Mahler’s First Symphony

MAHLER’S FIRST SYMPHONY

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Thursday 3 October 2013 at 7.30pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra 

Nikolaj Znaider   conductor

Ingrid Fliter  piano

Mendelssohn: Ruy Blas – Overture 7′

Chopin: Piano Concerto No. 2 33′

Mahler: Symphony No. 1 56′

Ingrid Fliter’s encore – Beethoven –  Op.31 no.2 sonata -finale

“The   symphony must be like the world,” declared Gustav Mahler. “It should embrace   everything.” And from its breathtaking opening vision of the dawn of time itself,   to a truly heaven-storming finish, Mahler’s First does exactly that. No recording   does it justice – just as pianist Ingrid Fliter’s deeply personal way with Chopin   is something you simply have to experience for yourself. Nikolaj Znaider opens   with Mendelssohn’s gloriously gothic overture. He’s already worldfamous as a   violinist; we think you’ll be astonished by what he can do with a baton.

“I’ve loved Chopin’s Piano Concerto No. 2 since I was  a kid – just beautiful, beautiful music. This one will be sure to give you goose  pimples…” (Catherine Ardagh-Walter, Cello)

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “Overture, concerto, symphony: good old-fashioned programme-fodder, but in this case there was nothing staple about any of the offerings, beginning with a lively account of Mendelssohn’s uncharacteristically storm and stress Ruy Blas Overture.

OK, orchestral placings were bizarre (violas on the edge stage-left where the cellos normally go), but the sound was full and rich, strings well-turned brass chording sonorous, and Znaider’s beat reassuringly fluent.

And Znaider, also a world-class violinist, brought a lively response to the orchestral tutti in Chopin’s Second Piano Concerto (it’s about time we cast the hoary old chestnut about Chopin not being able to orchestrate into the compost-bin – just ask the bassoonist).

Ingrid Fliter was the committed soloist, with an instinctive feel for Chopin’s textures, filigree never interfering with melodic line, hands well-balanced (though my spies tell me the piano was playing up), her empathy with Znaider’s CBSO joyous.”     …

*****

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