![\"Mariss](\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2018\/01\/brJansonsAngerer.jpg\")
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By ANDREW POWELL MUNICH \u2014 Against the medical odds, perhaps, Mariss Jansons<\/a> turns seventy-five on Sunday, still adored by his favorite orchestra. Bavarian Broadcasting<\/a> marks the occasion with a 44-minute video portrait, Im Zeichen der Musik<\/em>, or In the Music\u2019s Character<\/em>, freely watchable<\/a>. Last evening here at the Gasteig<\/a>, a subscription concert of the Symphonie-Orchester des Bayerischen Rundfunks<\/a> paraded contrasting sides of the musicians\u2019 long union with Jansons, and everyone\u2019s versatility. Martin Angerer<\/a> navigated the elegant byways and tricky trills of Hummel\u2019s Concerto a trombe principale<\/em> (1803) with apparent ease in its original key of E, tidily accompanied. In an interview, the section principal distinguished this \u201cgodly\u201d tonality from the \u201cmundane\u201d feel of E-flat, taken often in a convenience edition of the Hummel he deems a \u201cstab in the heart,\u201d but he stopped short of chancing the performance with the kind of Klappen-Trompete<\/em> used originally, preferring the luxuries of a modern American piston instrument. (Soloist and conductor are pictured midweek.) Genia K\u00fchmeier<\/a>, Gerhild Romberger<\/a>, Maximilian Schmitt<\/a> and Luca Pisaroni<\/a> made an impeccable quartet for the program\u2019s main work, after the break, Beethoven\u2019s C-Major Mass (1807), although the bass for some reason sang half-voice. The BR Chor<\/a> glowingly intoned its lines yet struggled to focus the words in the acoustically poor venue. Jansons led supportively but as always from the ground up, never from the bowels of the Earth, and showing no inquirer\u2019s zeal for the imaginative score. His clinical manner and the Bavarian players\u2019 skill found their most persuasive outlet in an episodic exercise in chromatic unrest at the top of the evening: the Symphony in Three Movements (1945) of Stravinsky. Here, structure reigned, details sparkled, and the con moto<\/em> third movement sounded (suitably) die-cast. It was in 2003 that this celebrated partnership began, since when the demanding and fussy but personable Latvian maestro\u2019s contract has been renewed with accelerating commitment: for three years in 2013, and for three more years less than two years later \u2014 right after he sounded receptive to a theoretical, but as it turned out imagined, offer in Berlin. Which takes us up to 2021, past several happy birthday returns.<\/p>\n Photo \u00a9 Bayerischer Rundfunk<\/p>\n Related posts:
Published: January 12, 2018<\/span><\/p>\n
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