Deutsche Kammerphilharmonie and Alondra de la Parra at the Glocke in Bremen


Bremen – By Markus Wilks

The orchestra music from the 20th century can be more exciting and entertaining than some classics, at least when you act as vigorously as Alondra de la Parra and the Deutsche Kammerphilharmonie Bremen. The first Hanse-II subscription concert featured works by Bacewicz, Bartók, Debussy, and Stravinsky. Perfect to highlight the solo qualities of the ensemble, as well as its joy of playing.

Half a year ago (at the Musikfest), the conductor Alondra de la Parra said goodbye to a euphoric audience in Bremen with the impressive “Dánzon No. 2” by Arturo Márquez. Almost as a sequel, this occasion the concert was opened at the Glocke with the “overture” of the Polish composer Grazyna Bacewicz (1909-1969). Although less like a dance than Márquez’s piece, the Deutsche Kammerphilharmonie immediately impressed with its particular pushing forward, mainly performing at a rapid pace.

Alondra de la Parra and the Deutsche Kammerphilharmonie Bremen took us to other worlds in the second part of the concert. In “Prélude à l’après-midi d’un faune” by Debussy; an impressionist sound painting about faun’s erotic dreams, the orchestra musicians demonstrated their musical sensitivity with subtle nuances, often in the lower range of the volume scale.

Alondra de la Parra let the numerous solo passages merge perfectly with each other, in Debussy’s way, without emphasizing them. The solo flute, the oboe, and the clarinet delighted the ears of the audience.

Béla Bartók’s Viola Concerto combines in a very individual way contrasting emotional states, such as the two initial pieces. In addition to the robust modernity and highly virtuosic solo parts, there are also rhythmic moments and wonderful passages of calm to discover in this work. Antoine Tamestit performed magically with her viola and gave an excellent concert with the complicity of the orchestra. He pulled a sensual and loud sound from his instrument and let this large, dark tone flourish in the Glocke. The loud applause noted that Tamestit and De la Parra had won the audience with their interpretation.

Finally, the orchestrated “Firebird” by Igor Stravinsky (according to the 1919 version), in which Alondra de la Parra once again transferred his body language to the virtuosic Deutsche Kammerphilharmonie. Complicated pieces like this, that require a high level of skills seem to be “in the blood” of the director. Her clear drawing, facial expressions, and gestures carry the energy and a feeling that gives a special atmosphere to the interpretation.

The Deutsche Kammerphilharmonie Bremen, who played with a great cast, found a great balance between the impressionist moments (again with the woodwinds’ delicatesse and the horn solo) and the controlled ecstasy in the “Hell Dance”. And at the end, hugs on stage and loud rhythmic applause as a unified whole.