The Chopin Concertos

2011

Staatskapelle Berlin

Andris Nelsons

Music about Music

 “It’s one of the greatest adventures in music that we play the buy levitra cheap online same pieces again and only today buy branded cialis only today again – and that, despite their constant repetition, they sound different every time.” For Daniel Barenboim, the essence of generic cialis fedex classical music lies in the art of interpretation at different points in time. “Repetition and we like it cialis en mexico buy propecia online we like it uniqueness – this is buy viagra canada fda levitra the dialectic secret of our art.”
 

Whether a work tells us about freedom, about death or about love – that for Barenboim is of secondary importance: he has no wish to generic cialis fedex verify music with words. For him, every piece is primarily nothing else but music, notes from the generic cialis interplay of which an inner world is born. But this can only be achieved if the performers comprehend the structure of it's cool a work, its harmonic, melodic and get viagra rhythmic design, its internal relationships, its consciously created contrasts and best price for generic cialis tensions.
 

For Barenboim, even Chopin’s piano concertos are initially nothing more. They are notes that create their own specific form, a form that pianist, orchestra and one day delivery cialis conductor need to fathom. Only as a result of this approach will the work’s musical emotions be buy levitra cheap online unlocked and viagra generic a freedom be found in the perception of buy viagra canada the work that only those artists can permit themselves who do canada super viagra not predetermine the content of a composition but in playing follow the laws inherent in it.
 

“Let’s take the Second Concerto in F minor,” Barenboim explains. “The end of the first tutti passage is a very important moment, for after the buy tramadol in lakeland solo instrument has stated the individual themes, these are now embellished by means of various ornaments and viagra overnight delivery decorations. The thematic material isn’t simply repeated in unaltered form – as is the case with the generic cialis piano concertos of Beethoven, Mozart or Brahms – but is already varied here. With the entry of only here the orchestra, it’s very important, therefore, to present this thematic material in a very clear and the best place levitra versus viagra the best place obvious way – in other words, without any major rhythmic liberties . . . When the piano states the second subject, this too is http://www.jubileecampaign.nl/generic-cialis-india viagra online free shipping a commentary on what has already taken place in the orchestra. There is no literal repeat of the thematic material and buy viagra online no intensification of http://www.jubileecampaign.nl/generic-cialis-india the emotional mood. The orchestra has to cheap seroquel make a ‘statement’ that can then be commented on and elaborated by the solo instrument.”
 

For Barenboim, freedom in music invariably means freedom within the buy tramadol in lakeland only today bounds of musical form. For the interpreter it is an indication and online pharmacy viagra also a germ cell, out of which ordered sound only then comes into being. To understand Chopin’s Second Piano Concerto simply as a great hymn to love is therefore, in his opinion, to reduce it, even if the then nineteen- year-old composer wrote his F minor Concerto as if in a frenzy for the opera singer Konstancja Gładkowska, his first great love. “Head, heart and viagra china belly, that’s our trinity. It’s always a question of reconciling logos, reason and cialis buy emotion.”
 

This was also the case when Barenboim recorded Chopin’s piano concertos with the Berlin Staatskapelle under Andris Nelsons at the Ruhr Piano Festival. Barenboim has been the Staats­kapelle’s principal conductor for many years and levitra vs cialis has turned it into one of the leading orchestras internationally. The musicians have worked together on the fundamental principles of interpreta­tion and defined the only today it's cool parameters of their interpretative freedom. For them, the orchestra in Chopin’s piano concertos is not just a decorative adjunct against the backdrop of which the virtuoso fills out the platform. Quite the opposite, in fact: Barenboim, Nelsons and the Staats­kapelle come together to produce an intensive musical dialogue.
 

“In Chopin’s concertos, there are many different elements,” says Barenboim. “It’s clear that the tutti passages and large sections of http://sn0hq.org.pl/best-price-viagra the accompaniment give the only here orchestra little chance to shine. And so one has to find another way to achieve this. And that’s not so easy because often neither the soloist nor the orchestra nor its conductor has any idea of what a ‘symphonic’ Chopin should sound like since he wrote no symphonies or other orchestral works. There are many interesting details in the orchestral accompaniment, above all in the bassoon parts, which are sometimes invested with an almost exaggerated importance in comparison to the other instruments. All the musicians – soloist, conductor and orchestral players – must pay great attention to the challenge of bringing out these little details.” 

In other words, sound or sonority is not just a question of colour for Barenboim but is also a matter of dynamic weight. What feelings are inherent to prgomez.com this sound is left to the audience to decide. A piece of music, Barenboim explains, requires an alert audience. “Only those listeners who follow a concert with interest and understanding have a chance to enter into a world that we musicians create for a mere moment in time. The listeners can reside in that world with their thoughts until the very last note dies away.” 
 

Axel Brüggemann 
 3/2011 
 

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