TDK is at present building
up quite a collection of concerts with
the Berlin Philharmonic Orchestra. One
series is that of the European Concerts,
given on May 1st each year
in different European cities, and the
second is that of the Waldbuhne Concerts,
a summer series given out of doors in
an enormous open air auditorium by the
Orchestra with a variety of different
conductors.
This concert is a little
different, in that instead of the outwardly
popular repertoire chosen for other
years, this one, having the Argentinean
conductor Daniel Barenboim at the helm,
is primarily made up of short works
from a variety of his compatriots. One
of two of the pieces are reasonably
well known, but the majority do not
see the light of day very often, particularly
in Europe. To have an orchestra of the
calibre of the Berlin Philharmonic in
top form, performing these pieces is
a constant joy and the fact that they,
their conductor, and particularly the
audience, seem to be thoroughly enjoying
themselves throughout the programme
is the mark of a good outing for this
repertoire.
The concert starts
with Ravel’s Bolero. It makes its usual
impact on the audience and receives
a tremendous reception. Barenboim then
leads the orchestra in a very bracing
performance of the first suite from
Carmen, also very well received. The
interval is then followed by the second
half of the concert, made up of various
South American pieces.
Barenboim introduces
each of the short pieces of Argentinean
origin, all under five minutes duration
apart from Piazzolla’s Adios Nonino
and Gardel’s El dia que me quieras,
but even these are not substantial.
The second half of the concert ends
with the Berliner Luft, by Lincke, this
piece being traditional at these concerts
and revelled in by the look and sound
of it.
Throughout the concert
the orchestra plays with its accustomed
expertise and they seem to be enjoying
themselves enormously with this relatively
unknown repertoire. Barenboim, acting
as this music’s ambassador is clearly
in his element and is responsible for
this enjoyment.
As usual with these
DVDs, there is a good set of notes,
giving a translation of Barenboim’s
introduction to each of the Argentinean
pieces, but why waste space with three
identical half page photos of the conductor
when they could have provided more.
And if you have to have three photos,
why not choose portraits of the man
smiling, given the fun of the proceedings.
Thoroughly recommended.
John Phillips
Berlin Philharmonic Orchestra/Daniel Barenboim