ความคิดเห็นที่ 21
Rimsky-Korsakov based his work on the tales that Scheherazade told King Schariar over a thousand and one nights, thereafter being crowned queen. Previously, the king, who had been cheated by his first wife, had taken a virgin every night and killed her the morning after.
If there was lack of verve in the rendering of Scheherazade's theme, the explanation may lie in the normal function of this particular orchestra as accompanist for the opera and ballet theatre of the same name. There is a big leap from the relative darkness of the orchestra pit to the bright lights of the stage which demands a role reversal. The orchestra made a valiant attempt with Beethoven's symphony, with the conductor showing that he knew exactly what he wanted. But not everyone was sufficiently prepared, the horns lagging slightly in the first movement, and most sections not responding to the calls of the conductor in the first and second movements. In the third movement, the orchestra was more relaxed.
The second violins and violas introduced pleasingly the andante theme that was later taken up by the oboes and flutes. The return of the theme in the woodwind was clear but the same could not be said for developments in between.
The finale was a moment of glory that should have been seized by the chorus, soloists and the orchestra. But the orchestra seemed to retreat into the background, submitting to the singers rather than rising to the challenge of matching their power. This may have stemmed from the predominance of women in the string section, whose strength lies in attention to detail rather than input of energy.
Disappointing was the first statement by the cellos of the "Joy" theme, which sounded dry rather than beseeching. However, the lushness of the chorus and soloists made up for the lapse. Conductor Granovsky won respect for showing he is a stickler for precision.
Beethoven took just over a year, between 1823 and 1824, to compose the symphony. But ideas towards it had emerged as early as 1793, when he thought of incorporating a musical setting of Schiller's Ode to Joy, writes his biographer Alexander Wheelock Thayer.
The Fantasy for Piano, Chorus and Orchestra, opus 80, written in 1808, was the first venture of this kind. In it, he used the song Gegenliebe, which he had composed in 1795.
The two works share a similarity of treatment, with the orchestra stating the theme and variations before the chorus comes in.
In the choral finale of the Ninth Symphony, Thayer notes that Beethoven took some time before he came up with a recitative, sung by a baritone soloist, as the link between the orchestral and choral statements.
The resonance of an applause is one yardstick of a successful performance. Another is the commitment to listeners' memory of parts of the works they hear. On this score, the Ekatarinburg Symphony orchestra should be happy with the sounds of listeners humming Prince Kalendar's theme during the interval, and join the singers of the Ekatarinburg Opera and Ballet in celebrating their listeners' recalling of the "Joy" theme after the end of the concert.
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