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Donald Trump's super crappy week told entirely in memes. These eight orchestra miniatures can so easily sound like a sequence of aphorisms — shiny, witty nuggets that dissolve almost immediately in the ear. With Rattle shaping the set, however, we got something much closer to a suite with a guiding emotional arc, finding pause and contemplation as well as helter-skelter thrills…The plush beauty of sound summoned by this orchestra in full spate never fails to startle, and when this sonic richness is rubbed up against sharp-edged cross-rhythms the effect is giddily exciting.

This was music-making both impulsive and crafted — art music with dirty boots…Rattle gave us a symphony Brahms no. The flexibility of tempo, constantly shifting albeit ever so slightly, discouraged resolution or complacency, reminding us that even the most glorious of summer afternoons cannot last. And wherever Mahler posed a problem, Rattle had a solution. He brought warmth to the first Nachtmusik where other conductors might keep things cool, a choice that brought the night alive with mystery.

In a word, fantastique. June For those children who stayed, an unforgettable night with the orchestra. There was wit and humour throughout, but also great majesty as pealing brass suggested the grandeur of God revealed in creation…And the whirling wine harvest waltz — Rattle took it at an almost daunting speed — was glorious in its detail and elation. The presence of Sir Simon ensured a full house.

Rattle and the OAE found in the Brahms the ideal blend of beauty and restless energy, with incisive strings and mellow trombones and horns. Rattle allowed the music to ebb and flow with natural feeling.

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Most remarkable of all was the long Adagio, played with unforgettable intensity and finding a rare serenity. Relishing the moment while allowing us to feel the pull of the future is one of the gifts of a great conductor, which Rattle has in spades. The tendency to quickness, which was even present in the great adagio, gave the performance a dimension of desperation that one does not often get from a more reverentially anguished Brucknerian approach.

Such talk of pillars and cathedrals could only be wide of the mark in the wake of this unconventional, beautifully prepared and deeply humane performance by the London Symphony Orchestra and their principal conductor designate, Sir Simon Rattle… The tempi were flexible, so that one episode eased into the next and although the pulse often changed, the harmonic undertow remained strong and steady. So did the narrative coherence of a piece which is often heard in terms of imposing but essentially static blocks placed beside one another for contrast more than continuity… Evidently rehearsed and run in after concerts in Luxembourg and Paris, there was much truly quiet playing to treasure — the first movement expired like a guttering flame — but more pertinently the distinction between forte and fortissimo always meant something.

Never once blasting or blaring, this was a Bruckner performance for the unconverted. It also triggered genuine passion in these musicians, who clearly love playing under him. Die Crescendi und Decrescendi sind subtil und ganz organisch. Die Farbmischungen zwischen Blech und Holz sind subtil.

Simon Rattle und seine Berliner Philharmoniker inszenieren Wagner. The prelude already showed that there is a reason why the orchestra has such a marvellous reputation. The orchestral performance was ravishing, full of passion and very accurate at the same time. Especially during the second act the orchestra revealed such a high level of musicality and a great sense for the dramatic action.

The sheer power of the orchestra during the great dramatic outbreaks was as impressive as the soft chamber music-like attitude during the love scene. Operatic Musicologist, March To Daphnis And Chloe, Rattle and his players brought glittering sonorities, a lyrical sweep and a thrilling surge to the finish. With or without a new concert hall, this partnership bodes well. The dislocation for the players at the first rehearsal must have been acute, but the result was incredible. Here was an awesome atmosphere of distant, shadowy legend, a deep well of emotions surging up from below.

Rattle and his orchestra? We are left with a portrait of a composer who is erratic, frustrated, angry and yet capable of tenderness — human in the most personal way. That is what good musical relationships can do. In the fourth symphony especially, the allegro section, which followed a perfectly-paced adagio introduction, seemed almost perilously brisk on its first appearance; the fact that the orchestra was able to achieve such a clean, detailed performance at such speeds was, itself, a source of some astonishment.


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In the opening movement, he tended to press ahead in strong passages and then ease up slightly as the dynamic level receded, but such flexibility was not subjected to affectation. Smoley,Classical Source, October A worthy case was made for the overture, but all sections were at their considerable finest in the two symphonies that made up the bulk of the evening. His approach is full of affection…creating a gorgeous warm Romantic glow. This tremendous new release only heightens those expectations… LSO Live achieve a first rate recording.


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Rattle has long been an advocate for the piece, and his forces here respond with an eagerness born of discovery. The richness and breadth of his reading are magnificent and the London Symphony Orchestra plays with warmth and perfection under his leadership. Instead there was a deep coherence, binding together its rich Wagnerian sonorities and ideas compellingly over a huge timeframe.

The first movement was craggy and explosive, the scherzo deft, the slow movement timelessly expansive, while the finale unfolded with the mysterious logic of the waves of an unknown ocean.

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The many transitions and changes of direction were seamlessly negotiated and Rattle allowed each passage its moment in the sun while always keeping the longer structural arc in focus…He created spaciousness and momentum. Ferocious climaxes were generated with thrilling cumulative power, incisive rhythms and forceful unison attack enlivened the energetic scherzo, and his slow-burning realisation of the slow movement was profoundly moving. Textures remained clearly defined, Rattle highlighting the themes without neglecting the surrounding details.

Murray Black, The Australian, July With the LSO supplemented by Guildhall players, Rattle went for a high-voltage, glossy approach: the piece burst out of the blocks and stayed at a supernova level throughout.

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Thomas Church Fifth Avenue in honor of John Scott, its organist and choirmaster, who died unexpectedly last year. He returns to Carnegie on Wednesday and Thursday to conduct what he expects will be his last New York concerts with the revered Berlin Philharmonic. Instead, refreshingly, they talk about the future, what can they make anew, what can they improve, how can they reach further into the community.


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  7. We share a dream in which performing, teaching and learning are indivisible, with wider dissemination of our art at its centre. I cannot imagine a better or more inspiring way to spend my next years, and feel immensely fortunate to have the LSO as my musical family and co-conspirators. Click here to be directed to the LSO news page and press release. Berlin Philharmonic Orchestra come to London to perform Sibelius. Read the article on the Guardian website for more details Click here to read Spanish interview in El Pais, 30 July Ivan Hewett tries to get to the root of the Berlin mystique.

    To read full article, click here. General Management excl.