{"id":66779,"date":"2013-02-10T23:02:17","date_gmt":"2013-02-10T21:02:17","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66779"},"modified":"2016-12-20T10:02:59","modified_gmt":"2016-12-20T09:02:59","slug":"from-fedele-to-franck-7th-concert-of-the-symphonic-season-at-filarmonico-2","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/from-fedele-to-franck-7th-concert-of-the-symphonic-season-at-filarmonico-2\/","title":{"rendered":"From Fedele to Franck: 7th concert of the symphonic season at Filarmonico"},"content":{"rendered":"

Verona, Teatro Filarmonico, Concert Season 2012\/2013<\/em><\/em>
\n<\/em>Orchestra dell\u2019Arena di Verona<\/strong><\/strong>
\n<\/strong>Conductor\u00a0Xu Zhong<\/strong><\/strong>
\nOboe\u00a0\u00a0Claudio Ugolini\u00a0<\/strong>
\nClarinet\u00a0\u00a0Stefano Conzatti\u00a0<\/strong>
\nBassoon\u00a0\u00a0Paolo Guelfi\u00a0\u00a0<\/strong>
\nHorn\u00a0\u00a0Andrea<\/strong>\u00a0Leasi<\/strong>
\nIvan Fedele<\/em><\/em>\u00a0Syntax 01 (if@hay.dn)
\nWolfgang Amadeus. Mozart\u00a0<\/em><\/em>\u00a0Sinfonia Concertante K.297\/b
\nC\u00e9sar Franck<\/em><\/em>\u00a0Symphony \u00a0in D minor
\nVerona<\/em><\/em>, 8th February 201
\n<\/em><\/em><\/p>\n

