Performance of two symphonies by Liszt - great works program that push the boundaries of form and emotion - are as rare as they are important. Both, however, is part of a tribute to the bicentennial of the composer in this year's Proms, which also lets us listen in the vicinity. Next week, the BBC Philharmonic Symphony addresses Dante. First, however, came Vladimir Jurowski and the London Philharmonic with Fausto, possibly the largest of the two.
This is a very good performance in manufacturing, rather than perfect. Jurowski has not yet far enough that the first movement, a great development of the five main themes represented by the relentless pursuit of Fausto experience: the negotiation of its internal logic was in the price of exaggerated and failure rates emotional extremism.
The later movements were safer. Andante emotional ambiguities of Margarita, with its implications of sexual awakening, were tried last. Mephistopheles Scherzo had an exciting accuracy, while the closing Mystical Choir - with tenor Marco Jentzsch hymn "eternal feminine" male voices on the combined London Philharmonic Choir and London Symphony Chorus - was beautifully caught and ecstatic.
Hungarian composers later formed his roommate. Kodaly Dances of Galanta, all strings of light wind and elegant, was the curtain raiser. Bartok First Piano Concerto marked by hand, with his own conscience to avoid the lyric, that is, in some respects, a pioneer of a work such as Liszt. Jean-Efflam Bavouzet was the soloist in a performance that followed strong order platform design Bartók with pianist surrounded by orchestral percussion. Bavouzet Liszt plays beautifully, too, as evidenced by his only encore - Invocation et Religieuses poetic harmony. more
This is a very good performance in manufacturing, rather than perfect. Jurowski has not yet far enough that the first movement, a great development of the five main themes represented by the relentless pursuit of Fausto experience: the negotiation of its internal logic was in the price of exaggerated and failure rates emotional extremism.
The later movements were safer. Andante emotional ambiguities of Margarita, with its implications of sexual awakening, were tried last. Mephistopheles Scherzo had an exciting accuracy, while the closing Mystical Choir - with tenor Marco Jentzsch hymn "eternal feminine" male voices on the combined London Philharmonic Choir and London Symphony Chorus - was beautifully caught and ecstatic.
Hungarian composers later formed his roommate. Kodaly Dances of Galanta, all strings of light wind and elegant, was the curtain raiser. Bartok First Piano Concerto marked by hand, with his own conscience to avoid the lyric, that is, in some respects, a pioneer of a work such as Liszt. Jean-Efflam Bavouzet was the soloist in a performance that followed strong order platform design Bartók with pianist surrounded by orchestral percussion. Bavouzet Liszt plays beautifully, too, as evidenced by his only encore - Invocation et Religieuses poetic harmony. more
