Simon Rattle conducts the 2007 New Year’s Eve Concert

31 Dec 2007
New Year’s Eve Concert

Berliner Philharmoniker
Sir Simon Rattle

  • Alexander Borodin
    Prince Igor: Polovtsian Dances (13 min.)

  • Alexander Borodin
    Symphony No. 2 in B minor (29 min.)

  • Modest Mussorgsky
    Khovanshchina, opera: Prelude (6 min.)

  • Modest Mussorgsky
    Pictures at an Exhibition (orchestrated by Maurice Ravel) (36 min.)

  • Dmitri Shostakovich
    The Golden Age, ballet suite, op. 22a: Dance (4 min.)

No, not Viennese waltzes but Russian orchestral music of the very choicest kind: to usher in the New Year, Sir Simon Rattle and his Berliner Philharmoniker chose some of the best-known orchestral works by Alexander Borodin and Modest Mussorgsky for their New Year’s Eve Concert in 2007. The result was a pyrotechnical display that allowed the musicians to dazzle their audience with the most disparate combinations of iridescent orchestral sonorities.

Together with their colleagues Cui, Balakirev and Rimsky-Korsakov, Borodin and Mussorgsky formed the “Mighty Handful” of composers in the Russia of the 1860s. Their aim was to revive Russian music in the spirit of the country’s folk music. The Polovtsian Dances from Borodin’s unfinished opera Prince Igor are correspondingly lively and exotic, whereas the same composer’s Second Symphony may be regarded as a kind of Russian “Eroica”, a masterpiece of enormous thematic weight and, at the same time, a lyrical magic that recalls the world of the fairy tale. It is a work that is heard far too rarely.

Following the interval the orchestra played the prelude to Mussorgsky’s Khovanshchina, with its prominent part for what Der Tagesspiegel termed Wenzel Fuchs’s “divine clarinet”. Other section leaders had a chance to shine in Ravel’s orchestration of Mussorgsky’s multifaceted Pictures at an Exhibition. And yet, as the critic of the Berliner Morgenpost noted, “none of the exquisite soloists stood out at the expense of the whole or substituted vanity for ability. The predominant mood was one of disciplined exuberance and total dedication to the music at the moment of its making”. At the end the enthusiastic audience demanded an encore, which it received in the form of what Sir Simon has called the “mad music” of Shostakovich’s Polka from his ballet suite The Golden Age.

EuroArts

© 2007 EuroArts Music International

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