This time around, I’m sharing two of these with three or four loyal readers. keys, works by the French Camille Saint-Saens (1835 – 1921) and the German Karl Orff (1895 – 1982). Piano and Orchestra No. 5. concerto for, by Camille Saint-Saens; and oratory carmina burana, by Carl Orff. Cold-cold becomes a companion of infection. Best: Taking refuge in music that scares away all demons and brings us closer to God’s blessings.
first time: Piano and Orchestra No. 5. concerto for F Major Op. In 103 – known as “Egypt” (Allegro Animato, Andante, Molto Allegro), from the author of the famous opera Samson and Delilah (1877), “French Mendelssohn”: Camille Saint-Saens. A technically demanding piece I’m listening to, Di Vu, the pianist I’m listening to, tackles discreetly in a allegro opening that leads through an inductive waltz/march from locks marked by strings (micro.) Pizza), flute, shehnai and bassoon.
Piano that presents motifs in dialogue with strings: an atmosphere of deep chords and harmonious orchestral elegance. to roam around The melodic/rhythmic fronts associated with the spirit of North Africa are what many musicians refer to as Egypt. Wu executes this section with a careful arrest.
very much Happy Vibrant instrumental proportions (ready, tenacious, hardworking) that the orchestra knows how to configure in complexity with the cluster’s fingering and soloist grown in provocative and engaging speech.
Second Half: Main Courses: carmina burana (“Fortuna Imperatrix Mundi”, “Blanzifor er Helena”, “Fortuna Imperatrix Mundi”) by controversial Carl Orff. Primitive rhythm that does not leave anyone indifferent. Popular works based on Latin and German texts of the Middle Ages, Contagious Speeches (Dramatic Cantata?, Scenic Cantata?, Secular Songs? …) featured baritone, tenor, soprano, Bulgarian Cappella Choir and Sofia Philharmonic Orchestra under the vigorous leadership of conductor Avram Kamenov. , show enthusiastic excellence.
The imperative tonal language that always, every time I hear it, puts me on edge: chorus in precise inflections and baritone with sharp vocals. Soprano who knows how to communicate with percussive fabric. Composition almost devoid of harmonic compromise, without instrumental counterpoint, but without captivating text.
pro-Nazi music?: Karl was Orff; But, his “Songs of Buren” draws in his charming and stormy spirit of ancient consent. Expansion and Metric Epigrams
From “romantic allusions” to elliptical expressions, which probably have their roots in Richard Strauss. I soak up the spirited verses in which extremism, despair, and spirituality play a major role (“These girls who hang around / All are single; / Say they want to be without a man / All this summer / Ah! She!”).
Intimate Encore: Overtime with Von Weber: Overture Two hunter, the opera premiered in Berlin in 1821, under the leadership of Weber, with little acceptance due to the predominance of Italian opera in the public taste. Years later, however, it became a defining piece in the German operatic repertoire. Von Weber knew how to match the sweet motif (leitmotiv) with character characteristics, dramatic situations, spaces, character gestures and conflict: a resource that was exploited very well by Richard Wagner in many of his later musical plays.
I end with one of the most intense resolutions of the operatic genre. Perfect, with a soulful melodious tone. A sample of nonsensical progressive eloquence in which the sound of the horn (main thematic thread), trumpet and trombone play a fundamental role. subtle initial sonority of strings that intersect in different passages until a broken which straddles March/Waltz signals in an expressive sonority setting, which explains Weber’s influences on Wagner’s harmonic conception.
- Artist: Sofia Philharmonic Orchestra/Bulgarian Capella Choir
- Genre: Oratorio
- Label: Balkanton