Technik Extractor Fan

The OSPA what you throw ... well

Friday 6 May, 20:00 . Auditorio de Oviedo, Subscription Concert No. 12: OSPA , Peter Sadlo (percussion), Danail Rachev (director). Works by Ravel , Cruixent Ferran (1976), Thierry de Mey (1956) and Tchaikovsky. All photos: © Marta Barbon, OSPA .
If you wrote a week ago the OSPA as a Gran Reserva from 91 , it tasted the latter merely supports the entire crop. I can drink alone, accompanying any food, use it for cooking (forgetting that the worst came to the pot) and even throw a little gas for excellent wines "hold" of anything. This time could drop some of the cork but not detract from the flavor, taste in mouth and of course the packaging of this large reserve will continue enjoying many more bottles, the next precisely the twentieth anniversary of ... and whether to decanted to savor it more, because we already have the sommelier shift.

Only a band like ours is able to pass on the same concert of Impressionism to the music of our time and ending the fatum one of the greatest symphony ever, with a " appetizer "exploiting drum solo not to the guest but with the two house in the virtuoso level, silence by an audience coughing very enemy of" frivolous "for failing to call conservative in his musical tastes, very close to the average old. We could really talk about a concert that took care "Sound" like the wine maintains the "flavor"
My mother goose ( "Ma mère l'Oye" ) of Ravel is a marvel of orchestration from the original piano duet, full of color and vigor, "masterpiece of music history" for the new owner aspiring filmmaker, a Bulgarian who makes a career in the U.S. and we promised "to color the OSPA" what really got. At every concert we examine both the director as each of the components of the orchestra and no solos, really real musicians, but to all, returning to block boasts a sound that in the five numbers left heard moments in the history of education in terms of execution and interpretation well understood by the director.

A jump to the music now brought us Foc d'artifice (2007) for percussion and orchestra of Barcelona's Ferran Cruixent , premiere in Spain Peter Sadlo soloist, the same as the premiere Germany (and has been collaborating with the composer since 2005), who playing and the orchestra came on the scene with a small drum hung around his waist before rising to the arsenal (28 instruments) which would take all the color and heat they treasure. Too bad I missed the previous conference where the composer spoke of his work, and would have to write and much of it (make it better Diana Diaz in program notes) with three movements as it says the title, inspired by the fireworks (as well as Handel hiciese ) not missing any parties, more still in the Mediterranean but also in "discharge" of Cangas de Narcea (Asturias) on the day of Carmen, so it really touched me. Although the protagonist takes the soloist , you can not forget the all-important "cushion orchestral in difficult and challenging passages Share this universe of color, perfectly arranged from the podium with a total understanding between the musicians. really work demon that took "shades" uncharted all, and if I have to stay with some as much as there is, the genius of composer, performer or both (I know) to place the kalimba on a drum to take advantage of the resonance and power with the pedal and use a bass bow on the vibraphone, creating a veritable universe of sound, and of course, the "final fireworks."

Sheet Musique de tables

To take advantage of the presence of virtuoso percussionist , what better than Musique de tables Belgian Thierry Mey, authentic choreography in three six-handed tables amplified with the dark room and light rays projected on them to enjoy this work in which the percussionists participated the OSPA Rafael Casanova and Francisco Revert German with equal prominence, quality and timing, after a great test to take successful a work of about ten minutes. Congratulations.

Revert, and Casanova Sadlo

No video with them but this work, which left here by a curious and original, as well writes beyond Diana groups like Mayumaná because we believe it or not really talk about music without notes.

And if the intellectual effort of the first part, "appetizers on tables" included, were not enough, jump The Tchaikovsky Fourth of is already an exercise in self control and mastery for Symphony No. 4 in F m, Op 36 , demanding all and really a proof of the quality that holds our orchestra, which is necessary to recognize excellence in this code, not by a rope to marvel at every concert but cohesion and binding of all (the timber is like the barrel for wine and bronzes that would Valdés give color) making own sound with a tonal range into masterpieces of the symphonic world that few as they are able to take, especially if the director recreates known as happened with this interpretation of The Fourth .

The solos, impossible to highlight them all (the piece of cork is anecdotal) were their own, leaving part of the interpretation, then this is it, to make music together, and there is so much quality in our orchestra, which version was first heard. The
Andante sostenuto quartet began with the ringing round tubes and filling, answered by a powerful but contained trumpets to get the rope in all its expressiveness and anguish, always followed by an impeccable wood, with a theme development Bulgarian master knew that the shelling retailing to the end of movement in ff.
I got goosebumps the oboe beginning Andantino in modo di canzona with a taut rope, juicy, I regret more than song, which followed the rest equally emotional. Wonderful was the
Scherzo: Pizzicato ostinato without speed to the gallery but leaving us savor the dynamics of this movement and the action of wind, it brought back from the podium playing with these changes in tempo marked and followed in detail.
The Finale: Allegro con fuoco sound with real rapture in tutti Agogo but nothing crazy that allowed to hear everything in writing, put the finishing touch to a different concert and even funny about the works chosen, but I'm still savoring the last sip.

PD 1: Review of Ramón in Avello Trade concert the day before in Gijón. PD
2: Review of Diana Diaz on Sunday LNE 8.