[concert] Mendelssohn / Brahms, Philharmonia @ RFH, 22.10.09
Sunday, November 8th, 2009 11:34 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tamaranthPhilharmonia, Christoph von Dohnányi: piano, Yefim Bronfman
Mendelssohn: Midsummer Night's Dream Overture
Brahms: Symphony no 3 in F major
Brahms: Concerto for Piano no 2 in B flat major
The Mendelssohn doesn't really do anything for me, but it's pleasant.
The Brahms Symphony hooked me in the first phrase! The finale is like an intricately patterned and textured living carpet, organic and velvety and prickly and glittery. Ravishingly romantic (and Romantic).
A depressing %age of the audience left at the interval ...
I love the Brahms Piano Concerti and know them both pretty much by heart, so it's always interesting to find something new. I hear the inbetweens, the sussurus of strings, more clearly when I can see them and see how they fit into the changing seascape (water moving, rise and fall) of the piece.
And that fabulous campanile cadence in the second movement sends shivers down my spine.
The delicacy of those eerie faltering phrases in the 3rd is almost drowned out from the choir seats: the orchestra's in the way.
4th is civilised and domestic and matutinal: con brio for sure!
Bronfman is in his fifties, quite a change from the usual young virtuosi: it's fascinating to watch him play, a real sense of intimacy and familiarity, a sense that he's played this piece many times and explores it more each time.
Mendelssohn: Midsummer Night's Dream Overture
Brahms: Symphony no 3 in F major
Brahms: Concerto for Piano no 2 in B flat major
The Mendelssohn doesn't really do anything for me, but it's pleasant.
The Brahms Symphony hooked me in the first phrase! The finale is like an intricately patterned and textured living carpet, organic and velvety and prickly and glittery. Ravishingly romantic (and Romantic).
A depressing %age of the audience left at the interval ...
I love the Brahms Piano Concerti and know them both pretty much by heart, so it's always interesting to find something new. I hear the inbetweens, the sussurus of strings, more clearly when I can see them and see how they fit into the changing seascape (water moving, rise and fall) of the piece.
And that fabulous campanile cadence in the second movement sends shivers down my spine.
The delicacy of those eerie faltering phrases in the 3rd is almost drowned out from the choir seats: the orchestra's in the way.
4th is civilised and domestic and matutinal: con brio for sure!
Bronfman is in his fifties, quite a change from the usual young virtuosi: it's fascinating to watch him play, a real sense of intimacy and familiarity, a sense that he's played this piece many times and explores it more each time.
