Der rosenkavalier for brass quintet sheet music

#Der rosenkavalier for brass quintet sheet music full#
#Der rosenkavalier for brass quintet sheet music plus#

Above the passaggio, it acquires a velvety, floated quality that tends to stay on stage rather than pierce into the auditorium. NylundвЂ™s big lyric soprano, even in its prime, lacked radiance in its high notes. It is a tradition to start with the leading soprano and so IвЂ™ll speak first of Camilla Nylund, who happened to be the most successful singer this evening. And then there was the problem with the cast. It showed no development in terms of dynamics, tempo or intensity.

#Der rosenkavalier for brass quintet sheet music full#

I wondered how the final trio could deliver its full emotional content under these circumstances. A similar effect could have been achieved by a flexible beat, but his one trick was rhythmic regularity. On the other hand, act 1 seemed more successful at first вЂ“ the conductor was able to keep the aural image symphonic, with beautiful interplay between woodwinds and singers, but he had light-voiced soloists (or something like that) and refrained from pressing the turbo button when the music cried for more intensity. This is a score that has to be built brick by brick and not by assembling components. That might work in the Lied von der Erde, but unfortunately not here. Here I noticed that Rattle tended to look for a Hauptstimme, invested everything in it and let the myriad of secondary voices fall into place by themselves. Strauss (they knew each other, as a matter of fact) вЂ“ requires an entirely different approach. If I could mention a composer in which Simon Rattle is at home this would be Gustav Mahler, whose music вЂ“ if contemporary to that of R.

Sir Simon chose forward movement as his AriadneвЂ™s thread in this labyrinthic score, but that often involved blurred orchestral playing, clouded phrasing and unsubtlety.

#Der rosenkavalier for brass quintet sheet music plus#

The Met Orchestra is not the nec plus ultra in terms of clarity of articulation, and its brass section has its bumpy moments. And the fact that he does not have the Vienna Philharmonic made it more difficult for him. At the end of act 2, I was about to say that he had to be classified in the Karajan group, for the complex counterpoint of the ensembles in FaninalвЂ™s Stadtpalais proved to be beyond his possibilities. I donвЂ™t know if Simon Rattle shares KarajanвЂ™s or BГ¶hmвЂ™s credo, but he definitely does not fall into the Carlos Kleiber slot. He had the Vienna State Opera Orchestra (i.e., the Vienna PhilharmonicвЂ™s day job) then. Some will say Carlos Kleiber could get the best of both worlds, especially in his last recording with Felicity Lott and Kurt Moll. Both share the same secret ingredient: the Vienna Philharmonic.

Others Ochsify the three acts, by keeping things objective and kaleidoscopic as Karl BГ¶hm, most notably in his formidable performances with Christa Ludwig and Tatiana Troyanos also in Salzburg. Some conductors achieve that by Marschallinizing the whole opera, most notably Herbert von Karajan in his glamorized melancholy performances with Anna Tomowa-Sintow and Kurt Moll in Salzburg.

The great challenge of conducting this score is to integrate both tingle-factor highlights and the Falstaff-like comedy scenes, exactly as the Leitmotiv structure concocted by Richard Strauss and also the mirrored Marschallin/Octavian and Ochs/Sophie situations devised by Hofmannsthal demand. Of course, I disagree with him, but I understand that he has a point. The first time he told me that, I asked him what about the MarschallinвЂ™s monologue, the delivery of the silver rose and the final trio? His answer was вЂњPrecisely: you have to endure two hours of cacophony to get 45 minutes of beautiful musicвЂќ. He says it is StraussвЂ™s most overrated work. I have a friend who likes Richard Strauss but dislikes Der Rosenkavalier.