PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

———————————————————————————————————————————————————————–

It is exceedingly difficult to evaluate a “modern” piece on a first hearing. There are, after all, historical precedents such as Beethoven’s Grosse Fuge op. 133 or Stravinsky’s Le Sacre du printemps, both of which were received negatively—if not with outright insults and mockery. (A newspaper even referred to Stravinsky’s work as “Massacre du printemps). Of course, there have also been positive examples, such as Franck’s Sonata for violin and piano, which was immediately “adopted” by Eugène Ysaÿe, to whom it had been sent as a wedding gift. For this reason, I find it difficult to judge Bjarnason’s works. On a very personal level, I appreciated the first piece more, while I found the violin concerto rather contrived. To begin with, the score requires the performer to whistle while accompanying the violin at certain moments—a highly debatable choice, especially since the violinist opted instead for humming in this case—and then there are the interminable violin “solos.” Still, I would need to listen to it several more times to form a precise opinion. Britten’s Passacaglia is, of course, far more interesting (the old name for “theme and variations,” also used by Brahms in the final movement of his Fourth Symphony), whereas Sibelius’s symphonies (and this one in particular) simply do not appeal to me “mea culpa”. The Icelandic conductor (Iceland, the country that the legendary Trump confused five times with Greenland in Davos) is an excellent professional, though a more in‑depth assessment would require hearing him again in a broader repertoire. The Swedish violinist Bahari fared decidedly less well, grappling with a forbidding score and candidly admitting she had no encore prepared. Remarkable!

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!