The summer concert of the bavarian chamber orchestra in bad bruckenau, which this year was aptly titled "landpartie," was completely sold out stand. The more than 300 listeners enjoyed a varied, coherent program, heard an excellently prepared orchestra, impressive soloists and experienced a good two hours of colorfully played music in a summery atmosphere.
The title was aptly chosen in that, for long stretches of the evening, french horns – at times obviously, at other times with an underground presence – were at the center of the music. Above all, through their special sound, through the use of hunting and nature motifs in a broader sense, the compositions led out into the open, creating a variety of scenes in the mind of the listener. The friendly atmosphere of the evening and the summer air, which flowed into the warm festival hall through doors open to the park, underlined this effect. As is customary at the BKO's seasonal concerts, its chief conductor johannes moesus gave a brief introduction to the works played, which was helpful in directly grasping the musical associations or interpretations during listening.
The continuation of the chase
The structure of franz anton hoffmeister's symphony in d major "la chasse for example, in which the dawn's departure, the midday's mud, the encouraging musical entertainment and the continuation of the hunt were quite comprehensible. A delicate, darkly luminous sound stood at their beginning. But soon a variety of sounds and impressions developed from it: horn quints, for example, played by the orchestra's own horn players and strengthened by the woodwinds, which transformed these signal calls sonically into chamber music-compatible motifs; they were wonderfully shaped as calls and echoes, were equally perfectly executed in color and precision in the forte and the piano. Strings suggested the sound of hooves, horns the barking of dogs. The orchestra set up quasi backdrops in the four movements, which it shifted imperceptibly through different lighting and the building of suspense arcs to expressive points, thus creating fabulous transitions in subject and mood. The bandwidth of the flexible musicians ranged from powerful grun to silver-pencil insinuation.
Visible joy of playing
Fascinating rushing of string figures, stimulating dialogues, touching, elegant flute solos, bucolic bordune and much smiling on the faces of the performers, in addition the changes between soft, powerful sound and rather tight, tender, always clear sound, the difference between warm string sound and the distinctive, fine woodwind part in the menuet, which turned into an airy serenade, inspired.
Nature, which also included joseph haydn's symphony in G major "le soir" the evening was rounded off with the performance of a certain piece of music, which gave numerous members of the ensemble the opportunity to introduce themselves as soloists. Besides the enchanting bassoon/cello dialogues, the imaginary meeting of papageno with antonio vivaldi, the storm that the flute suggests in the last movement, the dark clouds that the horns paint on the horizon and the rain that the cello creates, the impressive orchestral unisoni or the fascination of seemingly chaotic but actually orderly runs, one thing in particular remained in the mind: the double bass solo with charming cadenza, played by matej varga in the menuet. The young double bass player, who had stepped in at very short notice to replace the BKO bassist, became a favorite of the audience – and not just because of his precision, his joyful and gripping way of playing.
He shared this distinction with the two guest soloists premysl vojta and ondrej vrabec, who were invited to perform antonio rosetti's concerto for two horns and orchestra in F major.
A highly demanding work for the horn players, during which one was repeatedly amazed at how one can play such complicated, intertwined, rapid figures with such intonation certainty, such rhythmic precision, and with such tonal and technical perfection. The horns stood out roundly and powerfully from the sound of the orchestra, which here was that of a small symphony orchestra. Captivating introductions, lively dialogues, the imperceptible adoption and continuation of a thought begun by a soloist, or the cheerful playing of sequences to each other: listening to the well-matched musicians vojta and vrabec was a pleasure. The cadenza, composed by vrabec with stylistic confidence, deserves special recognition, not only because it makes imaginative use of rosetti material, but also because it is set in an already fantastic sounding register and is so elaborate that one occasionally thought one was hearing more than two horns.