20.9 C
London
Monday, August 15, 2022

How was the concert of the Buenos Aires Philharmonic in the Usina del Arte with the sweetness of the clarinet

- Advertisement -

The Philharmonic Orchestra of Buenos Aires performed in the Usina del Arte, within the framework of the colon at City Cycle, with the Brazilian Natalia Larangira as Guest Director And this Argentine clarinetist Eloy Fernandez Rojassu as a solo artist

With the traditional scheme of overture-concert-symphony, the overture of hero by Sigismund Newcomb, LeeSonata for clarinet and piano (in a version for orchestra by Augusto Reinhold) by Carlos Gustavino and symphony number 5 by Joseph Haydn.

Guastavino finished the sonata in 1970 and dedicated it to the Argentine clarinetist Luis Rossi. Emotion and lyricism pervade its three movements, and The influence of various European and South American dances is combined Through a colorful and contrapuntal language.

In action.  Larenzira and Fernandez Rojas in Usina del Arte.  Press Photo Teatro Colón/Maximo Parpagnoli

In action. Larenzira and Fernandez Rojas in Usina del Arte. Press Photo Teatro Colón/Maximo Parpagnoli

Lyricist of Fernandez Rojas and Gustavino

Fernandez Rojas’s voice is delicate, full, and managed to highlight the great lyricism of Gustavino. The composer gives the clarinet a medium register, very close to vocal articulation. The shehnai player’s manner of playing, with an open eloquence, brings the melodious lines to a pure lyrical expression.

and fine slow movement was the most successfulwith your character sweet, edible and quiet. The beginning was beautiful. walk With the sound of a clarinet emanating from the ethereal atmosphere of the orchestra.

But this was not only because of the level of articulation that Rojas achieved, maintaining the character of the phrases and subject, but also because this is where the orchestration works best: with just a single color harmonic support, The clarinet was projected without being immersed in full orchestral sonority.And the subtleties of colors or sonority in different subjects were also appreciated.

Some of the original dialogue between the clarinet and the piano, fundamental in the development of musical discourse, It was lost in the first and third moves.

Buenos Aires Philharmonic, Eloy Fernández Rojas (clarinet) and Natalia Larangera (guest conductor).  Press Photo Colon Theater

Buenos Aires Philharmonic, Eloy Fernández Rojas (clarinet) and Natalia Larangera (guest conductor). Press Photo Colon Theater

The clarinet line does not stand out in its central register broken The grace of the orchestra and dance rhythm required more agile timing. However, the melodious and colorful melody seemed more balanced with a dance character in the coda at the end of the first movement.

Inauguration

The concert opened with a fresh and subtle performance of Overture hero De Neucome, a student of Joseph Haydn, who lived in Rio de Janeiro between 1816 and 1821, and became One of the pioneers in the use of Brazilian melodies in classical music,

The Philharmonic of Buenos Aires at Usina del Arte.  Press Photo Teatro Colón/Maximo Parpagnoli

The Philharmonic of Buenos Aires at Usina del Arte. Press Photo Teatro Colón/Maximo Parpagnoli

The music flowed lightly in Haydn’s opening symphony No. 5, which closed the night. Orchestra’s wind line glowUnder the baton of Natalia Larangeira.

The good acoustics of the room enhanced the transparency of the orchestral sound and the director’s careful reading to the smallest expressive details. However, at times, the description reduced some of the tension and giddiness in movements of a lighter nature, as in the final movement, with its grandly rapid and dramatic changes.

file

Philharmonic Orchestra of Buenos Aires

Qualification: GoodI

the director: Natalia Larangira solo artist: Eloy Fernandez Rojas, Usina del Arte Clarinet, Thursday, June 23.

WD

Don’t Trust On this News and Website Maybe it’s Fake

Reference from clarin www.clarin.com

- Advertisement -
Latest news
- Advertisement -
Related news