Alberto Bachmann, in his classic book Violin Encyclopedia (1925), confirms that success Spanish Symphony, op. 21written by Edward Lalo, lies in the fact that it “offers a display of virtuosity while remaining profoundly musical.” This Geneva master adds careful notes about the version he heard of this work for violin and orchestra, composed in 1874 by its dedicatee, the legendary Pablo de Sarasate: “No other violinist has been able to play it with such astonishing artistry, which combines grace, clear brilliance and disconcerting vitality to such a wonderful degree.”
It is particularly interesting to connect Bachmann’s observations with the wonderful performance given by the young violinist María Dueñas (Granada, 22 years old) last Friday the 14th in the Zaragoza Hall. Performance part of an international tour with the Chamber Orchestra of Europe (COE) under the direction of Antonio Pappano, which began on the 11th in Valencia and will culminate on the 22nd in the Austrian city of Eisenstadt, after passing through Madrid, Seville, Ferrara and Berlin.
Dueñas imposed his character from his first single Allegro non troppo. He did not fail to highlight the triplets that run through the entire movement wonderfully, giving them an unmistakable Spanish flavour. However, his impeccable artistic performances did not overshadow the delicacy of the second theme, as he insisted on sweetmaximum dynamics and wonderful coloring of his phrases Intonation. And at the beginning of the next movement Scherzandoevoked the repeated slide on the second string which, according to Bachmann, Sarasati was accustomed to performing, soaring above the rest with the mixture of imagination and weightlessness typical of the sigidilla air that permeates the piece.
I was impressed again intermezzo central. His nature in singing this evocation of the habanera before the opera Carmen – and certainly inspired by it as well Ranking By Sebastian Errader – It was simply amazing. He was flawless in multiple combinations of notes and bow strokes, and he imbued his musical speech with dynamic nuances that were impressively displayed with the violin Niccolò Gagliano played on him, on loan from the Deutsche Stiftung Musikleben. And in the fourth movement Walkingfascinated again by his imagination in sound phrasing and colouring, but also by his poise in the face of the concise and demanding cadenza.
However, this is an unforgettable interpretation Spanish Symphony It still lacks that peak of vitality Rondo end. It was another dazzling display of virtuosity, with extremely clear passages and impressive precision, but without ever giving up on enhancing the musicality of the work. We see this in the quieter passage, where Lalo evokes a passionate Malaguena and Dueñas expands his expressive palette until he reaches… Very thin He almost whispers in every viewer’s ear.
Tremendous applause from the audience led to two takeaways. The first was an elegant respect for the orchestra’s excellent strings, with arrangement Number of cellsthe traditional Catalan Christmas carol popularized by Pau Casals as a symbol of peace, although on this occasion with solo violin a final small solo was added by Pau Codina from Barcelona, principal cellist of the COE. The second was Sad waltz (1913) by the Hungarian virtuoso Franz von Wiese, performed without piano accompaniment. A final sample of Dueñas’ impassioned style, with his unmistakable way of manipulating rhythm and dynamics, so mesmerizing in his latest recording for Deutsche Grammophon, where he musically amplifies Paganini’s diabolical whims.
An important part of the success of the first half of the concert revolved around Maria Dueñas Spanish Symphonywas based on the excellent accompaniment of the European Chamber Orchestra conducted by Antonio Pappano. A fine orchestra and an exceptional conductor who knew how to enhance the character of Lalo’s work and its many musical inflections. Pappano himself alluded to this distinction in a video recorded in Bologna during the preparation for this tour, in which he recalled the survival of the spirit of Claudio Abbado in this orchestra founded in 1981, as well as the imprint of Nicolas Harnoncourt.
The second part of the program was limited to eight Slavic dances op. 46composed by Antonin Dvořák in 1878 and orchestrated by him after the successful publication of the original for piano in four hands. Common works as tips, but rare as the sole core of the program. However, the interpretation was flawless within a cohesive approach, united by the evocation of Spanish and Czech dances.
Pappano managed contradictions angry Initial, melancholy and liveliness alternating in Dumka So he followed him and found lightness in me Polka dance. The pastoral and warm character of sousedská It was convincing, and there was no shortage of a touch of effectiveness in the frenetic skočná In specialty, rustic elegance is emphasized for the following sousedská. On to another seventh dance skočná But in C minor, it lacked theatricality, and the cycle concluded with a well-articulated, impetuous play. angry.
The monotony of this program devoted entirely to the Slavic dances of Dvošák I was emphasized with advice given by Pappano himself, who addressed the audience in Spanish to thank them for their warm welcome and added: “We have another dance and it may be the most beautiful of all.” Then the beautiful Mazurka In E minor, second of Slavic dances op. 72composed between 1886 and 1887 by Dvořák, the most mature from a symphonic point of view. Without a doubt, it would have been a more attractive cycle due to its more elaborate orchestration and greater musical richness. In any case, this complimentary piece was the best of the second part, thanks to the melancholy gradations in the strings and natural turns in the wood, where Clara Andrada, the flutist soloist of the group, stood out.
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