Tonight 11/4/2014 Ulster Orchestra play Dvorak, DSCH and Brahms

[Hornspieler]

Concert starts at 7.30 (see Schedule)

A demanding programme, especially Shostakovitch's 1st Violin Concerto.

I shall be listening live.

HS

[edashtav]

I'd not heard Dvorak's Othello Overture before and I can't say that I enjoyed it tonight. The performance seemed a decent one although the chording of the brass department took time to settle but I felt that the music was second-rate by Dvorak's standards. Did he look at the Willow Song from Verdi's Othello for Desdemona's main theme? I reckon that there was more than a passing resemblance! Tchaikovsky had a hand in its scoring (e.g. use of harp) - sometimes I thought that this Othello was Tchaik's Romeo and Juliet without the tunes. The solemn start took its inspiration from Wagner Some of the more interesting figurations were lifted out of the composer's own Carnival Overture and there were some pre-echoes of his New World Symphony. Did I detect a tension between sonata form and the need to sketch the Othello tragedy? The ending was peremptory and caught its audience unawares. Maybe, if the orchestra had gone hell for leather, the piece may have come alive for me. As it was I fell sullen and listless.

I thoroughly enjoyed the Shostakovich. The Ulster Orchestra was on top form backing its own leader - what a brave choice of his to play such a long, exposed and tricky piece. He conquered the opening Nocturne showing great musicianship allied to a sweet tone. The spiky second movement was well-characterised and I enjoyed the Ulster Orchestra's woodwind. This violin concerto is in my top five violin concerts and this interpretation didn't disappoint.

Other matters stop me listening to the Brahms, live. Apologies to hs!

[Hornspieler]

Can't disagree with Edashtav's assessment of the first half (message #2)

I'm now listening to the Brahms and, to me, it sounds a little cautious - as if the players are "picking their way" through it.

A bit early to judge, really. I'd better concentrate on the music and abandon the keyboard pro tem.

HS

[EdgeleyRob]

Can't disagree with Edashtav's assessment of the first half (message #2)

I'm now listening to the Brahms and, to me, it sounds a little cautious - as if the players are "picking their way" through it.

A bit early to judge, really. I'd better concentrate on the music and abandon the keyboard pro tem.

HS

Well HS,I managed to catch this from the start (for a change!).

I don't recall ever having heard the Dvorak before,not in a hurry to hear it again I'm afraid.
The DSCH was electrifying,really sent a tingle down the spine.
I've given up on Brahms 4,seems like it's about to grind to a halt at any moment.

[Pabmusic]

Othello is quite awkward to programme successfully, partly because it is sombre Dvorak (which surprises some) but also because it is the last of a trilogy of overtures/symphonic poems that benefit from being heard together. They even share some thematic ideas. The order should be In Nature's Realm (op. 91), Carnival (op. 92) and Othello (op. 93). Dvorak does seem to have been a bit fixated with tone poems in later life, and these three pieces comprise a larger cycle, Nature, Life & Love.

[Estelle]

I was spellbound by the Shostakovich Violin Concerto and second Rob's description, "electrifying!" From one minute to the next, I didn't know where this music would take me. I am full of admiration for the soloist-Ulster orchestra leader! Even to the untutored ear, this piece sounds fiendishly difficult.

[Hornspieler]

Well HS,I managed to catch this from the start (for a change!).

I don't recall ever having heard the Dvorak before,not in a hurry to hear it again I'm afraid.
The DSCH was electrifying,really sent a tingle down the spine.
I've given up on Brahms 4,seems like it's about to grind to a halt at any moment.

A very poor choice for the opener of a concert.

Dvorak by all means, but I would have chosen his delightful Scherzo Capriccioso as a fitting appetiser for the Shostakovitch that was to follow.

Brahms' 4th had some nice moments but it was just "a bridge too far" for the Ulster Orchestra.

It just lacked the confidence in performance that Brahms' music requires. Maybe the Violin Concerto took up too much rehearsal time.

HS

[Hornspieler]

I was spellbound by the Shostakovich Violin Concerto and second Rob's description, "electrifying!" From one minute to the next, I didn't know where this music would take me. I am full of admiration for the soloist-Ulster orchestra leader! Even to the untutored ear, this piece sounds fiendishly difficult
.

... and it is!

Hs

[Barbirollians]

Before consigning Othello to the musical dustbin I suggest a listen to the Kertesz, Kubelik and above all Talich versions .

[Pabmusic]

Before consigning Othello to the musical dustbin I suggest a listen to the Kertesz, Kubelike and above all Talich versions .

[edashtav]

A very poor choice for the opener of a concert.

Dvorak by all means, but I would have chosen his delightful Scherzo Capriccioso as a fitting appetiser for the Shostakovitch that was to follow.


HS

Spot on, hs, that Scherzo, or the Carnival overture, would have been a great foil, whereas putting Othello first-up was preparing for Great Angst with mini angst -the Dvorak was reduced to tune-up dust by the ill-judged programming.

[Hornspieler]

Spot on, hs, that Scherzo, or the Carnival overture, would have been a great foil, whereas putting Othello first-up was preparing for Great Angst with mini angst -the Dvorak was reduced to tune-up dust by the ill-judged programming.

Well, I'm not so sure about the Carnival Overture. It's been rather over-exposed over the past few years. Every orchestra in the country seems keen to play it and for me it too often sounds like a race to finish first.

Certainly it lacks the lyrical quality of the Scherzo Capriccioso, which is more Slavonic in character.

If you prefer to open a concert with an overture, why not Kabalevsky's Colas Breugnon, which sets a Russian flavour for the Shostakovitch?

Hs

[edashtav]

Well, I'm not so sure about the Carnival Overture. It's been rather over-exposed over the past few years. Every orchestra in the country seems keen to play it and for me it too often sounds like a race to finish first.

Certainly it lacks the lyrical quality of the Scherzo Capriccioso, which is more Slavonic in character.

If you prefer to open a concert with an overture, why not Kabalevsky's Colas Breugnon, which sets a Russian flavour for the Shostakovitch?

Hs

You've got a sure touch for programming, hs. I take your point about the Scherzo Capriccioso and agree that Colas Breugnon which has brevity, wit, rhythmic energy and memorable tunes would complement the Shostakovich.

I'm fond of Carnival but, like you, have heard it turn into a race riot.

[rauschwerk]

Before consigning Othello to the musical dustbin I suggest a listen to the Kertesz, Kubelik and above all Talich versions .

Indeed. Or Mariss Jansons. I'm very fond of Othello but last night's performance would not have converted me to it if I hadn't known it before. To my ears the conductor tried to make it sound too much like Tchaikovsky.