A night for a clarinet

PalmSpecial, very special, was the fourth day of the Symphonic Summers, that year after year The parade ground at Bellver Castle was packed to the rafters. This was because it was the concert with which his colleagues paid musical tribute to Eduardo Bernabéu, the late friend and solo clarinetist of the Balearic Islands Symphony Orchestra. This circumstance led to an even larger attendance than usual. The concert began with theOpening of The Marriage of Figaro by Mozart, while the tribute began right after, with the performance of Clarinet Concerto K. 622 in A major, Also by Mozart. This was the last complete piece written by the genius from Salzburg, which, like all those where the clarinet was the great protagonist, was dedicated to his friend and lodge companion, the virtuoso of the instrument, Anton Stadler, also known as "the miracle of Bohemia." He was the one who, together with Theodor Lotz, made the so-called bass clarinet, longer, of four added notes, thus completing up to four octaves. And it was with this model that Joan Enric Lluna displayed the talent and the multiple possibilities of such an important instrument in an orchestra, yet so relegated as a protagonist. In the first movement, we find it as a miscellany, which allows us to enjoy its entire varied and splendorous range of colors. Luna showed it to us with a precision and purity that even surprised us with such evident potential. The primordial moment came with the simple and wonderful Adage, of an emotion that could not have made the moment more beautiful. Luna acknowledged the applause with the interpretation of Capriccio, also for Mozart, also for Slater, also for Bernabéu.

The remembrance did not end here. The second part of the concert was for the Symphony No. Op. 64 in E minor, by Pyotr Ilyich Tchaikovsky, which begins with the clarinet accompanied by strings. Thus, the performance continued not only due to the prominence of the instrument, Pardo in particular, along with Tatay's bassoon. Little by little, they give way to their colleagues in the wind section, until reaching the exquisite Andante cantabile with a license, where the horn was shown off, Fortea was also exquisite, followed by Arnal's oboe, until a everyone who spared no passion for such a special night and an equally fitting score. Pablo Mielgo, like the rest of the band, probably more than ever, as could not be otherwise, gave the impression of a state of grace… very special.