<Translated from Danish automatically>
DR Concert Hall in Copenhagen. It was an extremely audience-friendly program that had been put together when Alexander Vedernikov, Chief Conductor of the Royal Danish Orchestra, visited the DR Concert Hall in Copenhagen to conduct the DR Symphony Orchestra in a symphony by Haydn, a masterpiece by Mozart, and one of Tchaikovsky’s grand symphonies.
Haydn’s Symphony No. 82 from 1786 earned the nickname "The Bear" because of its final movement, where the theme is drawn from a "bear dance" popular in former times—an original and quite characteristic idea from the composer. Otherwise, the symphony as a whole is a textbook example of Viennese Classical structure: a traditional movement layout, catchy melodies, and, above all, clarity. And as such, it was interpreted by Vedernikov, who kept our symphony orchestra on a tight rein. A well-trimmed performance without any nonsense.
The perfection continued when two outstanding musicians from the Berlin Philharmonic visited to interpret Mozart’s heavenly Sinfonia Concertante for violin, viola, and orchestra, composed in 1779. The Japanese Daishin Kashimoto and the Israeli Amihai Grosz are daily concertmasters for the violin and viola sections, respectively, in the renowned orchestra in the German capital. They interpreted all three movements confidently and with a beauty-dwelling interplay, not least in the second movement's cadence. This took place throughout with tempi on the slow side, so that the breathtaking middle movement sounded more like an adagio than the andante that was Mozart’s own designation. Was it perhaps Vedernikov’s conducting that was to blame for the fact that one could miss a bit more spark in the interpretation, a bit more "musician’s joy" instead of just perfection?
It was symptomatic that after the intermission, Vedernikov did not bring a score, as had been the case with Haydn and Mozart. In the interpretation of Tchaikovsky’s Fourth Symphony, it seemed as if the forces of the DR Symphony Orchestra were unleashed in a different way. We saw the magnificent Russian work unfold as a gripping epic narrative with both beautiful sound—Tchaikovsky is rightly considered one of music history’s greatest masters of the difficult art of instrumentation—and passionate momentum.
Russian melancholy and fate-heavy drama fill this symphony from 1877–1878 to abundance, but in the midst of the great orchestral roar, one often gets the opportunity to enjoy simple melodies, such as the oboe’s nostalgic, bittersweet "song" in the second movement, masterfully performed by solo oboist Eva Steinaa. But we traveled through the entire large-scale orchestra, and it culminated in standing ovations, which by now is not an unusual sight in "The Blue Cube" (DR Koncerthuset).
Source.
DR Concert Hall in Copenhagen. It was an extremely audience-friendly program that had been put together when Alexander Vedernikov, Chief Conductor of the Royal Danish Orchestra, visited the DR Concert Hall in Copenhagen to conduct the DR Symphony Orchestra in a symphony by Haydn, a masterpiece by Mozart, and one of Tchaikovsky’s grand symphonies.
Haydn’s Symphony No. 82 from 1786 earned the nickname "The Bear" because of its final movement, where the theme is drawn from a "bear dance" popular in former times—an original and quite characteristic idea from the composer. Otherwise, the symphony as a whole is a textbook example of Viennese Classical structure: a traditional movement layout, catchy melodies, and, above all, clarity. And as such, it was interpreted by Vedernikov, who kept our symphony orchestra on a tight rein. A well-trimmed performance without any nonsense.
The perfection continued when two outstanding musicians from the Berlin Philharmonic visited to interpret Mozart’s heavenly Sinfonia Concertante for violin, viola, and orchestra, composed in 1779. The Japanese Daishin Kashimoto and the Israeli Amihai Grosz are daily concertmasters for the violin and viola sections, respectively, in the renowned orchestra in the German capital. They interpreted all three movements confidently and with a beauty-dwelling interplay, not least in the second movement's cadence. This took place throughout with tempi on the slow side, so that the breathtaking middle movement sounded more like an adagio than the andante that was Mozart’s own designation. Was it perhaps Vedernikov’s conducting that was to blame for the fact that one could miss a bit more spark in the interpretation, a bit more "musician’s joy" instead of just perfection?
It was symptomatic that after the intermission, Vedernikov did not bring a score, as had been the case with Haydn and Mozart. In the interpretation of Tchaikovsky’s Fourth Symphony, it seemed as if the forces of the DR Symphony Orchestra were unleashed in a different way. We saw the magnificent Russian work unfold as a gripping epic narrative with both beautiful sound—Tchaikovsky is rightly considered one of music history’s greatest masters of the difficult art of instrumentation—and passionate momentum.
Russian melancholy and fate-heavy drama fill this symphony from 1877–1878 to abundance, but in the midst of the great orchestral roar, one often gets the opportunity to enjoy simple melodies, such as the oboe’s nostalgic, bittersweet "song" in the second movement, masterfully performed by solo oboist Eva Steinaa. But we traveled through the entire large-scale orchestra, and it culminated in standing ovations, which by now is not an unusual sight in "The Blue Cube" (DR Koncerthuset).
Source.
Thursday Concert offered perfect Viennese Classicism and Russian Romanticism. The concert moved from the well-trimmed to the magnificent
Peter DŰRRFELD, Kristeligt Dagblad, December 17, 2019
