Post by erik on Aug 30, 2023 8:40:26 GMT -5
It was all Ludwig van...as in Ludwig van Beethoven...last night at the Hollywood Bowl.
Los Angeles Philharmonic
Simone Menezes, conductor
Clara-Jumi Kang, violin
Beethoven: VIOLIN CONCERTO
Beethoven: SYMPHONY NO. 3 (EROICA)
Almost four weeks since the "2001" concert, during which time L.A. had been hit by its first-ever named tropical storm in its history, I was back at the Bowl for an evening of two significant works of Beethoven, with Brazilian-born conductor Simone Menzes on the podium. The first was the epochal D Major Violin Concerto, the Mount Everest of this form. Stepping into the violin solo role was the German-born Clara-Jumi Kang. Four introductory taps of the timpani led into this imposing work of the violin repertoire; and Ms. Kang began her part after a three and a half minute introduction of the first movement's main material. The solo part called for some extremely elaborate solo passages during its 23-minute running time (Beethoven never provided any solo cadenzas, so violinists have always supplied their own). The second movement Larghetto was a far more restrained affair, being lush and elegiac, with romantic solo passages that gave Ms. Kang a chance to show the more romantic side of her instrument. The music got more intense in the bridge between the Larghetto and the work's Rondo finale, which again allowed Ms. Kang the chance for virtuosity without showing off too excessively.
Following intermission, on what was a warm night following a typically hot late August day, Ms. Menezes returned to conduct Beethoven's imposing Eroica Symphony (#3), a work that was, from its inception in 1803, the longest symphony of its time (until Beethoven's own Ninth). The two sharp introductory chords allowed Ms. Menezes and the orchestra freedom of movement to bring to life an impressive vision of individual heroism (the composer had originally famously dedicated the symphony to Napoleon, but then angrily retracted it when Napoleon had the unmitigated gall to declare himself emperor of France in 1802). The second movement Funeral March, which has been a fixture at many times throughout history in times of mourning (from JFK's assassination to 9/11), was done with considerable dignity, but also with the requisite drama. The third movement was a highly energetic Scherzo, revealing the tremendous volcanic energies that Beethoven was successfully attempting to convey through music despite continuing to lose his hearing. The work concluded with a set of variations on a theme featured in the finale of the composer's 1802 ballet "The Creatures Of Prometheus"; and its triumphant conclusion had the crowd on its feet.
In summation, another great night at the Hollywood Bowl was had.
Los Angeles Philharmonic
Simone Menezes, conductor
Clara-Jumi Kang, violin
Beethoven: VIOLIN CONCERTO
Beethoven: SYMPHONY NO. 3 (EROICA)
Almost four weeks since the "2001" concert, during which time L.A. had been hit by its first-ever named tropical storm in its history, I was back at the Bowl for an evening of two significant works of Beethoven, with Brazilian-born conductor Simone Menzes on the podium. The first was the epochal D Major Violin Concerto, the Mount Everest of this form. Stepping into the violin solo role was the German-born Clara-Jumi Kang. Four introductory taps of the timpani led into this imposing work of the violin repertoire; and Ms. Kang began her part after a three and a half minute introduction of the first movement's main material. The solo part called for some extremely elaborate solo passages during its 23-minute running time (Beethoven never provided any solo cadenzas, so violinists have always supplied their own). The second movement Larghetto was a far more restrained affair, being lush and elegiac, with romantic solo passages that gave Ms. Kang a chance to show the more romantic side of her instrument. The music got more intense in the bridge between the Larghetto and the work's Rondo finale, which again allowed Ms. Kang the chance for virtuosity without showing off too excessively.
Following intermission, on what was a warm night following a typically hot late August day, Ms. Menezes returned to conduct Beethoven's imposing Eroica Symphony (#3), a work that was, from its inception in 1803, the longest symphony of its time (until Beethoven's own Ninth). The two sharp introductory chords allowed Ms. Menezes and the orchestra freedom of movement to bring to life an impressive vision of individual heroism (the composer had originally famously dedicated the symphony to Napoleon, but then angrily retracted it when Napoleon had the unmitigated gall to declare himself emperor of France in 1802). The second movement Funeral March, which has been a fixture at many times throughout history in times of mourning (from JFK's assassination to 9/11), was done with considerable dignity, but also with the requisite drama. The third movement was a highly energetic Scherzo, revealing the tremendous volcanic energies that Beethoven was successfully attempting to convey through music despite continuing to lose his hearing. The work concluded with a set of variations on a theme featured in the finale of the composer's 1802 ballet "The Creatures Of Prometheus"; and its triumphant conclusion had the crowd on its feet.
In summation, another great night at the Hollywood Bowl was had.