The London Symphony Orchestra’s usual half-six fix is a quick shot rather than a complete classic cocktail. 1 hour. One symphony; don’t mess with it.
With an oral referral and a deliberately relaxed atmosphere, it’s a low-commitment way to listen to some large repertoire over time for subsequent dinners.
But what you’re missing out on with this All Killer No Filler approach is a chance encounter, something you don’t know you like yet.
This week’s audience is Beethoven’s Symphony No. 6 F Major Op68 Known as an idyllic symphony, what they missed was the alchemy of hearing it shortly after the Czech composer Ondřej Adamek. Where are you? In a full-length version of the same concert a few nights later.
Like other great mixologists, Simon Rattle carefully combines his materials to produce different sounds in different combinations and collisions.
Beethoven’s Celebration of Nature and Creation culminates in the glorious certainty of a hymn-like finale, making a different landing after questions and doubts about the Adamec orchestra song cycle.
Where Beethoven imitates nature – the song of a bird. A stream that flows steadily. An unfamiliar village band – Adamek chases new sounds.
The entire orchestra is breathtaking and breathtaking with works that explore the moment of God and creation (starting with the Lord’s Prayer and then moving to the Hindu Bhagavad Gita after the Prayer of Teresa of Avila). The original soloist of the work.
Kozena was as actress as a singer, taking words out of meaning, crushing them into syllable fragments, and reconstructing them into a collage of sounds and textures.
From throat voice percussion to enthusiastic chanting swells, Kozena ranged, but lost to the LSO, which provided St. Teresa’s ecstasy with the brilliance of a harp’s sweat, biting a knife blade with a snare drum. is. And applause.
Sir Simon, who taught us a different way of listening, brought us back to a place familiar to Beethoven.
The usual melodic landmarks, such as lyrical opening themes and noisy dance, were all there, but we were no longer just listening to them horizontally.
Suddenly the texture is at the top. This provided a clever sounding pastiche, not a performance-affecting property. It made it fresh and reinvented the world of sound.