\u2026This work, Symphony No. 2, however, had it all. With it, Andrea Marcon and “his” baroque orchestra set the bar high – so high that it could hardly be topped in the following. In the opening movement, it was above all the handling of the tempo that impressed: a slow introduction and a fast main section formed a strong contrast, the transitions between the sections nevertheless seemed organised.<\/p>\n\n\n\n
Marcon took the Allegro at a measured tempo, letting the musicians play out the rhythms precisely and setting crashing accents in between. A brutal drumbeat at the end of the first movement showed that the musicians still had energy reserves.<\/p>\n\n\n\n
These were unleashed in the finale. The conductor left the measured time behind, played with the tempo, accelerated, slowed down, gave the strings only a little time for transitional bars – and gave the<\/p>\n\n\n\n
for transitional bars – and gave himself freely to the hiccup figures and chains of eighth notes. The rhythms embodied sheer joy of playing, a striving forward for the sake of striving, a willingness to give oneself up – one could not expect more from an orchestra\u2026<\/p>\n\n\n\n
Simon Bordier, 15.9.2020 Basler Zeitung.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Im Wettstreit Das Barockorchester La Cetra und das Sinfonieorchester Basel pr\u00e4sentierten zum Auftakt des Festivals Klang Basel vier Beethoven-Sinfonien. Einer schwang oben aus: der Dirigent.<\/p>\n","protected":false},"author":2,"featured_media":2494,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[20,21],"tags":[],"class_list":["post-9745","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-archive","category-press-comments"],"acf":[],"yoast_head":"\n