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Every now and then I like to experiment. Reviewing a concert in which I know none of the music can be frightening, but also exciting and — always — surprising. It requires effort, concentration, and a reason to listen; in other words, it requires a performance by a world-class orchestra, which is exactly what I got at the Barbican. Although deathly quiet, the strings created a heavy, oppressive atmosphere, hinting at lush post-Romantic harmonies but slithering constantly into discord effected by the slippery semitonal lines. A powerful, repetitive build-up heralded the entrance of the percussion section with a cymbal crash, in turn provoking a swooping chromatic descent, out of which arose that magical, mystical sound of the celeste, its clarity contrasting so strikingly with the nuances of the strings. The assertive opening of the second movement did little to assuage the foreboding atmosphere of the first, which was dissipated only in the more playful second section. However, this playfulness soon became frantic in an extraordinary offbeat, pizzicato block chord passage, which, although exciting, was hardly breathtaking; the players required such immense levels of concentration for those treacherous rhythms that the energy of the passage was predominantly soaked up by their furrowed brows. High-pitched violin portamenti sound like distant, ravenous birdcalls, and a unison lead violin and celeste duet evoke eerie, stratospheric flight. The Finale, a folksy romp in which a manic, infectious clashing melody subsides into sweeping string melodies, brought us crashing down to earth. After an excited cello solo, these broad brushstrokes return, extending to the entire ensemble, which then takes an abrupt, unexpected turn into the finish line. I found it a bizarre, disjointed and disorienting piece, in which Znaider had to struggle constantly against a rather detached orchestral score. Not for long. Joined by the London Symphony Chorus and tenor Steve Davislim, the swollen orchestra performed this incredible paean to the universe with truly breathtaking breadth and depth of expression: musical, poetical and spiritual. On listening to this music performed live, one experiences an entire universe of sound. Termine Kritiken Artikel Video. Von David Fay , 10 Mai Veranstaltung anzeigen. Szymanowski , Symphony no. London Symphony Orchestra. Nikolaj Szeps-Znaider , Violine. Steve Davislim , Tenor. Kritiken von. Verwandte Artikel. Loading image David Fay. His specialism is religious music but his musical passions range from Alkaline Trio to Zadok the Priest. Holen Sie sich das Beste. Zeigen Sie mir das nicht mehr. Alle Rechte vorenthalten.

The Agony and the Ecstasy: LSO Performs Bartók and Szymanowski

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