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RSB plays Brahms and Mahler : the genius of the double bottom

A false trail Nicholas be sets, as he imitates the horn motif in the first bars of Brahms’ second piano Concerto, caught up in a very gentle and world on the piano. Because that's the way it goes no further, quickly the Pianist switches to a very robust stop – and meets in the concert hall on a ready-to-receive radio Symphony orchestra with chief Vladimir Jurowski on the podium, the score is concerned, similar to vital. So the soloist and the orchestra in the middle, fueling each other, an existential Drama, and an intimate chamber play, such as the dialogue of piano and the very Cantabile Cello by Hans-Jakob Eschenburg in the Andante.

Originally built as Brahms’ first piano Concerto on the program, which would have resulted in a nice double with the first Symphony of Gustav Mahler. The just ended Tour of Japan, the RSB forced a Change. Doesn't matter, so the hall is witness to a coherent, determined, hard-hitting Interpretation with a penchant for explaining the world gesture that wipes the forever doubting Brahms once put aside. For addition, the first piece from Schumann's "scenes from childhood", demonstrates Displayed his versatility, a completely different face: on the inside-immersed, every tone to the leaving end, to him quasi nachblickend.

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Mahler's First, only on Wednesday of the Berliner Philharmoniker played, is a fascinating piece, because so much of what characterizes the later works, is here created. Jurowskis Interpretation is purposeful, clear in statement, and therefore more convincing than Daniel Harding with the Philharmonic. How big is the arc of suspense in the first sentence, raising, as long as amorphous sounds of Nature to concoct, until something arises to the typical Mahler's "wrong" breakthrough! Questionable, however, whether Jurowskis seeds re-insertion of the long - "Blumine"-principle is useful. Immediately clashing kinetic energy of the two first sets is thus interrupted, no really New. Overall, though, this Symphony is played with predatory precision and a great sense of drama, concise and sparkling, down to the smallest interval of voltage threads running through it – as in the spukhaft to the minor flipped "Frere Jacques"melody of the funeral March. Then the triumphant final movement, full of ambiguity: Jurowski and the RSB are working out all the effort Breathless, "Come on", spoke of optimism. Terrific.

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