Baroque in Belfer

Baroque in Belfer

In the same way we celebrate when the Balearic Islands Symphony Orchestra performs large-scale, wide-ranging pieces, such as the German Massby Brahms, or Fifth Mahler, we can do it also when he reduces the form and enters the world of baroque music. This circumstance does not cease to be another exercise in interpretive tightrope walking, which requires a fair amount of extra effort in a foreign area. To achieve the ideal effect and for the results to be as perfect as possible, there is nothing better than to put a true specialist in the forefront, as is the case with Jonathan Cohen, a director who has been visiting us frequently for several years. He did it in the last regular season of the symphony, with the full orchestra, and in the summer in the last edition of the Pollensa Festival, he conducted the Arcangelo and Nicholas Elsstadt on cello.

A good choice, and without a doubt, a guarantee, which translated into another event at the third concert of the Bellver Festival, with the courtyard of the Armes at the castle, and again with a sold-out ticket poster. On the other hand, the program was not spectacular, but at least interesting enough for such a heterogeneous track. Three composers with pedigree and adequate representation. Telemann from Germany, Handel from England, and Rameau from France, who form a good baroque group of three contemporary composers. Perhaps it lacked Bach, who at that time was less famous than Telemann, to the extent that he was the copyist of a fair number of cantatas that were much lower in the strophon scale. Whatever the case, a little exoneration of Telemann is not bad either. He did it with the nine movements of Pavilion of ancient and modern nations, A distinctive piece by the composer, more interesting in structure than in complexity, which was an introduction to a style that was in some ways the forerunner of almost everything else. Sitting at his harpsichord, Jonathan Cohen continued his conversation with George Frideric Handel and the lively player. Wing No. 1 of Water Music, Which raised the level of the evening and the number of members of the formation such as the flute, the star instrument inslow and detached From the second movement. The festive tone was present in the castle, as it had once done in the barge that accompanied George I on his journey up the Thames on his way to Chelsea.

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The first part of the ceremony concluded with a selection from the last. wing Today, that of The Valiant Indies, A baroque opera, although it has been almost forgotten, it was an undisputed success at the time. In fact, it is this group that has stood the test of time best. It is clear why. It was with the interpretation of the symphony, powerful and majestic, with more and more members, that somehow revealed this little stroke of the helm into the baroque by Rameau who was also ahead of his time. And ahead of his time, who better than to be responsible for the conclusion: Mozart, with his most famous symphony, No. 40, executed as magnificently as the score describes and as dynamic as Jonathan Cohen suggested, shooting the applause award for an orchestra very close to enthusiasm.

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