Claudio Abbado conducts the 1996 New Year’s Eve Concert
31/12/1996
New Year’s Eve Concert
Berliner Philharmoniker
Claudio Abbado
Swedish Radio Choir, Maxim Vengerov
Johannes Brahms
Hungarian Dances Nos. 1 & 10 (06:24)Johannes Brahms
Excerpts from Zigeunerlieder, op. 103: 1. »He, Zigeuner greife in die Seiten« · 2. »Hochgetürmte Rimaflut« · 3. »Wißt Ihr, wann mein Kindchen« · 4. »Lieber Gott, du weißt« · 9. »Weit und breit schaut niemand mich an« (07:23)Swedish Radio Choir, Tõnu Kaljuste Chorus Master
Maurice Ravel
Tzigane. Rapsodie de concert (10:58)Maxim Vengerov Violin
Johannes Brahms
Hungarian Dance No. 7 (03:25)Maxim Vengerov Violin
Johannes Brahms
Hungarian Dances Nos. 17 & 21 (05:04)Johannes Brahms
Es tönt ein voller Harfenklang, op. 17 No. 1 (04:00)Swedish Radio Choir, Tõnu Kaljuste, Marie-Pierre Langlamet Harp, Stefan Dohr Horn
Johannes Brahms
Excerpts from Liebeslieder-Walzer, op. 52 (12:33)Swedish Radio Choir, Tõnu Kaljuste Chorus Master
Maurice Ravel
La Valse. Poème chorégraphique pour orchestre (13:59)Johannes Brahms
Hungarian Dance No. 5 (02:50)Hector Berlioz
Rákóczi March from La Damnation de Faust (06:09)
The Berliner Philharmoniker and Claudio Abbado bid farewell to 1996 in the Philharmonie with a programme full of verve and flavour. The theme was the world of gypsies and of dance as portrayed in the works of Brahms and Ravel. The evening’s soloist was Maxim Vengerov - who the All Music Guide described as an “astoundingly fine violinist with limitless technique, endless tone, and bottomless soul”.
Johannes Brahms loved the music of the gypsies ever since the days of his youth, when many gypsy bands used to play on the streets of his home town, Hamburg. This passion was reflected in Brahms’s rousing Hungarian Dances and also in his Zigeunerlieder (gypsy songs) which - particularly in this lively performance by the Swedish Radio Choir - come across like mini musical dramas.
Two works by Ravel provide music of a darker hue in this concert: the Tzigane for violin and orchestra, where virtuosity and melancholy are unusually combined, and La Valse, which looks in the musical direction of Hungary’s close neighbour, Austria. In this tone poem, a Strauss-influenced waltz swirls intoxicatingly ever faster until it becomes a “deadly maelstrom” (Ravel).
However, the critic of the magazine Gramophone was doubtlessly correct when he described the evening as a “fun occasion, with Claudio Abbado smiling during the performances more than I can ever remember, drawing out the most affectionate as well as the most polished playing.”
© 1996 EuroArts Music International