Why, 200 years ago, just piano concerts like Prince's nickname got – if not by the composer himself –, one can only speculate: - supporting the festive, sparkling character of the instrument in some State? The "Emperor" is called in the English language of Beethoven 5. Piano concert, and 1788, written in D-flat major Concerto, K. 537 Mozart later to be known as "coronation concert", although it was never formally listed on the enthronement of Leopold II. and Mozart has also written for the occasion. But to fuel, rather, its this time again already dwindling popularity among the Viennese audience.
In a new year's eve concert, the celebration fits, but by numerous chromatic modulations in minor, ambiguous work excellent. However, the Berliner Philharmoniker have in your main program for the new year, in addition to Mozart, only one other composer: Maurice Ravel. This could be called ascetic, would not follow as encores, four more fiery numbers from Bizet's "Carmen", this all-purpose weapon in the history of Opera,.
new year's eve concerts are a matter for the boss, but what to do, if it just – Simon Rattle is gone, Kirill Petrenko begins in the summer of 2019 no? In Berlin, with 76 years, is still incredibly enterprising Daniel Barenboim is available then that is familiar to the orchestra for half a century; his debut with the Philharmonic as a Pianist was in 1964, as a conductor in 1969. He was twice as chief conductor in the race, but was not, and it no longer wanted to be at the end of the Era of the Rattle that has marred the partnership never.
The Maestro will be conducting from the piano, as it was around 1800 common
Now, Barenboim is the soloist in Mozart's Concerto and conducted from the piano, as it was around 1800 usual. And, after the orchestra gives presented the main theme, immediately to a charming, spherical sound in the concise, four times repeated D of the right Hand, the theme is catchy rhythm and traction. Much, he does not have to be conducting, the Philharmonic, the piece is very familiar: a more momentum with the Arm, the modelling of the Details by Hand, but often it can be left to the musicians themselves. With a certain vehemence, mostly research-based, dynamic, quite clearly, the orchestra goes to his Part – in significant contrast to the soloists Barenboim. Treading over three sets in the opposite direction, is always otherworldly, enchanting, the theme of the Allegrettos out of nowhere. And gives the audience nevertheless, in some passages of those jovial Mozart, loves it.
Ravel was around 1900, not so much as it is today estimated the Viennese master of the shining example. Ravel's works of the same caskets full of gems: they are rather small, but sparkle Miniatures. The gifted composer was able to dive in a confined space its listeners in a sound farbenbad is second to none. For example, in "Rapsodie espagnol" and "Alborada del gracioso" ("morning song of the jester"), two of his many musical tributes to the that of the Basque, so very beloved in Spain: an orchestral outburst here, then again, only two instruments, the vocal leader of the first violins with the harp.
Grow up instead of fall asleep with the "Pavane pour une infante défunte"
Enormous, small piece of iridescent, constantly schlingerndem character, this is the audience not very familiar music; before the beginning of the quiet middle section of "fools" must Barenboim block with a raised Hand, and the onset of applause. Rather a eyes to Wake up as a decryption inhibitors, the "Pavane pour une infante défunte" ("Pavane for a departed Infanta"), which begins with a solo horn motif that will be taken over by Albrecht Mayer's Oboe, before it blossoms the whole orchestra is similar to grater.
And then the finale: the inevitable "Boléro" – Ravel's one and only success all over the world, of which he said: "Unfortunately, it has nothing to do with music." The barely visible, in the middle of the orchestra placed small drums intoned Emmanuel Pahuds flute quietly in the famous melody, with a relentless, algorithm-like logic Would be repeated: compose Bots now, it sounds exactly like that. Bearable the only by Ravel's into the Fantastic-enhancing instrumentation. And as Barenboim and the orchestra this Crescendo dynamically build, as here, a collective in silent agreement increases the volume over 16 minutes so clever – this has been a great class. If "Boléro", then, please: the machine rigidity dissolves in musical subjectivity, and ultimately, in humanity. Udo BadeltMore about
Barenboim plays Beethoven It is the thunder of the notesJonas Zerweck
The concert is on December 31. December at 17.15 at the Philharmonie in Berlin, repeatedly, live in the Digital Concert Hall of the Berliner Philharmoniker transferred and a few days later, also in the archive are available. In addition, the TV channel arte shows, the concert is a time delay of from 18.40 hrs. Also RBB Kultur radio will broadcast live, the recording can be heard on www.kulturradio.de for seven days after.