Dresdner Staatskapelle and Lars Vogt
. Piano concerto with Lars Vogt as soloist became a wonderful experience in Paris.
. Foto Henning Høholt” src=”http://kulturkompasset.com/wp-content/uploads/2014/03/Lars-Vogt-Christian-Thielemann-og-dresdner-Staatskapelle.-Foto-Henning-Høholt-400×243.jpg” alt=”” width=”400″ height=”243″ /> Lars Vogt, Christian Thielemann og Dresdner Staatskapelle. Foto Henning Høholt
By Henning Høholt
PARIS/FRANCE: A great romantic concert evening, the cooperation between the Dresdner Staatskapelle conducted by Christian Thielemann and the piano soloist Lars Vogt was extraordinary.
Lars Vogt has choosen to perform the 4th Beethoven concerto in a melodic romantic way. In the two first parts, where it in a way became a lot pianissimo which was brilliant contrasting to the orchestras forte. To me it sounded a lot like a dialogue between two parts, where the one part, the orchestra, in the beginning were the active part and playing much ruffer and in forte, and the pianist replyed more relaxed in pianissimo or piano. after a while then the temperature changed and the pianist became the active part and then the orchestra the passive part. That worked great out. The finale was magnific. During the way mr
. Vogts solo part was extraordinary, and his expression brilliant.. We also enjoyed the brilliant soloists in the orchestra. As encore mr. Vogt played a wellknovn waltz by Johannes Brahms.
As entre, we enjoyed the beautiful Orpheus, poéme symphonique by Franz Liszt, which put the audience in the right mood for what would follow. It started beautiful with the two harps, we also noticed the excellent soloviolin and the solocello.
A Hero´s Life (Ein Heldenleben) by Richard Strauss was a hit filling up the second part. The work was completed in 1898. It was his sixth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in tone, despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss’s earlier works. Inclusive the fanfare by the three trumpets offstage, repeated onstage in the third part
. During this section, the violin briefly foreshadows a theme that will appear fully later. The cadenza concludes and the new thematic material is combined in a cantabile episode commencing in G-flat. Fragments of the motives from the previous movement briefly appear. Where concertmaster Yuki Manuela Janke played this remarkable violinsolo, – nearly like a little violinconcerto, – brilliantly played. Furthermore, for me, remindings of “Till Eulenspiegels lustige Streiche” with the brilliant wooden blowers. The work is scored for a large orchestra 102 musicians on stage.