A very enjoyable account of the Enigma Variations - almost too affectionate at times but impressively idiomatic , especially the woodwind I thought.- I assume Temirkanov played them a few times with the RPO
Prom 71: St. Petersburg PO (8.09.15)
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I was sorry that Temirkanov omitted one important section of the Invisible City of Kitezh. There's as ubstantial apotheosis at the end containing some splendid music , which lasts about ten minutes, As heard last night the music seemed oddly truncated.
I didn't like the sustained applause at the end of the first movement of the Tchaikovsy, but it was hardly surprising, as the listening tension in the audience probably needed release, it was a splendid performance..
I suppose a lot of us were wondering what a russian orchestra would make of the Enigma Variations. We needn't have worried, this was a beautiful and substantial performance. I was particularly struck by the penultimate 'Calm Sea and Prosperous' quote, with the gentle sound of the engine and that lonely solo.
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blackalbum
I wanted to add my thoughts to the above as I was very struck watching the Tchaikovsky last night how much Julia Fischer was consciously working with both the conductor and the orchestra rather than alongside them or on top of them as many soloists seem to. You could see her using her eyes the whole time to communicate both with Temirkanov and the first violins, and even at one point back to the clarinettist right at the back of the orchestra when some of their phrases were in musical dialogue. I felt this way of performing was very striking and notably different to other soloists who may bring huge pleasure in different ways but are clearly more ego-driven. I felt it was also a clear factor in the overall coherence of the performance - I thought both orchestra and soloist were first-rate. And I'd echo the thoughts above on the success of Elgar in Russian! Lovely rising string sound, especially in Nimrod.
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Originally posted by blackalbum View PostI wanted to add my thoughts to the above as I was very struck watching the Tchaikovsky last night how much Julia Fischer was consciously working with both the conductor and the orchestra rather than alongside them or on top of them as many soloists seem to. You could see her using her eyes the whole time to communicate both with Temirkanov and the first violins, and even at one point back to the clarinettist right at the back of the orchestra when some of their phrases were in musical dialogue. I felt this way of performing was very striking and notably different to other soloists who may bring huge pleasure in different ways but are clearly more ego-driven. I felt it was also a clear factor in the overall coherence of the performance - I thought both orchestra and soloist were first-rate. And I'd echo the thoughts above on the success of Elgar in Russian! Lovely rising string sound, especially in Nimrod.
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