Bach, Beethoven and Brahms are magnificently revived through the mastery of the CPO

“Is it true that the greatest composers of music all had names that started with the letter B ?”

Of course, these classical giants that Andeas Delfs, guest conductor, and Michael Hope, one of the bassoonists in the Calgary Philharmonic Orchestra smilingly refered to in the pre-concert chat were none other than Bach, Beethoven and Brahms. Hope and Delfs both delved into the history, the emotions and recognizable sounds of a the various pieces to be played that evening, and the amazing guest artist, Ingrid Fliter on the piano.

Most familiar with Beethoven, (being personally my favourite composer) Bach and Brahms were delightful new experiences that simply invigorated my musical palette, and as always, the Calgary Philharmonic Orchestra must be praised for their uplifiting and ear pleasing reneditions of these wonderful pieces.

In the start of the concert, the harpist for the Calgary Philharmonic Orchestra cheerfully greeted the audience and explained the curious and special opportunity she had with the orchestra that evening. The harp was considered a rather mediveal and primitive instrument in the times of these composers, and absolutely none of the composers this evening, save Bach, with only one piece had seriously considered incoporating the harp into their pieces- but the one composed by Bach was not even on the program! Thankfully, Ricercar from Musical Offering, arranged by the Austrian composer and conductor Anton Webern, did include a part for the harp in the piece and had sucessfully accentuated its lyrical and divine potential.

The first piece, Ricercar from Musical Offering by Bach (arr. Webern), was born from an invitation to attend Frederick the Great, King of Prussia at court, and was provided a theme from the music-loving king, which Bach improvised a small piece that had garnered great recognition. In Leipzig, Bach created a multi-facted composition, the Musical Offering, that would include two ricercars, 10 canons and a sonata for the flute, violin and continuo. This piece provided a modern twist on Bach’s original composition, a majestic opening with the clear rings of harp cords, as the piece’s surprisingly brilliant departures of various intstruments, enchants the audience in a  stimulating enrapture. I personally alluded the piece to lightly dancing on one’s toes through a forest meadow, as the strong strings, light scales played by the harp and the sounds of trumiph grandly resonated the audience.

The second movement, Beethoven’s Piano Concerto No. 1 in C Major, Op. 15. does not contain the muscle Beethoven would later incoporate in his latter pieces, as the titan that reigned over the piano. Guest artist Ingird Fliter wonderfully captures the energy and life  in the composition, as her wonderful rhythm and youthful interpretation of Beethoven’s piano concerto is skilful poetry. Grace and charm unfold from the first movement and continues through out the piece, the familiar darker tones absent. In the finale, Beethoven reveals his mature sense of style here, and had included to the delight of the Viennese audience, included an exotic, but brief semi-Turkish experience.

Finally, Brahms Symphony No.1 in C Minor, Op.68 was described by Delfs and Hope in the pre-concert chat as a “feel-good compositon,” as after hearing the piece, one was left with a feeling of postivity and happiness. Personally, I completely agree with the two musicians, for despite the symphony athletically expanding to being approximately 45 minutes, this piece’s booming percussion and strong beats harmoniously performed by all the instruments, with the warmth and richly painted musical taperstry of sound, made this concert one of  memorable and finest of the Calgary Philharmonic season. Ofter referred to as “Beethoven’s Tenth Symphony,” the score’s similiar  base of a journey from darkness to light can be linked to the similiar principles found in Beethoven’s Fifth Symphony. Brahms had acknowledged the classical giant, and had taken 20 years to write a symphony he had felt was worthy. Compared to the dramatic and vigorous first movement, the second movement is a restful interlude, and the elkhorn heard in the piece was liken to that of “clouds breaking” that is hearfelt.

Thanks goes to the CPO for providing seats to this wonderful performance! WeiJia and I immensely enjoyed the majesty of the classical giants in music, with a new profound love for Brahms Symphony No.1 in C Minor! The Jack Singer concert hall was filled passionate charm and uplifiting grace, and I highly recommend for all ages, young and old, to come out and hear an upcoming live performance of the wonderful CPO!