![]() ![]() Midori’s initial entrance (3’12”) is beautifully captured, gently emerging from the orchestral texture, with a natural balance between soloist and ensemble. Indeed, the entire orchestral introduction seems somewhat bland. ![]() In Lucerne, the first tutti (1’02”) is sedated and underpowered, as if the orchestra is seeking to smooth out some of Beethoven’s rough edges. For example, at 0’40” the ascending woodwind scales are gracefully dispatched, but turn to the accompaniment by the Bremen Deutsche Kammerphilharmonie and Jarvi for Janine Jansen (Decca) or to the Deutsches Symphonie-Orchester Berlin and Ticciati for Christian Tetzlaff (Ondine), and those same runs sparkle with anticipation. Otherwise, the accompaniment is played with precision and warmth, but lacks forward momentum and characterization, especially in the winds. In the opening moments of the first movement, the oboe has an intonation issue moving to its second note (surely a retake was warranted). ![]()
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