On Friday 8th February(repeat 9th) the\u00a0Fondazione Arena di Verona<\/strong>\u00a0continued its winter concert season with its seventh concert, conducted by\u00a0Xu Zhong<\/strong>\u00a0and \u00a0featuring four of the principal wind players from the Arena Orchestra as soloists, in\u00a0Mozart\u2019s Sinfonia Concertante K.297\/b\u00a0<\/em><\/strong>for oboe, clarinet, horn and bassoon. The programme, \u00a0as part of this season\u2019s policy of\u00a0 including a contemporary work, opened with\u00a0Ivan Fedele\u2019s \u00a0Syntax 01(if@ hay.dn)<\/em><\/strong>\u00a0<\/em>and the second half was dedicated to\u00a0C\u00e9sar\u00a0 Franck\u2019s Symphony in D minor.\u00a0\u00a0<\/em>
\nSyntax 01<\/em><\/strong>,<\/em>\u00a0was commissioned in 2009 by the Haydn Orchestra in Bolzano to commemorate the bi-centenary of Haydn\u2019s death.\u00a0 In this work, the composer, Ivan Fedele, \u00a0clearly attempts to convey the continuing significance of the \u00a0distinguishing\u00a0 characteristics of Haydn\u2019s musical inheritance. Instrumental in the evolution of the sonata form, Haydn was very attentive to form, retaining a learned and rigorous musical structure. Fedele captures two essential characteristics of Haydn\u2019s music in his development of larger structures out of very short, simple, musical motifs and in his exposition of contrasting themes. The woodwind and brass effectively rendered the progressively intense and expressive interplay of timbre and dynamics, precisely and convincingly. The same can not be said of \u00a0the violin section which, especially at the beginning, seemed uncertain and tentative, notwithstanding the clear and firm gesture of the conductor. \u00a0It wasn\u2019t\u00a0 until the atmospheric harp and piano section towards the end, that the orchestra seemed to have found the right equilibrium and \u00a0sense of style.
\nIn\u00a0Mozart\u2019s<\/em><\/strong>\u00a0beautiful\u00a0Sinfonia Concertante K.297\/b for oboe, clarinet, bassoon and horn,\u00a0<\/em><\/strong>there was some very fine playing from the soloists,\u00a0Claudio Ugolini<\/em><\/strong>\u00a0oboe,\u00a0Stefano Conzatti<\/em><\/strong>\u00a0clarinet,\u00a0\u00a0Paolo<\/em><\/strong>\u00a0Guelfi<\/em><\/strong>\u00a0bassoon and\u00a0Andrea Leasi<\/em><\/strong>\u00a0corno. Mozart displayed affection and prominence for the wind instruments in his operas and concertos, often entrusting them with memorable dialogues with the soloist. The Sinfonia Concertante form, is essentially a mixture of symphony and concerto genres, where the soloists alternate being on \u00a0prominent display, and being discernibly a part of the total ensemble, and not preeminent. \u00a0The first movement, with its double exposition, first that of the orchestra which announces the main themes and then that of the soloists, is the movement in which the orchestra\u2019s pre-eminence is most felt. Unfortunately\u00a0 the soloists, when not playing alone, were often engulfed by an orchestra which did not display particular sensitivity to the dynamic and timbric levels, nor to the phrasing of the solo quartet, and which resulted, particularly noticeable in the violins, heavy and dull, lacking in levity and brilliance. The second and third movements, where the soloists dominate and the orchestra recedes, fared better. The soloists, in a gentle exchange of dialogues, wove the harmonies and melodies of the beautiful and lyrical\u00a0Adagio\u00a0<\/em><\/strong>with grace and expressivity, and the final movement,\u00a0Andante con Variazioni,\u00a0<\/em><\/strong>interspersed with basically decorative orchestral\u00a0ritornelli<\/em>, gave\u00a0<\/em><\/strong>each soloist in turn the opportunity to display the individual timbric and technical characteristics of each instrument, which they did with precision and elegance.
\nThe\u00a0Symphony in Dminor<\/em><\/strong>(1886-88) is the most famous orchestral work and the only \u00a0symphony written by the 19th<\/sup>-century Franco-Belgian composer \u00a0C\u00e9sar Franck<\/em><\/strong>. That Franck finally chose to write a symphony is itself unusual, given the rarity of the form in 19th<\/sup>-century France , which considered the symphony the mainstay of German music. In it he employed his trademark \u201ccyclic form\u201d, a method of achieving unity in which all the principal themes of the work are generated from a germinal motiv. The main melodic subjects, thus interrelated, are then recapitulated in the final movement. The symphony is in three movements, each of which makes reference to the initial questioning and sombre four-bar theme introduced at the beginning of the piece by violas, cellos and basses. The elision of the standard scherzo movement is in part compensated for, with a scherzo-like treatment in the second movement. This movement is famous above all for the haunting melody played, beautifully in this case, by the English horn, first over a delicate accompaniment of plucked harp and strings,\u00a0and then entwined in a chromatic obligato of the violas. The orchestra, on the whole, found its dimension in the symphony, with its romantic surges.\u00a0 The conductor\u00a0Xu Zhong<\/em><\/strong>\u00a0maintained control and cohesion, with a clear and rigorous gesture, communicative in his musical intention, he managed to elicit\u00a0 sensuality in the shifting textures through the frequent and graceful modulations of key, and create a build-up of recurring strong dramatic progressions, culminating in the last movement, in the exultant exclamation of the first theme, brought the full circle from its lugubrious beginning.\u00a0 Soloists, conductor and orchestra were warmly applauded.\u00a0 The annual, Veronese carnival parade, the last Friday before the end of carnival, which blocks the entire centre of town and which was in its closing phases at the start of the concert, was probably to blame for an only moderately numerous audience.\u00a0Photo Ennevi<\/em><\/p>\n

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Verona, Teatro Filarmonico, Concert Season 2012\/2013 Orchestra dell\u2019Arena di Verona Conductor\u00a0Xu Zhong Oboe\u00a0\u00a0Claudio Ugolini\u00a0 Clarinet\u00a0\u00a0Stefano Conzatti\u00a0 Bassoon\u00a0\u00a0Paolo Guelfi\u00a0\u00a0 […]<\/p>\n","protected":false},"author":105,"featured_media":32313,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[7097,4717,7095,9354,7099,7098,7096,793,253,5131],"class_list":["post-66779","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-andrea-leasi","tag-cesar-franck","tag-claudio-ugolini","tag-foreign-readers","tag-ivan-fedele","tag-paolo-guelfi","tag-stefano-conzatti","tag-teatro-filarmonico-di-verona","tag-wolfgang-amadeus-mozart","tag-xu-zhong"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66779","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=66779"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66779\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/32313"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66779"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66779"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66779"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}