![]() I needed to consider that there were probably many who couldn’t afford all four and had to make a hard decision – which two or three would be most exciting? And with works in all four programmes that were unmissable, many opted to sacrifice the early ones in the belief that they were, naturally, less great. While that’s not true, the notion that it might be was enough.Īnother introductory comment: my earlier review of the first three symphonies mentioned earlier performances under De Waart I listed 1, 3 and 7, forgetting the Choral which was played, with two of the same soloists, last November (it was reviewed here by Rosemary Collier). I don’t know why I was unexpectedly delighted, and surprised, as the orchestra launched with such spirit and enthusiasm into No 6. There’s no preparatory introduction to warm up or to allow the audience to settle down via an Adagio molto, or a Poco sostenuto. ![]() We have arrived at once ‘ auf dem Lande’ (Beethoven broke tradition at once by using German movement names and it left no doubt that Beethoven was composing what was the first ‘programme’ symphony in any real sense – music that overtly paints a picture or tells a story).īeethoven’s mood is felt throughout the auditorium from the very first phrase, and the orchestra left us in no doubt, with every section sounding full of the delight that Beethoven had created in his score. While flute and oboe were conspicuous early, all woodwinds had their place in the sun, playing as if they rejoiced in the pleasure they were bringing to surrounding peasants (a situation more conspicuous in the third movement, of course). The second movement – the scene by the brook – was also at an above-average speed, even though the pleasure depicted here is more passive. Bridget Douglas ‘s bird-like flute was again prominent along with bassoon (Robert Weeks), clarinet (Patrick Barry) and Robert Orr’s oboe, all played much more distinctive roles than their usual job of being modestly integrated in the entire orchestral fabric. All produced sounds of the most pure and open quality. Their apotheosis was the later cuckoo imitation.Īnd though the third movement opened with warm, energised strings which pervaded it, keeping the almost transcendent joyousness well grounded the important role of the woodwinds, as well as horns, flowed through it. His work also includes a Piano sonata, two symphonies, the Cello concerto 'Tout un monde lointain' (A whole distant world), the VIolin concerto 'L'arbre des songes' (The tree of dreams) and the string quartet 'Ainsi la nuit' (Thus the night).The memorable element in the storm scene of the fourth movement was the startling, even frightening intensity of the Laurence Reese’s timpani. Henri Dutilleux was internationally acclaimed for his work, winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, among many others. A quotation from Bartok's piece 'Music for Strings, Percussion, and Celesta' can be noticed at the end of the first verse. The whole set requires the lowest strings of the Cello to be turned lower: G string to F-sharp and C string to B-flat. Henri Dutilleux composed the first part of this volume for the celebration and added the final two pieces later in 1976. ![]() It was first performed in an audition by the latter in 1982. "Written on the occasion of Paul Sacher's birthday, this 3 Strophes in the name of Sacher features three Cello pieces composed by Henri Dutilleux and reviewed by Mstislav Rostropovitch.
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