Que suene Chaikovski a nuevo
“From the moving and intense tearing of the trumpets at the beginning of Tchaikovsky 4th Symphony, John Axelrod made the music breathe by leaning on a superb gradation of the sound planes, which was achieved favorably by the extraordinary orchestral forces . The American conductor knew how to balance the weight of the sections and also concentrated especially on highlighting the prominence of the bass strings. There were details throughout the symphony of his way of working. […] For example, in the first movement, with that question and answer game between the woods In dialogue with the strings, Axelrod achieved an extraordinary depth of focus, with the cellos making a very audible second voice and the rest of the strings on a third level. And secondly, with a flute genuinely floating above the violins and the bass strings this time as background and support.
The orchestra responded with complete satisfaction, sounding with dazzling roundness and presence in all its sections. In the very delicate Andantino, for example, the bass strings (yes, again) became real velvet. The Scherzo sounded with the required lightness, with no trace of mannerism, and in the Finale, in which the fortissimo bursts were always under control, the tensions ended up being resolved in a dazzling display (similar to that of the first movement), with a pulse and dynamism that had something of a Furtwänglerian quality.
On November 30th, John Axelrod officially ceased to be artistic director of the ROSS. It will be very difficult to find a replacement for his artistic stature.”
Pablo J. Vayón