Tuesday, April 26, 2011

Miami Valley Water Birth



Tuesday, 26 April, 19:45 . Philharmonic Theatre, Oviedo . 8 concert in 2011 and 1,857 of the Philharmonic Society Oviedo. Classical Orchestra of Asturias , Carmen Yepes (piano), Daniel Sánchez Velasco (director). Works by John Falcone , Mozart and Beethoven .
all expected a new concert OCA and more coming home from our pianist solo (extended family, friends, colleagues ...) Carmen Yepes, currently combining performance and teaching from Madrid . The program chosen by the Master Sánchez Velasco follows the line developed from the foundation of his "orchestra" in 2009 , with clearly marked objectives among which two follow the concert on Tuesday: "Collaborating with other entities to bring music the public "and " collaborating with several composers to disseminate their works ". The first, also from the Classical works which remain the basis for the listener who expect their total music lover, and there were Wolfgang and Ludwig , while the second goal served as a beginning for a concert "palindrome" and try to explain below.
John Falcone is a New Yorker and half Spaniard , bassoon the OSPA since 1991 but we can not forget the many facets of saxophonist, jazzman, composer, bandleader music, work and especially teaching a profession that is passion for "Music."
"Laps for orchestra" is a short composition for a classical orchestra with today willing to Vienna, explains that as well Daniel in today's press , "It builds on a theme, a clarinet solo, well known and gives all the turns that a student, a musician, I would give to dominate. I dealt from left to right, all shades and instruments" . further explains that "The issue out of the last time the Beethoven Fourth Symphony that will touch the end, so the program is palindrome. The premiere, in concert palindrome, like much in the Philharmonic . Everything a music game where from a timeless perspective with nods to jazz (he could not miss) plays with melodies and timbres that really spin the Allegro ma non troppo Beethoven with fine lines and the odd brush stroke, the sense of humor Great John always present and full of craft behind them carried the score. We really enjoyed and had to go and say hello, because as we all know, music plays written if not, it is dead, and these "turns" are really alive.
The Concerto No. 25 for piano and orchestra K. 503 in M. DO of Mozart is one of the jewels of the genius of Salzburg that despite the apparent ease and grateful tone melodies, are challenging to interpret to be as thorough as it commented that our mutual friend Jaime Francisco Pantin, Wolfgi make the composer more difficult and this concert the brightest of the compounds for piano. Carmen Yepes is in full maturity and demonstrated with this beauty of work, very well coordinated from the podium and pasting the orchestra perfectly with the piano at times, but was somewhat uneven. The tempi agreed were appropriate to savor the exquisite phrasing of the pianist Mieres (which were "born" in Oviedo) and from the initial Allegro Maestoso, plus a crystal clear cadence, like all other that shone more before a Steinway something dull and worn that it was not so tight that the work required and the interpreter demanded. The Andante was lyrical as could be, again well supported by the orchestra, especially the timber share the same importance, reposado, savoring every detail both alone and arranging to meet the Allegretto Finale with a staggering security and well made these devilish change of pace for all performers, giving a personal version and very fresh sediment from both the piano as the lead. After the applause
and the box of chocolates Peñalba delighted us with the Sarabande of Partita No. 4 in D M., BWV 828 of Bach obviously not San Sokolov version but with all the pianism Kantor expected in key works, and Carmen Yepes learned to float with true mastery. Witness
exception was the Finnish Ari Rasilainen (invited by Daniel) who directs her in November 2003 with The # 1 of Grieg and OSPA , with which returns this week but directing Sibelius, among others. In conversation with him earlier during the break, remembered with affection and good feeling that concert, and I hope to send you a copy of it on Friday in the Auditorium. Actually attended another excellent performance by Carmen although with different companions and a somewhat diminished piano.
The second part would be occupied by the not always very dynamic heard Symphony No. 4 in B M., Op 60 of Beethoven (although we will again on Thursday with the OvFi), uneven in their difficult four movements (Adagio-Allegro Vivace, Adagio , Allegro molto e vivace - Trio . A little meno allegro and Allegro ma non troppo ), where there were shortages of various types that will be remedied in the work is not always as consistent as usual and everyone would like. I know that the effort is great, the idea of \u200b\u200bplaying the complete cycle is really commendable, but requires more security, better intonation, listen more and advance all going beyond the role as attempts to master avilesino from the podium, with a gesture towards clear and precise, plus a large previous work (they are added annotations Aldo Ceccato D. ). Version was only heard in neat, but were less than (well third and fourth unclear the "undefined" string) to a template set to the complex by the Bonn , and placed, as I indicated, the Viennese: violins on either side, Bass left behind the drums and wind back, metal and wood right in the middle. Violins and violas are reinforced by fellow Daniel in OSPA, with Hector Corpus concertmaster, as well as one of the two tubes , which is always thank you for the rest , but they know they have a long road ahead but there is "to weave wicker basket, good manners and above all eager to work.
Presumably authentically "Made In Asturias", but "as bad students" repeat this Wednesday Avilés, certainly much better. We will tell from here waiting to pass the new test note. PD
: LVA reviews and Wednesday LNE 27.

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