Like everything in this world, the Quincena Musical of San Sebastian has ended. It has been an edition marked by the return to normality, which has brought with it the special enthusiasm of the public and some joy that was noticed in the environment.

Music is not a technical discipline, music is surrounded by emotional dyes. What happens on stage is not limited to a simple interpretation of a score. Everything influences the quality of a concert: the skills of players in interpreting their moods and, of course, the environment that interpreters perceive around them. The satisfaction and enthusiasm he mentioned has significantly influenced the festival’s magnificent attempts in this 83 edition.

The last two concerts offered this year were a well-deserved final. One of the best European orchestras, directed by Russian Semyon Bychkov, head since 2018. In both sessions it became very clear that the Czech Philharmonic Orchestra is a large group that Bychkov knows perfectly, as he knows and dominates the repertoire interpreted.

Gustav Mahler's Symphony No. 7, called Night Song, is probably the most unknown of his symphonies. It's a big play, it has five movements and it needs an amazing orchestra. Although it was not the best-known work of the Bohemian composer, it was for the enjoyment of the public by its variety, its rich timbrium and the clarity and elegance that Bychkov managed to bring from beginning to end. The different textures stood out correctly and were moments of great beauty, like the two nocturnal –2. and movements 4.–.

The second concert was a Czech party. Works were performed by Czech composers and some of the solitary voices came from Czech. Program Obertura de los Carnavales op. It started with the glitter of 92 works, vigorous and colorful. Then they played the play, Concert for piano and orchestra of Bohuslav Martinu H292 is also powerful and rhythmic, and diabetic to solo pianists, but in the hands of the Labèque sisters it might seem the most natural in the world. These two pianists, possibly one of the best in the world in the repertoire of two pianos, have an incredible technique and musical taste, a delicacy in the phrasing and an interpretative elegance that captures all audiences. Great.

Finally, the Glagolytic Mass of Leos Janácek, one of the greatest works of the twentieth century, was the perfect dessert for an interesting program. Four solo singers performed the appropriate interpretations and the Orfeón Donostiarra had good moments in the passage of Agnus Dei.