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The first two programs of the tour are a cycle of all four of Brahms' symphonies and Barenboim's rhythms in the first two symphonies heard on Sunday night, emphasizing a sustained, serious and unhurried approach that allows the music to speak, though when necessary , he also lets the music run with fast-paced energy.
The Staatskapelle's disciplined ability to adapt unanimously to the expressive fluidity of rhythm was the hallmark of his style.
The portentous opening of Brahms Symphony No. 1 established a fateful tone of effort that returned with particularly darkened trombone tones of the unexpected choral theme in the slow music that inaugurates the ending.
The vigorous rhythms of the first movement were softened by softening the impulsive speed to the second soft theme, which shone like a sudden ray of morning light. A highlight of the slow movement was the fully open and heavily designed sound of the oboe ground.
In the end, whose theme echoes that of Beethoven's Ninth (as Brahms said "any butt can hear it"), the articulation emphasized the accent and, dares to say, a sign of cultural pride in this work written five years after German unification. .
The horn theme that launches Symphony No.2 in D has been rounded and cohesively integrated into the orchestral texture as a sunny forest, the development section darkening dramatically with lower brass tones.
At times, as in the third movement of Symphony No. 2, Barenboim could hardly beat except the cadential emphasis or start a new section, but he profoundly shaped the ebb and flow of time.
Barenboim let out a fatal cry before the final chord, signaling the end of two hours of translucent richness and a suggestion for the audience to stand up.
Sydney Opera House, November 27, Beethoven Eroica, Schubert "unfinished"
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