There is a magical quality about the Berlin Philharmonic. All of their concerts and recordings for the last fifty years have been filled with that amazing quality that sets them apart from their
European and North American counterparts. Most well-rounded musicians are familiar with the energy that Karajan injected into the Berlin Philharmonic. What he did with with it has had a lasting effect on his successors. It's nothing short of astonishing. Claudio Abbado was the first of
Karajan’s successors to prove that the Berlin Philharmonic could not only retain its magical quality in the post-Karajan era but it also could, and eventually would, make the quality it possessed the heart and soul of the Berlin Philharmonic. Along comes Sir Simon Rattle, …show more content…
If Rattle does not take extreme caution as he reshapes the essential soul of
Berlin’s finest orchestra, this grand experiment might end in the ultimate demise of the essence of what the Berlin Philharmonic has come to symbolize, a philharmonic-turned chamber orchestra. Sir Simon Rattle has conducted several pieces over the years that have shown who he really is as a conductor. One of these pieces is the Berlin Philharmonic’s recording of Schumann’s first symphony. As far as the Berlin Philharmonic is concerned, the recording was a success. The orchestra kept blossoming with musical flavors here and there, and the overall impression was one of completeness. Rattle’s conducting, on the other hand, was a different story. His conducting was not influencing the orchestra as much as it should have, and he kept conducting like the strings were a separate entity form the winds. It was as if the strings were, so to speak,“apples” and the winds were “oranges”. Watching Andris Nelsons conduct Debussy’s “Prélude à lʼaprès-midi dʼun faune” with the
Berlin Philharmonic was a completely different story. The orchestra behaved like one
European and North American counterparts. Most well-rounded musicians are familiar with the energy that Karajan injected into the Berlin Philharmonic. What he did with with it has had a lasting effect on his successors. It's nothing short of astonishing. Claudio Abbado was the first of
Karajan’s successors to prove that the Berlin Philharmonic could not only retain its magical quality in the post-Karajan era but it also could, and eventually would, make the quality it possessed the heart and soul of the Berlin Philharmonic. Along comes Sir Simon Rattle, …show more content…
If Rattle does not take extreme caution as he reshapes the essential soul of
Berlin’s finest orchestra, this grand experiment might end in the ultimate demise of the essence of what the Berlin Philharmonic has come to symbolize, a philharmonic-turned chamber orchestra. Sir Simon Rattle has conducted several pieces over the years that have shown who he really is as a conductor. One of these pieces is the Berlin Philharmonic’s recording of Schumann’s first symphony. As far as the Berlin Philharmonic is concerned, the recording was a success. The orchestra kept blossoming with musical flavors here and there, and the overall impression was one of completeness. Rattle’s conducting, on the other hand, was a different story. His conducting was not influencing the orchestra as much as it should have, and he kept conducting like the strings were a separate entity form the winds. It was as if the strings were, so to speak,“apples” and the winds were “oranges”. Watching Andris Nelsons conduct Debussy’s “Prélude à lʼaprès-midi dʼun faune” with the
Berlin Philharmonic was a completely different story. The orchestra behaved like one