Red,swollen, Hot Elbow

Π Π Π / VV

- Paris, Theatre de la Cite de la Musique, January 23, 2011

- Webern String Trio , op. 20 (a) - Brahms Clarinet Trio in the minor, op. 114 (b) - Berg, Four Pieces for Clarinet and Piano , op. 5 (c) - Brahms, Piano Quintet in his minor, op. 34 (d)

- Paul Meyer, clarinet (b, c)

- Michael Barenboim, violin (a, d)

- Guy Braunstein, violin (d)
- Gerard Causse, viola (a, d)

- Gary Hoffman, cello (a, b, d)

- Elena Bashkirova, piano (b, c, d)

I unfortunately missed the concert on the eve of it, which proposed including reduction Adagio from Kammerkonzert Berg and Brahms's Opus 115: this is a result of positive feedback to me is the execution of these that I unexpectedly entered a recent places available in small amphitheater in the City. And it is indeed a superb Paul Meyer, who produced it. Yet I am not as a lover of this kind of clarinet at the beauty a bit bourgeois, the medium always warm and comfortable, with high and noble always full, which gives the instrument a range in my opinion more unequivocal that it should. But so far, much to control combined with such a sense of listening, we must bow down before a good musician that lit this Sunday afternoon in his class.

In the Brahms trio, first, where the first presentation Meyer struck by his ability to blend seamlessly into the sound of its partners while delivering a line like from inside: more than just a quality of listening, we try here at some engineering integration which seems to seek to relate it up the clarinet and cello in dialogue with a single instrument the piano. This is obviously not the case at all times, but is one of the most fascinating aspects of the performance, which benefits the rest of the piano sound, very readable (despite a mediocre instrument) Elena Bashkirova, whom we can certainly blame a lack of technical sophistication (eg harmonic density in the Adagio). The adagio is usually also my main subject, insofar as I am quickly annoyed by Gary Hoffman's propensity to complicate the line: not that I find his phrasing in bad taste, but rather a desire to sprinkle phrases micro expressive inflections that I can not bear with him, at least when the tempo slows. This is especially pity that its sound is more than respectable - but with what cello ...

The great moment of this concert is clearly the Berg, and not just because the opportunities hear this sublime opus 5 are so rare. Meyer it may be shown, for its ultimate benefit of the weekend, even more invested in Brahms, and frankly absolutely beautiful, so much to raise Bashkirova marvels of delicacy and richness of her piano Brahms had not entirely left to assume - we conclude that later this pianist, also founder of the Jerusalem Film Festival which was exported here seems chamber music very dependent on the level of its partners. The peak of the afternoon is in fact exactly the Sehr langsam, breathtaking beauty and perfection instrumental - the only conclusive descrescendo Meyer, continuity improbable, was worth the trip ... the same way as the trio of the third part. In general, the intensity of the game also seems to gain Meyer sound personality, which may well be blamed on the transition to the clarinet in B flat, it is true: whether or not the case, will in any case could be heard breaking through the veil-Western cliche the beautiful and languid clarinet, pushing through the grace notes of Langsam ff final, earning a clarinet sound quasi-slave.

All this does not really allow to predict the catastrophe which closed the concert, especially since, on Hoffman usual caveats aside, Michael Barenboim and Gerard Causse (I don ' expecting more this good) had made a favorable impression in a relatively String Trio Webern wise enough but clean. It took me time to think and to get used to the idea, but it is the arrival of Guy Braunstein, prestigious concertmaster of the Berlin Philharmonic came here provide the first violin part, which collapsed the beautiful building now rising chamber. What chore violin! By a curious coincidence, I think I did not hear anything so awful on the violin for a concert Gordan Nikolic, on ... Main the LSO. How do these violinists also capable of being nervous, chopped, brutal, and very often below minimum standards of accuracy, they can drive two of the best string sections in the world? It is a great mystery, which thickens as we find, moreover, Braunstein does not seem to be taking seriously the fact of playing a Brahms quintet - it seems that with the clarinet inspired many more, but I was not there to verify. Nevertheless, and despite considerable efforts clearly its partners to continue at least play fair, the whole execution is completely inaudible, from first to last note, and I weigh my words. If Barenboim Caussé and Hoffman try to make notes in spite of those, bad, parasites, there is one thing they can do is prevent Braustein to go his own head rhythmically. So that we hear almost no attack breathing together in forty minutes - or less, for in addition to a breakneck totally absurd that the case is conducted.

Breathing in these conditions were anyway impossible, so together, just think: at the head of this cacophony of confusing vulgarity, Bashkirova quickly threw in the towel and simply go with the flow more or less approximately, which actually makes sense especially when the movements going in opposite directions - as in the final where Braustein clearly indicated that this was very fun deciphering but he had to fly from 19h.

