Albert Bachmann’s classic works violin encyclopedia (1925) is Spanish Symphony Op. 21This lies in the fact that Edouard Lalo said, “This piece shows off virtuosity while maintaining a deep musicality.” The Genevan pedagogist adds some accurate observations about the version he heard of this work for violin and orchestra, composed in 1874 by its dedicator, the legendary Pablo de Sarasate. “No other violinist has succeeded in performing this work with such astonishing art, combining so fine a combination of grace, clear brilliance, and astonishing vitality.”
It is particularly thought-provoking to connect Bachmann’s observations with the impressive performance given by the young violinist María Dueñas (22 years old, Granada) at the Zaragoza Auditorium last Friday the 14th. The performance is part of an international tour with the Chamber Orchestra of Europe (COE) conducted by Antonio Pappano, and will begin in Valencia on the 11th, travel to Madrid, Seville, Ferrara and Berlin, and culminate in the Austrian town of Eisenstadt on the 22nd.
Dueñas imposed his own character from the first solo. Allegro non troppo. He did not fail to highlight the triplets that run throughout the movement, giving them an unmistakable Spanish flavour. However, his impeccable virtuosity did not overshadow the tenderness of his second subject. sweetEnhance dynamics to the maximum and add exquisite color to your phrases portamento. At the start of the next movement, scherzandoaccording to Bachman, evoked the refined glide of the second string that Sarasate used to play, and soared over the rest of the strings with a mixture of fantasy and weightlessness typical of the seguidilla air that permeates this song.
he was also dazzling intermezzo center. The naturalness with which he sings this song, which evokes the habanera before the opera “Carmen,” is undoubtedly also influenced by: arrangement By Sébastien Iradier — It was just amazing. Perfectly performing multiple cascades of notes and bow strokes, he enriched his musical speech with delicate, dynamic nuances that perfectly reflected the Niccolo Galliano violin he played on loan from the German Music Foundation. In the fourth movement, walkI was once again captivated by his fantasy in the phrasing and coloration of sound, but also by his poise in the face of short and demanding cadenzas.
However, this haunting interpretation spanish symphony I had not yet reached the peak of my vitality. Rondo end. It was another fine display of virtuosity, with passages of extraordinary clarity and admirable precision, but never abandoning the musicality of the work. This can be seen in the gentlest passages. There, Lalo evokes a passionate malagueña, Dueñas expands his expressive palette, pianissimo I almost whispered in the ears of each viewer.
The huge applause from the public gave us two clues. The first piece was an elegant homage to the orchestra’s fine string instruments, with the following arrangement: number of oselsa traditional Catalan Christmas carol popularized by Pau Casals as a symbol of peace, but on this occasion there was a violin solo, with the addition of a small final solo by Pau Codina from Barcelona, principal cellist of the COE. The second is sad waltz (1913) by Hungarian master Franz von Wessey, performed without piano accompaniment. A final sample of Dueñas’ rhapsodic style. His unmistakable way of wriggling through tempo and dynamics is so captivating on his latest recording for Deutsche Grammophon, where he musically expands on Paganini’s devilish whims.
An important part of the success of the first half of the concert was the collaboration between Maria Dueñas and spanish symphonyis based on the excellent accompaniment of the Chamber Orchestra of Europe conducted by Antonio Pappano. A gorgeous orchestra and an extraordinary conductor who knew how to enhance the individuality and variety of musical variations in Lalo’s works. Pappano himself alluded to this greatness in a video he recorded in Bologna during the preparations for this tour, in which he evoked the persistence of the spirit of Claudio Abbado and the traces of Nicolaus Harnoncourt in this orchestra, founded in 1981.
Part 2 of the program was limited to 8 people Slavic dance op. 46composed by Antonín Dvořák in 1878 and arranged by him after the successful publication of the original version for duet piano. It’s a common task, such as hints, but it’s not often used as the only core of a program. In any case, the interpretation was perfect in its consistent approach, unified by evocations of Spanish and Czech dance.
Pappano managed contrast well. I was furious The first is alternating melancholy and exuberance. Dumka Those who followed him and found brightness in him, polka. Idyllic and warm personality. sucezuska It was persuasive and never lacked effectiveness in the heat of the moment. scotuna In A major, the following rustic elegance was emphasized sucezuska. To the seventh dance again scotuna However, theatricality was lacking in C minor, and the cycle ended with impulsive articulation. I was furious.
The monotony of the program, dedicated exclusively to the original Slavic dances of Dvořák, was reinforced by a tip from Pappano himself, who thanked the audience in Spanish for the warm welcome and added: “There is one more dance, and it may be the most beautiful of all.” then beautiful Mazurka E minor, No. 2 Slavic dance op. 72a work composed from a symphonic perspective by a more mature Dvořák between 1886 and 1887. Undoubtedly, more elaborate orchestration and musical richness would have made for a more engaging cycle. In any case, this piece, offered as a hint, was the best of the second part, in which Clara Andrada, the ensemble’s solo flutist, stood out thanks to the melancholic inflections of the strings and the natural changes of the wood.
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