Brahms Symphony no 1 in C minor
Isn’t Marin Alsop wonderful in Brahms? He brings out the best in her conducting, I feel. Marin started the first with the OAE in a lofty and majestic style as if she’d assumed the mantle of Otto Klemperer. That made a good contrast with the genuine allegro that followed which had energy, shape and direction. Was her transition into the 2nd subject a little bumpy? Perhaps, but the players soon recovered to achieve a nicely relaxed contrast. The build to the recapitulation was well-structured with rhythmic sharpness and an increase in tension.
The slow movement was pleasantly turned with a sensitive solo violin that was neatly accompanied by horn with woodwind providing a pointed contrast. The third movement allowed the woodwind to distinguish themselves, although the mood was a little too relaxed for my liking. Perhaps, the pace at the start of the finale should have been a bit faster but the “big tune” came as a distinct contrast. It’s typical of Marin’s technique that movements grow and flower in a natural fashion and this one did with plenty held back so that the coda sounded both inevitable and final. Clever balance ensured that the end was thrilling with trombones making themselves heard in an appropriate manner.
A good HIPP performance that I thoroughly enjoyed.
Isn’t Marin Alsop wonderful in Brahms? He brings out the best in her conducting, I feel. Marin started the first with the OAE in a lofty and majestic style as if she’d assumed the mantle of Otto Klemperer. That made a good contrast with the genuine allegro that followed which had energy, shape and direction. Was her transition into the 2nd subject a little bumpy? Perhaps, but the players soon recovered to achieve a nicely relaxed contrast. The build to the recapitulation was well-structured with rhythmic sharpness and an increase in tension.
The slow movement was pleasantly turned with a sensitive solo violin that was neatly accompanied by horn with woodwind providing a pointed contrast. The third movement allowed the woodwind to distinguish themselves, although the mood was a little too relaxed for my liking. Perhaps, the pace at the start of the finale should have been a bit faster but the “big tune” came as a distinct contrast. It’s typical of Marin’s technique that movements grow and flower in a natural fashion and this one did with plenty held back so that the coda sounded both inevitable and final. Clever balance ensured that the end was thrilling with trombones making themselves heard in an appropriate manner.
A good HIPP performance that I thoroughly enjoyed.
)
except when they decided about 2 years ago to request the resignation of ( i.e. sack) their outstanding principal oboe - who had devoted about 20 years of his life to the OAE - on the strength of an observation (i.e. complaint) by one of the Glyndebourne staff...
Comment