May 2012
| 1 | 2 | 3 | 4 | 5 | 6 | |
| 7 | 8 | 9 | 10 | 11 | 12 | 13 |
| 14 | 15 | 16 | 17 | 18 | 19 | 20 |
| 21 | 22 | 23 | 24 | 25 | 26 | 27 |
| 28 | 29 | 30 | 31 | |||
+46 (0)19-766 62 02
abonnent@orebrokonserthus.com
Phone hours: M 10-12, W 14-16
(Closed for Christmas &
New Years Dec 23-Jan 3.)
"SENSITIVITY AND STANDING OVATIONS"
In the last concert of the “Johannisberg International” series the 18 year old, who is still a very young pianist, performed Beethoven’s First Piano Concerto in C Major. Conductor Thomas Dausgaard and the Swedish musicians created a light, often soft and inwardly-romantic shaped Beethoven. An interpretation which matched the pianist: coaxingly he developed the melody line in the “Allegro von Brio” – always breathing with the orchestra.
Wilfully he styled the cadenzas: with virtuosity and sleek shaping he created a stunning symbiosis. The sensuous “Largo” lacked grandiosity and power; playfully light are the singing dialogues between piano, woodwind and horns. Determined and energetically the piano steps into the fiery Rondo and combines with the orchestra in both strong and playful conversation: In a spirited interplay the instruments change roles. Enthusiastic applause for his perfect, unhurried and compassionate way of safe playing.
The orchestra opened the evening with Albert Schnelzer’s overture “A Freak in Burbank”: the idiosyncratic searching music, which exchanges rhythmic and harmonic patterns, is in the best of hands with the Swedes and conductor who directs with his whole body. That also applied to Brahms’ First Symphony. The lightness with which they performed this complex work gave no hint of the 14 year long struggle that the composer had with the work. The first movement opens, romantically suspended with dynamic contrasts and magical horn solos. Expressively and poetically the melody of the “Andante sostenuto” gradually pares down – with a yearning farewell from solo violin and horn.
Idyllic and gently rocking, sometimes with an indefinite blurring, the three part “Allegretto” is a musical jewel. In the final movement, with its horn-motive, string-pizzicato and choral-like trombone call, the musicians remove the monumental gravity: The conductor Dausgaard demands short phrasing and a way of playing that purifies the music of romantic-pathos. Rightfully there followed a standing ovation for which the orchestra thanked the audience with a lively performance of Brahms’ First Hungarian Dance.
Westdeutsche Zeitung, Veronika Pantel, 5 March 2011
March
February
January
2010
December
November
October
September
August
July
June
May
April
March
February
January
2009
December
November
October
September
August
July
June
May
April
March
February
January
2008
December
November
October
September
August
July
June
May
April
January
February
March
2007
December
November
October
September
August
July
June
May
April
March
