credo che gli ottoni della scala siano la sezione che definitivamente
abbassa il livello dell'orchestra, che io ritengo molto alto.
Sempre per restare all'eroica, e' da oggi che ce l'ho in testa...
l'altra bellissima che avevo sentito era quella con Muti e la Scala,
prove la mattina e concerto la sera. Tutta un'altra musica, piu'
triste, piu' drammatica, marcia funebre bellissima, il suono degli
archi aveva una linea tutta italiana che ieri sera era ovviamente del
tutto assente.

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Trying to Appeal to Youth With One of Their Own
By BERNARD HOLLAND

Rear orchestra-section seats at Avery Fisher Hall on Friday night were
awash with young people, presumably invited by a New York Philharmonic
interested in updating its audience. For those willing to put Ludacris
or My Chemical Romance aside for an evening and give classical music a
chance, there were a number of apparent come-ons at work.

Joyce Yang, an enterprising competition warrior scarcely out of her
teens, was there as role model, playing that whiz-bang favorite of all
career-hungry young pianists: Rachmaninoff's Rhapsody on a Theme of
Paganini. After intermission Lorin Maazel led the orchestra in
Beethoven's equally famous (though maybe not to a lot of Friday's
audience) "Eroica" Symphony.

The Rachmaninoff is a handful of touching and inventive moments
surrounded by circus-act feats of pianism. Rachmaninoff may have been
too good a pianist for his own good. Conventional virtuosity seems to
have bored him; hence this piece's obstacle course of difficulty. Ms.
Yang nailed all the hard parts and showed enough sentiment and good
sense during the flashes of inspired weepiness to make one want to hear
her in other repertory.

The worth of the Beethoven performance depended on who was listening.
Veterans with literally thousands of "Eroicas" under their belts
were probably depressed. A great orchestra sounded dutiful but not
terribly involved. The vague togetherness in the string sections,
uncharacteristic in an ensemble of this fineness, did not signal
careful rehearsal.

The most arresting moments, unfortunately, were Mr. Maazel's willful
slowness in the finale and his perverse hesitations and exaggerated
accents in the Funeral March.

One hopes that some of the young people were oblivious to all that and
simply taken by the music itself. When brought to life, it is quite a
piece for any age group. h