Manacor: A Brass Feast, a Sharp Sound — and a Surprisingly Intimate Bruckner

An evening that put brass in the spotlight

Yesterday, shortly after eight, the Auditori de Manacor slowly filled. Outside, the cool November air crept through the streets; inside, cups clinked, programmes rustled and brief conversations sparked — a typical Manacor evening sound. Many had come for Bruckner. But the evening posed a different question: how much brass does the space need, and how much intimacy can a large symphony tolerate?

Wagner with a wink

The overture from Die Meistersinger von Nürnberg opened in clear, unadorned contours. The conductor presented the main themes with theatrical gestures, yet let the comic core appear edged and brassy. Result: the familiar sounded new, almost like a scene viewed from another angle. The audience listened attentively; in places a quieter amusement flickered — not the loud laughter of a comedy, but a approving smile.

Spanish Brass: technical brilliance and modern bite

The five-member brass group was a machine of precision and joy in playing. José Colomer's etudes were bright, dissonant, at times at the edge of pain — a modern sound body that provoked. Piece titles like “Deambular” or “Descubrir” promised pathways but offered sonic spaces more than narrative routes. For listeners seeking timbral variety, it was a feast; for purists expecting a clear line, access remained occasionally closed.

It was striking how much the hall's acoustics shaped the experience: the metal of trumpets and horns met the auditorium's reverberant character directly. You heard the brass not only as instruments but as an architectural element — an effect that inspired awe but also raised questions.

Bruckner IV: no incense, but intimacy

The evening's major challenge was Anton Bruckner's Fourth. Instead of falling into the usual mode of celebration, the conductor sought warmth rather than ritual. The long climaxes remained organic; the sound was physical, not nebulous. Woodwind moments shimmered quietly, trumpets suddenly hovered close to the ear. Overall, it felt less like a distant cathedral and more like a conversation in a lively living room — surprisingly intimate for a symphony that otherwise dissolves into clouds.

This decision carried risks: where grand incense normally supplies pathos, intimacy had to convince. And it did so in places. Not all parts always fused: the brass remained too present at times, and dynamic frictions occasionally disrupted the flow. Yet it was precisely these edges that made the evening exciting. Some listeners did not leave the piece feeling they had everything explained, but with the impression of having taken away a lived experience.

The central question — and a few concrete suggestions

What remains as the guiding question of this evening? How can orchestras and organizers achieve a balance between modernity and monumentality, between brilliance and closeness? In Manacor it becomes clear that not only the programme, but also the space, positioning and communication decide. A few suggestions the next evening might consider:

1. Precise personnel and stage layout: Brass can be “located” differently in the space; a slight change in position can have noticeable effects on balance and transparency.

2. Acoustic work before the concert: Rehearsing in the full hall and targeted soundchecks help avoid extreme harshness — especially with modern, dissonant pieces.

3. Involving the audience: Short talks or pre-concert introductions to the works can prepare listeners for unfamiliar sound languages and ease access.

4. Programme planning: A thoughtful sequence of modern and romantic works can soften ruptures without sacrificing artistic tension. Breaks that allow for exchange are also important.

An evening with open edges — and lots of resonance

The conclusion is ambivalent and rather Mallorcan: edges, light and a resonance that could still be heard in the street as people emerged and the last applause faded into the cool night. For the curious it was a must; for purists perhaps a challenge. Both groups gained something: material for conversation.

Repeat tonight in the same venue. Tip: the box office opens at 7:00 PM — the good seats go fast. If you go: listen also for the quieter woodwind moments. They tell a lot.