Ati Metwaly documents 2010's happy ending -- in two concerts Gomhoureya Theatre, 4 December; Cairo Symphony Orchestra, violin: Salma Sadek, French horn: Amr Abulnaga, conductor: Nayer Nagui; Edward Edgar: Introduction and Allegro for Strings, Op. 47; Barber: Concerto for Violin and Orchestra, Op. 14; Camille Saint-Saens: Morceau de concert for French Horn and Orchestra Op. 94; Sergey Prokofiev: Symphony no. 1 in D Major, Op. 25 "Classical Symphony". Alexandria Opera House, 3 December; Cairo Opera Orchestra, conductor: Hisham Gabr; Gala Concert "La Valse", compositions by Johann Strauss II, Sibelius, Tchaikovsky On 4 December, while the Cairo Opera House stage was taken up by the Rat Pack show, classical music regulars attended a memorable concert at the Gomhoureya Theatre. It opened with Introduction and Allegro for Strings, Op. 47, by Edward Elgar, the English composer; and from the midst of the orchestra emerged an excellent string quartet: first violin (Hossam Shehata), second violin (Oleg Ivanatsev), viola (Alaa Khalil) and cello (Raisa Kulik). Writing in a Concerto Grosso style, Elgar aimed to reincarnate Baroque form. As a result the quartet is not isolated from the orchestra but blends in with the rest of the strings with Baroque themes constantly interwoven into the composition. It is a wonderful painting with four soloists representing individual colors, each giving adding a significant edge to the whole picture. The Englishman gave way to an American, with Samuel Barber's Concerto for Violin and Orchestra, Op. 14. Composed in 1939, shortly after Barber's great success with Adagio for Strings, which placed Barber among the world renowned composers. Adagio for Strings was conducted by Toscanini in 1938 and immediately caught the hearts of audiences; it is still heard in many concert halls, movies and TV programs. Yet the Concerto too is among the most popular in the 20th century, frequently performed at international concert halls. It testifies to the beauty of Barber's developed lyricism, especially evident in the opening of the first movement and through the first and second movements. Salma Sadek clearly captured all the emotional nuances, transporting the audience, but her virtuosity surfaced in the third movement in the way she lived up to the challenge of the technically demanding fast short bow. Barber, whose birth centenary this year is being celebrated by orchestras all across the world, is among the 20th century's most interesting figures. A pity he does not figure on Egyptian programmes more often. For her part Sadek graduated from the Cairo Conservatory in 1990 and pursued further studies in Germany. First violinist in the German Chamber Orchestra Deutsche Kammerakademie Neuss am Rhein, she has performed as a soloist with international orchestras and is often guest soloist with the Cairo Symphony Orchestra. The second half of the evening opened with Camille Saint- Saens' Morceau de concert for French Horn and Orchestra Op. 94. The unconventional structure of this piece does not take away from its charm; it gives the horn player an opportunity to demonstrate his skill. Amr Abulnaga shaped both theme and variations expertly and the brief cadenza-like passages stressed his outstanding technique. Not only was Morceau de concert a delight to listen to, it also unveiled an soloist we will be looking forward to seeing more of. Abulnaga graduated from the Cairo Conservatory and continued his musical education in universities in the USA. He has participated as a soloist with several orchestras in Egypt and the USA and won prizes at a number of international horn competitions. Abulnaga is principal horn player with the Cairo Symphony Orchestra and horn instructor at the Cairo Conservatory and the American University in Cairo. The last piece of the evening was Sergey Prokofiev's Symphony no. 1 in D Major, Op. 25. Prokofiev called it a "Classical Symphony," and aimed to incorporate Hayden-like elements into it by way of paying homage to the master. This neo-classical work was in fact composed in 1917 and consists of a short poignant dialogue between the Russian composer and "the father of the symphony." In spite of its classical plan and the transparency of its style, the symphony still shows all of Prokofiev's joyful playfulness. For the audience it was yet another wonderful treat with which to conclude a happy evening that, despite an apparently chaotic programme, formed a coherent dialogue between the 19th and 20th centuries. An affirmation of eternal values set by the great composers showing how they were re-demonstrated in the works of their successors. The evening included compositions rarely performed in Egypt, with Barber's concerto being its Egyptian premiere. Nagui's selection proved to be an interesting and intelligent compilation showcasing soloists and orchestra while presenting fascinating works. With outstanding soloists and a great performance by the Cairo Symphony Orchestra under Nagui's baton, the evening served as a satisfactory close to 2010, making our hopes brighter for the next year. *** Come December, it is common practice for the music world to turn to the Strauss family. Compositions by Johann Strauss II, his brothers Eduard and Josef, and his father Johann Strauss I, are often performed in the buildup to New Year's. Concerts celebrating New Year, with the most famous one taking place in Vienna on 1 January and performed by the Vienna Philharmonic Orchestra, are huge events that millions await. And on 3 December, the Cairo Opera Orchestra conducted by Hisham Gabr performed a Gala Concert that, if all goes well, should be a precursor of more joyful things to come on the stages of Cairo and Alexandria. With waltzes by Jean Sibelius and P.I. Tchaikovsky, the evening, entitled "La Valse", was not restricted to the Strausses. Unusually for Cairo orchestras, the concert was performed only once in Alexandria, but it drew in an enormous audience. With the hall almost full, the Cairo Opera Orchestra was enthusiastically applauded after each composition. The Die Fledermaus Overture made for a brisk opening, with the first half of the evening including Strauss's dynamic Tritsch Tratsch Polka and a delightful Kaiser-Walzer which despite being an Austrian specialty was very well performed by the orchestra stressing the brass against a backdrop of long violin bows. The first half also included "Valse de Fleur" (from The Nutcracker ) by Tchaikovsky which,owing to the fact that orchestra used to perform The Nutcracker ballet every year, shone with an exceptional perfection. Gabr added two compositions by Sibelius: Valse chevaleresque and Valse triste. Both waltzes were "originally part of the incidental music Sibelius composed for his brother-in-law's play Kuolema ( Death )." Valse triste is definitely a small musical gem, portraying a dance of death that is regarded as one of Sibelius's most touching compositions . This was Valse chevaleresque 's Egyptian premiere and the piece was warmly received by the audience. Johann Strauss returned with three compositions opening the second half of the concert: Fruhlingstimmen Walzer ( Voice of Spring ), Annen Polka and Artist's Life. It seems no instrument imitates the sound of spring as well as the flute, something that is especially clear during the second part of the composition. Voice of Spring was originally composed to include a solo soprano yet it is often performed in its orchestral form. The second half also included a composition by Sibelius: Valse Lyrique. Like other smaller works by this composer, a beautiful melody is set against rich orchestral colourings. Another Egyptian premiere which prompted sturdy applause. And the audience's enthusiasm was rewarded with the last piece of the concert, the famous On the Blue Danube by Johann Strauss, a mesmerising diamond of the concert halls now often linked to New Year's. With a good choice of compositions, many of them known and loved by the listeners, Gabr gave the Alexandrian audience something to remember, and opened the path to a very special New Year.
