ADDA Simfonica’s second show of the time something of a unique case, in that it highlighted only two works, neither of which would have been recognizable even to the music lovers in participation. The way that this now sublime ensemble visited this new region with such ease and with such nature of correspondence is demonstration of the way that the band is currently a laid out, mature melodic power. And this was all cultivated under a visitor director, Manuel Hernandez-Silva, who was coordinating the symphony interestingly.
The main half highlighted the viola of Isabel Villanueva in the Cantos do Ordesa by Anton García Abril. The author’s music might well not be commonly known inside Spain, let alone outside and this specific work, basically a long winded viola concerto, delineated the writer’s profoundly individual style.
Made in 2012, Cantos de Ordesa is an ideal illustration of García Abril’s style. The normal components of 20th century Spanish music are available, however Garcia Abril frequently appears to stop phrases, leaving them incomplete to converge into various impressions, the entire evidently a compacted, practically impressionistic progression of encounters, sewed together like a leap cut film. In this manner, while the material may frequently propose a commonality, how episodes are compared brings out a fantasy like encounter of a recognizable reality. The general impact is by all accounts like a composition produced using recognizable pictures that have been cut together in a completely surprising manner. Essentially this is the manner by which the instrumental composing this piece goes over.
The performance part, commendably played by Isabell Villanueva, is another matter, nonetheless, in that it is a genuinely requesting virtuoso enhancement and investigation of the symphonic material. The performance part possesses similar scenes as the ensemble, yet in an undeniably more perplexing and exploratory manner, delivering the general impact both natural and new simultaneously, however once in a while likewise proposing that the soloist is rivaling the symphonic powers. All through, the feeling of music for film is never distant from the arranger’s origination, which is nothing unexpected since García Abril made a lot of music in the class. Antonio Garcia Abril kicked the bucket in Walk 2021. Isabella Villanueva offered one short reprise, Nana from Manuel de Falla’s Famous Tunes.
The other work on the program was Kallinikov’s most memorable orchestra. First acted in 1897, this is a huge work in a lot of the style of Borodin. The arranger utilizes society tunes close by refined coordination and infrequent cadenced creation, however there is dependably the impression that the author favored the music of his past as opposed to that of his peers. There is no obvious innovation here, something like none of the sort that Richard Strauss or Gustav Mahler could have utilized at around a similar time.
The general impact of the ensemble, nonetheless, is completely fulfilling melodic experience. This isn’t working which will stun, nor will it lift a crowd of people to a free for all of energy. In any case, it will lead audience members along a way is what might be compared to a novel with a direct plot, where the center lies in what befalls the characters as opposed to a mental examination of their thought processes, more Turgenev than Dostoyevsky.
The show introduced what was likely the principal experience of the music of one or the other author for most of the crowd. Its prosperity was demonstration of the immeasurability and nature of the collection and it should propose to other creative chiefs that dangers are there to be endlessly taken effectively.
