CONCERT MONREPOS OUTDOOR. Great musical discoveries Online Merker

Monrepos Open Air concert at the Castle Festival July 16, 2022 / LUDWIGSBURG

Fascinating musical discoveries

It was the first time you could retrieve the legendary Monrepos outdoor concert experience after a protracted crown pandemic. Creating music with commitment and passion Goethe-Gymnasium Ludwigsburg Orchestra under inspirational guidance Benedict Vennefrohne initially, unknown pieces of the composers played in the opening act, which were a real discovery. “Allegretto” from “Suite of Dances” and “Adoration” (arranged for chamber orchestra by Robert Jones and Benedict Vennefrohne) by a black composer Florence Price he sometimes resembled Antonin Dvorak and George Gershwin, but had a very unique tonal language. FROM Melanie Bonis, who was a colleague of Claude Debussy at the Paris Conservatory, performed the attractive harmonically and transparent pieces of Bourree Op. 62/2 and Pavane Op. 81/3 from “Trois Danses”, where Benedikt Vennefrohne primarily studied rhythmic effects from a youthful orchestra . The “Dance of Paper Umbrellas” by the Uzbek-Australian composer had a minimalist effect Elena Kats-Chernin. The dance program of the Goethe-Gymnasium from “Pas des Echarpes” from the ballet “Callirhoe” created in 1888 by Cecile Chaminade decided. This living waltz had a balanced dynamics here.

The young British conductor literally jumped at the last minute Harry Ogg for the Mexican conductor Alondra de la Parra, who severed a ligament in Mexico and therefore was unable to perform. And also at a concert with The Orchestra of the Ludwigsburg Castle Festival Under his thrilling leadership, surprising discoveries could be made. First, the well-known overture to “A Midsummer Night’s Dream” Op Felix Mendelssohn Bartholdy. In a truly mysterious way, 5,000 listeners were kidnapped outside the castle on Lake Monrepos in the kingdom of Oberon. The hovering elves seemed to be dancing in the moonlight, and the wild noise of the colorful night society rumbled. This dream poetry emanated almost Christmas joy. The magic of the atmosphere and vividness of these sound worlds captivated the audience. Not only Richard Wagner came from the Ludwig van Beethoven Symphony No. 7 in A major, Op. 92, which became Beethoven’s greatest public success. The theme of the introduction never lost its cheerful, joyful leading note – and the second theme was also captivating as a reminder of the piano sonata. And the various side ideas here in the course of the sonata form were derived from the main theme that has been carefully followed in this performance. The rhythm continued until an excitingly enthusiastic final rise. The change of mood was reflected in sharp dynamic contrasts. The famous Allegretto elegy of the second movement was austere, almost like a funeral march. Influences on Schubert could be felt here. There is a pitiful counter melody in the violas and cellos. He sang a touchingly intensified duo. The melody of the clarinet tried to soothe the events with a delicate intimacy – but in the bass rhythm, the funeral march returned to amazing and passionate menacing. In presto, Harry Ogg miraculously changed the mood with a fast playing orchestra, with a noisy triad of the main theme. In part of the trio, there were reports of wind instruments and clarinets, referring to the Austrian pilgrimage song. Finally, the fiery finale of Allegro con brio, which Wagner called the “apotheosis of dance”, exploded with a truly Dionysian swing. The ecstatic madness of the first theme carried the audience immediately, and the capricious, danceable theme opened the multifaceted complexity of this sonata movement. In the splendor of horns and trumpets, the recapitulation section shone with a new glow after the development – and the lively coda ended the part.

FROM Samuel Barber the elegiac “Adagio” is mainly known in this country. His largely unknown solo song “Knoxville: Summer of 1915” was now heard in Ludwigsburg, where a six-year-old boy reflects on his life in a touching way. Based on a poem in the prose of James Agee, a hot day in the American South is described here in a touching and dense atmosphere. During a successful performance with the Ludwigsburg Castle Festival orchestra conducted by Harry Ogg, the noise of the locusts seemed to be heard from all over the air. And the tenor Julian Pregardien he traced the little boy’s worldview in bold intervals and hymn-like highs and lows. For the orchestral scherzo “The Sorcerer’s Apprentice” by Paweł Dukas Goethe’s ballad was followed by a gigantic fireworks display that was second to none. And the events of the ballad were very humorously translated into fascinating sound images by the orchestra of the Ludwigsburg Castle Festival under the baton of Harry Ogg. The water sucked in by the hardworking brooms of the witches roared dangerously, rising up to the neck of the poor sorcerer’s apprentice. Here, too, the demonic ballad has come to the fore in sparkling tonal descriptions and a fiery illusion. The amusing emulation of the bassoon followed the sinister work of the broom. The triumphs were celebrated with artistic motifs and selected colors of the instrumentation. Finally, “Danzon No. 2” by Arturo Marquezwhere the folk melodies of the composer’s Mexican homeland exploded rhythmically. Big applause, big applause at the end.

Alexander Walther

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