JAKUB HRŮŠA gave newborn Bruckner's 4th to Berliners. They came back from tour, and New and familiar, academy, guest, are all mixed-members, enjoyed Bruckner play, connected to a fresh interpretation of HRŮŠA. Bruckner is no more authoritative construction. They are newborn creatures of Bruckner's 4th symphony.
Timpani's pp stroke seamlessly continues
The combination of Flute and oboe
Horn principle, Dohr's articulation
After 1st mov, still can't be released the intensity on 2nd mov. I wish they can play as tiny flame-ish.
If HRŮŠA couldn't care about his job and more commit to playing with Berliners a little more about structure, it would reach Petrenko-ish, protecting the big picture and narrative its drama.
But the ensemble showed Berliner's total spec to the audience, and I enjoyed picking up new parts of the Brucker 4th.
It vibrates and comes into the whole body, and breaks, strikes, then blast.
When they entered the last half of 4th, Wagner mode, all became more merged and much natural flow toward to its finale.
That was the classicasbi, the play with classic.
Harmony with nature, human imagination and desire, all worked.
HRŮŠA is running to the road of Maestro.
The camera work was very different today. Also, I see if they upgraded their mic to pick up sound for the streaming.
The whole team was absolute, especially;
Stefan Dohr, principal Horn
Amihai Grosz,Principal Viola
Krzysztof Polonek, Concertmaster
Jonathan Kelly, Principal Oboe
Unknown timpanist, who wasn't listed of Karajan Academy
And
Claudia Stein, principle flute of Berliner Staatskapelle
9/11 2021 at Philharmonie Berlin
BERLINER PHILHARMONIKER
JAKUB HRŮŠA
Anton Bruckner
Symphony No. 4 in E flat major “Romantic” (2nd version from 1878/1880)
ヤクブ フルシャがブルックナーの4番にベルリンの究極な性能を引き出し新たな命を与えた。ベルリンの計り知れない創造性。
ティンパニーのピアニッシモで長く続くストローク。
チェロ全体がまるで一つの生命体の様に刻む。
フルートとオーボエのユニゾン。
ホルンとアシスタントの連結。
フルシャのセンスがベルリンにはまるで見えているようなレスポンシビリティ。
どんなオーディオでも再現不可能な
人類が織りなす音の創造物。
ブルックナーはオーケストラ全体で震え、成長し、ぶち当たり、爆発する。そしてまた、やがてまた新たな生命が生まれ、探求の旅を始める。
それはまるで宇宙の営みを肉眼で見ているような衝撃。
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