The program had something of a Viennese bent, with works by Anton Webern of the Second Viennese School , Schubert the first of the great Romantics to call the city home , and Brahms who lived there most of his life. The Bambergers impressed with their warm sound, unified ensemble playing, and passionate engagement with the music. Although they may lack the name recognition with American audiences of a Berlin Philharmonic, the Bamberg Symphony are a formidable artistic force and play uncannily well together.
And while unfamiliar repertoire or underplayed pieces by eminent composers can be used as a crutch for the artistically insecure, it was obvious from their playing and Mr. Their playing was a wonderful illustration of Klangfarbenmelodie , the Second Viennese School concept of a musical line changing tone-color as it is passed from one instrument to the next.
Here, each momentary soloist lent a uniquely human voice to his part. Quality of sound was paramount in the Romantic works, too. Take the Brahms Piano Concerto no. Rather than risk the occasional harsh tone in order to tower dynamically over the orchestra, Mr. Zacharias astutely took a more symphonic approach to passages where the piano and orchestra are equally important. His reading satisfied an interpretational issue not undermining the significance of the orchestra part as well as a practical one maintaining a beautiful sound.
The Schubert Symphony no. The self-effacing artistry which so characterized their playing also governed the relationship between the orchestra and its conductor; they were as deserving of a round of applause as he. Typical of their strong ensemble spirit were the fast tempi, accepted without resentment by soloists who may have wished to have a larger spotlight. For example, the horns and principal cello in the first and third movements respectively of the Brahms typically relish certain moments at the expense of continuity.
This afternoon, though, the slow movement was taken at a true andante, allowing all cross-rhythms to come through clearly. Nott and Mr. Zacharias dug much deeper than the printed score, and the orchestra members were enthusiastically behind all of their ideas. This vigorous engagement with the music extended beyond the notes played, too.
