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<<  -- 3 --  Kelly Ferjutz    REBEL TO REBEL


The Schubert presented another example of Mr Welser-Möst's affinity for the Viennese afterbeat. Who knew they were even there? It was almost a bit playful in places, brisk and vibrant. The basses were especially sturdy. The other strings exhibited the unique sheer sound for which this orchestra is noted, with all the dynamics well in place. There are so many theories about this work: did Schubert leave it unfinished on purpose? Was he distracted and forgot to finish it? He died so young, it's hard to know exactly.

The Three Pieces for Orchestra by Berg, on the other hand, displays all the turmoil present in 1914 Vienna, in and around fragments of gorgeous melody. There were gorgeous violin solos followed by a dark, not-quite-lilting waltz played by a trumpet, followed by more chaos. The rhythm isn't really a waltz or a march, but rather a stumbling sort of gait, indicative of what was to come in the next few years.

As a reward, Mr Welser-Möst and the orchestra then gave us the real thing -- the Emperor Waltz by Johann Strauss. The cello solos were beautiful, especially near the end, when in a duet with the horns.

The New York concerts will be performed in a slightly different order than those in Cleveland; rather than doing all five concerti in three nights, they'll be spread out over four. The concert described above will actually be the closing night's (5 Feburary 2005) menu in Carnegie Hall. Tuesday 1 February will pair the First Concerto of Beethoven with the Shostakovich Symphony No 11 (The Year 1905). Wednesday 2 February will feature the Second and Third Concertos with Harris's Symphony No 3 in between them. Thursday 4 February will begin with the New York première of Birtwistle's Night's Black Bird, followed by Dutilleux's Symphony No 2 (Le Double); and close with the Emperor Concerto.

Hold onto your hats, New Yorkers! You're in for a splendid week of music-making. The ticket office at Carnegie Hall is reachable at +1 (212) 247 7800 or the web-site:

Copyright © 1 February 2005 Kelly Ferjutz, Cleveland USA



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