Bruckner, who never disappoints

Palm"Half genius, half madman," Hans von Bülow said of Anton Bruckner. "Half god, half madman," Gustav Mahler quipped. In any case, only the first part of the story has reached us, and yet, quite deservedly, history has placed the beatific Bruckner in his rightful place, for his incredible ability to make music, starting with his admired Schubert and Wagner, until he achieved his own unique and indelible style. From the former, he absorbed his melodic dexterity, and from the latter, his immeasurable monumentality. The combination of these two skills, and not forgetting that he was an organist and, therefore, capable of manipulating all the mechanisms of an orchestra as if it were a single instrument, has made him one of the few members of this privileged group who never disappoints.

In this second concert at the Auditorium of the Illes Balears Symphony Orchestra's elaborate initial program, the second part of the program became the star of the evening, thanks to the performance of the Symphony No. 4 'Romantic' WAB 104, from the organist of Linz Cathedral, who, contrary to the vast majority of composers, did not begin this work until he was forty. Therefore, a peculiar existence and a life full of anecdotes that made him worthy of the second part of the aforementioned epithets, which are certainly not even anecdotal compared to his music.

The beginning of this fourth symphony shines with the horn solo—impeccable Fortea—with the strings as a welcoming backdrop. Welcoming and at the same time very solid, followed by a tutti which then emerged and put everything in its place. A perfect alloy of delicacy and vigor, lyricism and sovereignty. Seventy minutes in which an immense musical discourse dwells, provoking sensations of every kind. Every instrument has its prime moment, some even glorious, which the masters of the Symphony, conducted by Mielgo, did not waste, demonstrating, once again, their capabilities.

The first part was not the best start to a Symphony concert. It was with the Prelude ofThe Mastersingers of Nuremberg, by Richard Wagner, which sounded like a passatu, like a totum revolutumWithout nuances or contrasts. For contrasts, the second garment. With the members of the metal group, the quintet Spanish Brass, as soloists, performing the ingenious and amusing title The lascivious devoteeby the Valencian composer Joan J. Colomer. A dialogue with some very interesting touches, balanced and of an originality and idiosyncrasy that makes a second listening necessary to be able to digest so many and such specific characteristics.