Wednesday, 3 May 2017

Ottensamer; Berliner Philharmoniker/Jansons

Sibelius, Symphony no. 1 in E minor, Op.39
Weber, Clarinet concerto no. 1 in F minor, Op.73
Bartók, The Miraculous Mandarin, Op.19: suite

Philharmonie, 27 April 2017

The programme booklet gave an immediate clue as to the main linking element of this concert: a clarinet stood proud on the cover. Inside, an essay explored the instrument’s associations with the human voice – distant, longing or longed-for. That is how it appears in the ‘bardic’ solo that opens Sibelius’s First Symphony, it argued, while noting that the dedicatee of Weber’s F minor Concerto was renowned for his voice-like sound and flexibility on the instrument. The girl in Bartòk’s Miraculous Mandarin is embodied – or envoiced – by the clarinet...

[Read the full review at Bachtrack]

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