Hardly left the freshness of the September evening on the way to the Loisachhalle, and a short time later one found oneself again in the shimmering heat of a summer afternoon when the concert of the New Munich Philharmonic Orchestra was performed with Claude Debussy’s “Prélude à l’après-midi d’un Faune”. opened under the baton of its chief conductor, Fuad Ibrahimov.
A demanding beginning of the concert and mentally probably not always easy for the musician who starts in unison with a flute solo without prelude and without any accompaniment. He has to find the right mood, the right color, which will be decisive for the whole piece. This was not a problem for Carlos Cascales Serrano. With his soulful playing, soft and flowing with expression, the young Spaniard took the audience into the story of the faun’s desires and erotic fantasies. Again and again this melody sounded, but always accompanied by other harmonies. You could tell from her a kind of state of limbo between a sleepy feeling of pleasure and a lascivious drive to seduce. Debussy’s sophisticated play of timbre and form, impressively rendered, seemed to seduce musicians and audiences alike.
At the end of the concert, the down-to-earth and mischievous Pulcinella in the suite of the same name by Stravinsky (1882-1971) showed that eroticism is not everything. The flute tones had completely different colors here, were bold and high-spirited. The always witty harlequin Pulcinella from the “Commedia dell’arte” formed a humorous antithesis to the goat-footed faun. The orchestra convincingly understood how to musically convey the confusion and intrigues typical of Pulcinella. The few decibels more from the tin could definitely be understood as a tongue-in-cheek exclamation mark. Inspired by a composition for the comedy of mistaken identity “Four Identical Pulcinellas” erroneously attributed to Pergolesi, Stravinsky created a work that was rather atypical for him. A concert visitor: “I would not have discovered Stravinsky in this music.”
Similar to Stravinsky with his Pulcinella Suite, Maurice Ravel (1875-1937) immersed himself in earlier times with the composition of “Le tombeau de couperin”. Like his colleague Debussy, he was inspired by the music of the French Baroque, especially by its greatest masters François Couperin and Jean-Philippe Rameau. Originally composed as a six-movement piano suite, Ravel later orchestrated four of the movements, in which the woodwinds play a major role. Consequently, the horns on the back stage also had a lot to do in the concert. Listening to you was pure pleasure.
The Metamorphoses for 23 solo strings by Richard Strauss (1864-1949) presented a special challenge for the musicians. Each of the 23 string players had their own solo part, and that required a high level of concentration. The 23 young string players played the work with a sure hand. In this piece, the magical power of the music was particularly evident. It did not take a great feeling for atmospheric causes and connections (Strauß composed it in the last years of the war) to recognize the drama of his mental state in it.
Music is for the ears, a concert also for the eyes. The orchestra consisted of 40 young musicians of different nationalities. Youthful joy in playing and musical seriousness visibly came together and also made the concert a visual pleasure.