Amal Choucri Catta finds pure delight in the melody of winds Cairo Symphony Orchestra in collaboration with the German Goethe Institute, conductor Christoph Mueller, trumpet soloist . Venues: Main Hall Cairo Opera House, 19 February, 8pm, and Sayed Darwish Theatre, Alexandria, 20 February, 8pm. Solo trumpet concertos are rare musical experiences in most concert halls around the world: last Saturday's two trumpet concertos animated by German star soloist , with Cairo Symphony Orchestra marvelously conducted by Christoph Mueller, at the Opera's Main Hall, was therefore an unusual event. Spellbound audiences were given Serguey Vasilenko's Concert Poème for Trumpet and Orchestra Opus 113, and Alexander Arutunian's Concerto for Trumpet and Orchestra. The work of both composers, mainly the latter, being rather unknown to local audiences, was greeted with mounting enthusiasm as the trumpet's captivating tone soared into the quiet hall and curiosity for the two authors grew. Born in Moscow in 1872, Serguey Vasilenko studied composition at the city's conservatoire and was awarded a gold medal upon his graduation in 1901. He lived in Moscow most of his life, joining the faculty of composition until his death in 1956. Vasilenko worked on the first Uzbek opera Buran (the snowstorm) for which he was awarded the "People's Artist" title of the Uzbek Soviet Socialist Republic in 1939. He furthermore composed four operas, including Christopher Columbus in 1933, as well as ballets, five symphonies, symphonic poems, violin and balalaika concertos, three string quartets and vocal music. Vasilenko composed his Concert Poème for trumpet, Opus 113, at the end of World War II, while Russia was counting its dead heroes and occupying German lands. As the story goes, the premiere of Opus 113 came to an unexpected, dramatic end: Russian star trumpeter, Serguey Eremin was suddenly taken ill while performing. He left the stage before the Cadenza of the first movement, amid the audience's perturbed silence. The Concerto vanished in a drawer and remained forgotten for many years. It was revived by celebrated trumpeter Timofei Dokshitzer, in collaboration with Vasilenko, and a new edition was published at a later date. Henceforth, star trumpeters have been performing the composition, which is a rather difficult work, requiring a large amount of virtuosity. Renowned German trumpet soloist is an artist of enormous potential, a sensitive, intelligent musician and a brilliant performer, often applauded around the globe. His interpretation of Vasilenko's Concerto was consistently fine, often superb: it was immediately evident that he was in full control of his massed forces, using his gorgeously rich and flexible sound with great drama. It must be remembered that the trumpet is not the quietest of instruments, nor is it the easiest to play: there are no keys and one has to create the sounds with one's own wind pressure and lip tension. Since mid-19th century the trumpet has been normally fitted with three valves which admit air to additional lengths of tubing, making available harmonic series at six pitches. It is an aggressive instrument, requiring extraordinary breathing techniques, coupled with musicality, patience and love. was likewise brilliant while performing the Trumpet Concerto created by Alexander Arutunian, an Armenian contemporary composer. Born in Yerevan in 1920, he studied music in his hometown and in Moscow before being appointed artistic director of the Armenian Philharmonic Orchestra. In 1970, Arutunian was awarded the title of "People's Artists of the USSR". His works mainly comprise music on Armenian subjects -- reminiscent of Antonin Dvorak or Aram Khatchaturian, they have a powerful national flair. My Native Land, My Fatherland and Armenian Rhapsodies are among his finest patriotic creations. Composed for the eminent trumpet virtuoso Timofei Dokshitzer, his Trumpet Concerto grants the soloist ample possibilities for virtuosity, of which made perfect use. The audience admired his mature performance, his flawless intonation, and above all, the genuine depth of expression and sensitivity. His naturally musical phrasing and colourful interpretation were amazing. Internationally in demand, Friedrich has won a number of prizes and was appointed professor at the Staatliche Hochschule fuer Musik in 1989. Saturday night's Cairene audience loved him. They loved, in fact, the entire concert which was totally dedicated to Russian music. It preluded beautifully with Pyotr Ilyich Tchaikovsky's Overture-Fantasy Romeo and Juliet, a great orchestral work, brilliantly depicting the main dramatic moments of the Shakespearean tale and gloriously interpreted by the orchestra. That night, there was amazing life to the performance: the Maestro's eloquent baton mesmerizing orchestra and audience alike, with passionate Fortissimi and soulful Pianissimi, while strings, percussion and wind instruments splendidly executed the conductor's command. Christoph Mueller seems to have succeeded in taking the Cairo symphonists out of their lethargy and bringing them into a well-deserved limelight. Their performance was as perfect as it was surprising. Tchaikovsky's Overture-Fantasy boldly enhances the contrast between the strife of the two families and the lovers' passion. Superbly melodious, the solemn theme of the introduction splendidly depicts Friar Laurence, while the two following, dramatic themes evolve around the Montagues' and the Capulets' conflict. There was love and hatred, beauty and sadness, and finally there was death and a moving funeral march, while the orchestra gradually mounted to supreme polyphonic heights, bringing the Overture to a fabulous climax. The Maestro smiled, the instrumentalists beamed while the audience loudly cheered. Perfection continued to the very end of this concert, masterfully closing with another of Tchaikovsky's interesting works: his Second Symphony in C-minor Opus 17. Composed in the Ukraine, where the author was staying at the Davidov property, the symphony was premiered in 1873 by Nikolai Rubinstein, who also premiered Tchaikovsky's third and fourth symphonies. Ukraine being referred to as "Little Russia", the second symphony has been likewise nicknamed "Little Russian Symphony". It may not be one of the most famous, but it surely is among the liveliest, the author being inspired by his colourful surroundings and the charming ambiance he discovered everywhere. The symphony is a supreme combination of melodic inventiveness and constant freshness. A number of sequences are delicately detailed, extremely tuneful, luxuriously scored and filled with emotional fervour. Brilliantly performed, the symphony was one of that night's masterpieces. In Christoph Mueller's capable hands the countless details of Tchaikovsky's score were miraculously evolving. His impassioned account of the symphony's four movements was a privilege to hear: he is visibly succeeding in turning his concerts into real musical events and should therefore be congratulated.
