Barenboim's value is very good



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The first two episodes of the tour are a round of the Brahms quartz messages and the subjects at Barenboim in the & # 39; The first two bodies would be heard on a Sunday night, which emphasizes a sustainable, poor and non-movable approach that will allow him to; music to speak, but when you speak, Needing, he also let the music run by fast energy.

Staatskapelle's control capability for unanimously altering expressive fluency of time was a distinctive feature of their style.

The opening of the Symphony No.1 bog Brahms expanded the tone of a remarkable reward that returned to a particularly dark trombone ruin of the similar aspect of the chorale in the & Slow music that uses the border.

Synonymous rhythms and first movement were moved by a & # 39; preserving the stimulating pace for the second simple subject, swam as a sudden climb on the light of the morning. The most important thing of the slow and intense new sound alarm motion is the only oboe.

In the last round, its subject is a & # 39; refers to the Ninth Beethoven (as Brahms said "any donkey can hear that"), stressed his weight and, as he said, is a demonstration of the cultural pride of this work that was written five years ago after the union of Germany,

The horn theme that begins the Symphony No.2 in D is rounded and folded into a legendary instrument such as sunny woods, and the development section which is severely diminished by low pressure tones.

Sometimes, as in the third shift of Symphony No.2 Barenboim would be very likely to & # 39; hitting at least one special pressure or starting a new section, but it was a long time running and running time.

Barenboim released unprecedented grain before the last chord, which marked an end of two hours of translucent riches and heard to listen to the audience; jumping to legs.

Sydney Opera House, November 27, Beethoven Eroica, Schubert "Unfinished"

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