just a half-hour long zudeckelt with ordinariness, and a lack of imagination.
– Part device, as expected, the “Eroica”. For Janowski, old, old school, represents Beethoven’s third is certainly the Interior of the core repertoire. And sure, the fugal passages in the funeral March to unfold, as always an automatic knock-on effect. The Scherzo lifts almost rustling to expand and then quickly a great gesture. In the first and last sentence, but the threat does not Dissipate, so you think all of a sudden only to the high tone of the work, but also to the high conductor of claims it represents.
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