3/11/2023 0 Comments Piano convertos mozart![]() At the rise of the curtain, three ruffians enter with a girl. The tale is lurid and violent, set in a brothel. The Tchaikovsky earlier in the evening poised the topic of fated, naïve love, whereas the Bartók frames the Freudian shadows of the subconscious Id. This work, most often presented as it was this evening in its concert suite form, is a pantomime ballet in one act that features large orchestra and wordless chorus (omitted in the concert suite arrangement). As the break ensued, what appeared to be a masked Yo-Yo Ma discretely slipped out of the hall he was no doubt there to support his good friend and long-time collaborator “Manny.”Īfter the break, Orozco-Estrada led his colleagues in an incisive, rhythmically charged rendition of Bartók’s Concert Suite from the Miraculous Mandarin. Ax’s handling of the A-section return, with its voiced echoes, was particularly beautiful. ![]() ![]() The major-minor moods of the Mozart concerto paired well alongside Ax’s well-earned encore: Schubert-Liszt’s Ständchen from Schwanengesang. Real fun ensued in the grace-note patterns that chirped with humor more drama transpired in the minore Rondo passage which Ax traversed with virtuoso gusto. Marked with the same tempo as the first, it captured a greater spirit of liveliness from soloist and accompaniment. Proceeding with little pause, Ax launched into the rollicking, light-hearted Rondo, Allegro vivace. Major mode variations provided some emotional relief, even if overshadowed by a bleak conclusion. A melancholy scene of Mozartian introversion transfixed the listeners, as Orozco-Estrada phrased his forces in contrast to the embellished passages of Ax’s solo orations. The melodic theme worked its way through stern half-step tilts in the root key, only to resolve in the relative major, B-flat. Good humor gave way to a serious, g-minor set of variations in the Andante. The movement came as a verdant divertimento, even as circle-of-fifths modulations in the development portrayed some harmonic drama. Ax phrased the first movement, Allegro vivace, with well-proportioned elegance, never languishing in tempo. Orozco-Estrada achieved classical balance, a light and easy-going repartee of statements and thematic material as the basis for this quintessential Mozart. As the final fanfare chords lapsed into silenced, the resolute fin to la conte aux amants à la folie resulted in a moderate ovation.Įmmanuel Ax then joined reduced ranks of the BSO for a nuanced rendition of Mozart’s Piano Concerto in B-flat major, No 18. Orozco-Estrada led this moment with a perfectly intuitive sense of ritenuto at the precipice of the cadence. Streams of contrapuntal imitation clearly sounded from the strings and brass in the reemergence of the battle motif, all leading to the second, affettuoso passage climax. A seamless transition marked the flow of the bellicose section to the first of the two famous affettuoso apotheose in the work: luxuriously pronounced by Robert Sheena on English horn. The Montague-Capulet sword-fighting section of the work provided some elastic relief as the musicians could rhythmically flow with the driven music. This moment could only be criticized for its relative stiffness. The slow, Friar Lawrence introduction was sumptuously blended among the winds, aided by dialogue with strings. It is no less satisfying even if, in this instance, it acted as a warmup for both conductor and band to stretch their musical muscles before more demanding feats to come. Tchaikovsky’s Romeo and Juliet Fantasy Overture stands among his most enduring symphonic masterpieces, if also something of a kitsch symphonic tradition to most orchestras and conductors. The evening’s aural menu gave listeners a broad scope of aesthetic pairings that kept one enthusiastically engaged throughout. Andres Orozco-Estrada (Hilary Scott photo)īalanced, colorfully varied works from the standard repertory characterized conductor Andrés Orozco-Estrada’s BSO conducting debut last night: Tchaikovsky’s evergreen Romeo and Juliet Fantasy Overture, Bartók’s lurid pantomime suite from the Miraculous Mandarin, and Enescu’s spirited Volkbild the Romanian Rhapsody in A, alongside the valedictorian poetry of piano soloist Emmanuel Ax’s refined take on Mozart’s elegant Piano Concerto, K.
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