When was the czech philharmonic orchestra last at the kissinger summer?? It is difficult to say with the pragues, because in the last few years they have come to the regentenbau from time to time, but at irregular intervals. Whenever that last time may have been, they had jammed in some positions and still retained their typical soft yet clear bohemian orchestral sound – which, for historical reasons alone, suits mozart so well.
That is why the overture to "idomeneo" was so beautiful a beautiful introduction to the concert: with many tonal colors and tonalities, with an almost cozy drama, which made you sit up and take notice, but did not frighten you, and with dance elements. Tomas netopil on the podium did not have a hard time keeping his orchestra on this course.
And then mozart’s piano concerto in d minor k 466. It was simply great fun to watch leif ove andsnes at this concert, precisely because it is so well known and you could still expect something new. What impressed at first was the seriousness and concentration with which the norwegian went to work, his single-mindedness with which he approached the punch lines, his effortless virtuosity, which not even zogern liked – and if he did, then for agogic reasons. Then it was his close contact with the orchestra that led to a real exchange of ideas. For the people of prague not only reacted sensitively to what came from andsnes, but they also made him offers. A dialogue arose that is not often experienced.
But really surprising were the two cadenzas in the ecksatzen. The beethoven cadenza in the first movement was played by andsnes with such a modern, forced touch that one would have liked to have had the notes to be sure it was really beethoven. A great piece of music. The cadenza in the finale must have been something of its own, for it was so strongly tailored to the pianist and his personality in its renewed modernity that nothing else was really possible. But at the end andsnes returned – what a contrast! – back to mozart, perhaps so that the orchestra would know when to start again. As an encore there was a movement by the catalan federico mompou.
In the second part of the concert, there was a certain weakness in the "lexical" part of the orchestra programming: today only composers with "M. Of course, it had a certain charm that the "prager" played. But hadn’t another symphony by mozart done it as well. Because it is not his best. One could not get rid of the impression – and the pragers could not get rid of it either – that mozart was stringing together phrases to bring the piece to symphonic length, that there was too much repetition to keep one’s interest throughout.
Naturally, tomas netopil had thought of one or two things to counteract this, such as a few uproarious attacks on the timpani. But overall he stayed in the middle range of design. It all sounded very much the same in its individual parts, but also contributed to digression. On the other hand, one could have imagined the last sentence to be a little less overthrown and instead more deeply illuminated. But who is female? Perhaps time was of the essence, because the concert was broadcast live on deutschlandfunk. And perhaps the slow, very already played second sentence had upset the timetable.