review: haydn, beethoven and schumann a satisfying combination
The connection of history is as follows: Beethoven studied with Haydn, while Schumann respected Beethoven and led the movement to revive his music.
But all three of them are pianists, who share the same innovative genius in Symphony, chamber and solo keyboard music: the modernist of their respective eras.
On Wednesday night, the National Television Orchestra, along with Swiss conductor Thierry Fischer, performed the work of the three complementary bands on the podium.
The music director of the Utah Symphony Orchestra, Fisher, is known for his energetic, almost manic command.
He is one of those maestros who want to play every note, a dazzling ascetic, frantically pointing his feet and rotating his feet and exaggerated facial expressions.
His antics are a matter of taste.
Some people like the value of entertainment, but for me, they are clonish and distracted from the actual excitement that happened to the orchestra.
For someone with such a weird body language, Fisher got a good result.
The first symphony of Haydn44 (the “Mourning”)
Attention to detail is almost fanatic, and all the plays of the stage lights focus on dynamic contrasts and anxious harmonies.
If the slow board is a little too lively and smiling about funeral music, external Sports
Especially before the final.
There are dark clouds, shadows and lightning everywhere. Young Swiss
Born pianist Louis schwichber has won several international competitions under his belt, and his recordings have cost European critics the highest level of work.
But his performance of Beethoven\'s Piano Concerto
2 There is little mention of passion and intensity in his comments.
His voice is only medium.
Size, cut, quite dry.
The first movement lacks intentions or beliefs, has no ideas, but rather has strange rubator and other similar effects.
The second action is superficial, heavy and lyrical.
Only in the last movement did the pianist seem to cheer up to match the strong dynamism Fisher and the orchestra have been offering.
The best works are saved to the end, the performance of Schumann\'s First Symphony is very active and exciting2.
From the solemn nobility of the first movement to the darting, the Firefly of Scherzo flashes, from the sigh of the slow board, the cuteness of the longing to the complete --steam-ahead, heart-
Musicians play with their skin while pressing the shaft.
Fischer was a major flute in his previous life, and he drew a particularly magical kaleidoscope effect from the wind.
The moving theme between clarinet, clarinet and bassoon is like a precious gift.
In this symphony, there is only the French horn-so critical-that is lost with some unfortunate missing notes.