Submitted2024.05.05 15:19
Edit2024.05.05 15:19
[클래식 리뷰]
Hangyeol Yoon & Hankyung Arte Philharmonic
All Brahms symphonies were performed on the 3rd and 4th
Brahms’s four symphonies are in themselves unique life dramas. There are not many sweet and interesting melodies and rhythms, but when you are immersed in the bitter and deep world, other music often feels like a distraction. So, I often listen to two or three CDs in a row.
Rarely can you experience being immersed in Brahms so continuously at a classical performance. Since an overture or concerto is in the middle, it is going to be interrupted. The performance of the complete Brahms symphonies by the Hankyung Arte Philharmonic, conducted by Han-gyeol Yoon, at the Seoul Arts Center on the 3rd and the Lotte Concert Hall on the 4th was an ambitious plan that took including performances of Nos. 3 and 1 on the first day and Nos. 2 and 4 on the second day. It was also an opportunity to rediscover the conductor Han-Gyeol Yoon, who won the ‘Karajan Young Conductor Award’ organized by the Salzburg Festival last year. Yun Han-gyeol began the first movement of Symphony No. Brahms’ 3 passionately, using his whole body. Even though great power crossed the stage, order was not lost. Woodwind players played throughout the day, and the performance of the flower, which seemed to punctuate the first movement, stood out. The second movement, Andante, was the most impressive of Symphony No. . 3 I heard recently. Dreams and fantasies flowed like dust in the gray sunlight, and it felt like the autumn sunlight was fading inside the Seoul Arts Center Concert Hall.
The famous third movement, Poco Allegretto, stood out for its tempo setting. Neither fast nor slow, the theme tune pierced my lungs. The introspective horn stood out like a veiled red sunset, and the slow pace made me feel so sad. The last four moves were an exciting show. It was rather old-fashioned, but also careful and careful. I was able to enjoy the performance of Yoon Han-gyeol, who removes unnecessary power and calmly maintains the structure of introspection, as if guarding a bird’s nest.
In the first movement of Symphony No. 1 by Brahms, I could feel the timpani hitting my whole body. The sound of the gun firing was refreshing. No matter how hard you hit it, the tip of the timpani mallet (drumstick) will suddenly explode and fly away. The middle and low notes of the cello and the double bass played a big part in maintaining the atmosphere of combat and combat In the second movement, the oboe solo stretched out beautifully. The violin solo in the movement reminded me of a sky climbing a cloudless sky. In the third movement, we were treated to a performance that reminded us of the lyricism of classical music that transcends popularity. The change in atmosphere was obvious as if I was diving in the middle of the ocean and sometimes breathing on the surface. The beginning of the 4th movement was fire with devil energy. The horn solo, which sounded like a solo in a large arena, made the stage feel even wider. The coral part was so venerable that it could be said to be religious and it was thickly carved. The most famous theme tune greeted us, and the sense of balance without losing weight while running was excellent. Symphony No. 2 by Brahms, performed at the Lotte Concert Hall, with a sustained performance by the horn. The string collection was so clear and clean that it hurt my ears. By bringing together the energy of the strings and pipes, the orchestra’s sound rose, and the oboe and flute sang out faintly. The finish was round and smooth.
In the second movement, the string flow was very soft and fluid. Compared to other performances, it was also a part where I felt a strange controlled sadness. It was an opportunity to revise my existing opinion of Symphony No. 2.
In the third movement, which had a beautiful introduction for flute and oboe, the main part changed to a fast tempo. It felt melancholic but warm, like a blanket. The introduction to the 4th movement was soft, but the pace became very fast in the last part. The pace and speed could be changed freely. He slowed down, cleaned up, and ran in one stroke with the fine wooden windpipe. The natural pace and finish of the final stage was fantastic. Yoon Han-gyeol was the first to make the obist, who played so hard that his face was red, and the flawless horn player, stood to their feet.
In the first movement of Symphony No. 4, the chords came in cool and new waves like a wave. Yoon Han-gyeol performed prominently so that every sound from the drum can be heard. I felt the mysterious power of introspection. After increasing the attractive nature, we entered the final.
In the second movement, the horns and woodwinds came and went and the strings played pizzicato, creating a joyful atmosphere. A warm theme, led by the cello, came flooding back. The flute part blended brilliantly with the elegant strings. The entire theme tune of the string music was played, and the large orchestra ended with a mysterious pizzicato. / Reporter Lim Hyeong-taek The third movement was a refreshing, seemingly relaxing run that stimulated the ears with an energetic and relatively fast pace. The 4th movement reminded me of dragging a bright string group into deep, terrible dust. The infinite orbit of the Passacaglia and Chaconne was visualized by the flexibility of the violin group. The slow but impressive single had huge appeal. The tempo was slowed down in a choir-style melody played by the trombone. The tremolo string sound was also tight. I don’t think I have ever encountered such vivid passages from Brahms with my eyes and ears. Hangyeol Yoon and the Hankyung Arte Philharmonic succeeded in interpreting the great power of Brahms’ music in a low, quiet, but clear way without being loud.
Taehyung Ryu, expert member of Daewon Cultural Foundation