I hope he was able to fly, because me, I fell very high.

ps: yes, I know, the picture header is ugly, it looks like Jean-Claude Vandamme pitches in an episode of Dallas, but it is the only black and white I found Paul Meyer. Clarinet, your ruthless world.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .

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A tale, full of sound and fury, not Told by an idiot

Π / Π Π

- Paris, Théâtre des Champs-Elysees, January 22, 2010

- Wagner , Parsifal prelude - Mahler Totenfeier ; Lieder Eines fahrenden Gesellen - Liszt, Les Préludes

- Sarah Conolly, mezzo

- Orchestra of the Age of Enlightment

- Vladimir Jurowski, direction

Second summary report in two days before recover my strength. This concert, which was admittedly somewhat the appearance of gag, however, was significantly less than the anecdotal chore Mehta offered by the previous day. Would that the program was easier to digest, even impersonate unified. Secondly, because even with an orchestra at the more than doubtful, Jurowski is Jurowski and that always happens with him something that may be questionable, horrifying to some, but just at a point that will prevent him anyway to be anecdotal. - The demonstration, a little less convincing, had already been done last season at the concert of Beethoven's own protagonists. Somehow, it was therefore reversed the equation concert Mehta / Florence: a challenging program, a passionate chef, an orchestra really poor.

Outside his link on behalf of Simon Rattle (you talk about a reason), we do not understand very well what is the Age Enlightenment reputation when so many other formations are capable of playing infinitely better level of finish with little harmony of wood, brass and natural vibrato historicist. It is quite sad to hear these musicians mumble the prelude to Parsifal one year after listening to a superb directing Jurowski to lead the London Philharmonic: if the consistency of the direction is not faulted for much that research intensity wood with primitive is not uninteresting (but great gods, how to support this apocalyptic oboe?), the third dimension, that of the gag, the subject of a superb introduction, with these violinists bow against the regular ... the first measurement for one of them. After getting used to the discipline jurowskienne, superlative elevated to spirituality, the show tends to surrealism enough, especially if one adds the trombones unable to pass a single entry - for example. But things get more interesting with Totenfeier ; because it Totenfeier , first, and because this is at least one that Mahler is heard three times a year. Because there are good reasons to play, then, not only as a rough draft of the Resurrection : This page contains many things whose absence might frustrate us by habit in the first movement of the symphony, as this astonishing overlay thematic recapitulation in the first, thematic announcement fade much more than the second: the brilliant recapitulation of the 4th ( the same process in reverse, so to speak). Finally, because Jurowski here takes such risks, for better or worse, it pays enough, at least during the first half performance. The tempo is very fast, unambiguous and away from a funeral idiom of first degree: and it does not feel the headlong rush, despite the weakness of the Orchestra and lack of certain density of the quintet (the eight double basses lined up with nothing of the impact from those of LPO in the same position). Instead, the continuity is amazing here, so that we can find a little of the management of the ductile form that had been so surprised at the Resurrection Gergiev last month. Impression that I freely admit as paradoxical: the orchestra picks, crack and smoke everywhere, but in a strange way, driving is almost completely upright.

On the reverse side of his qualities, Jurowski also manages to make the best imagine his orchestra in fahrenden Gesellen . There has especially a partner of choice in the person of Sarah Connolly, whose voice is in no way undermined by age: security patch, including in the medium does not prevent serious an amazing brightness, and an ease of projection more than appreciable. Qualities that might seem well contained merely sufficient, but whose great virtue is consistency in the records ... and in the songs. And if we deal with the prosaic horns in Ich hab ein Messer Glühend , that sweet natural heat has generally acting coach (As far as listening to detail just) still outstanding Jurowski. Even the violins lame from the Age of Enlightenment (though still in the gag, which breaks with the concertmaster's violin string and refile its attack to the head, which disconnects the bridge and no longer able to pick up, destroy attitude what) are discovering the joys of the sentence and held distinguished by sticking perfectly to the simplicity of utterance of Conolly - "Auf der Strasse ...". Then come The Preludes: and it starts to get to hoot and slide to pull the strings sickly, musket shooting at trying to convince the Big Bertha. Very hard to describe what Liszt: try to imagine Golovanov with baroque: you can not, well, he had come to this concert. At least it was fun, and somewhat perversely enjoyable, especially since I went to stick me Rigail, and missed being contaminated by his laughter at the sound of the timpani hysterical approach to the recapitulation final. Much ado about nothing? Not quite, for amidst the rumor Merry Wives of England on acid, there were some moments of musical taste. There is malignant this Jurowski. It is even a sort of smart aleck.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .

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Boulezian: RIP Milton Babbitt, 1916-2011

Boulezian: RIP Milton Babbitt, 1916-2011

How Much Is Charizard Worth

Mehta gives little

V / VV

- Paris, Théâtre des Champs-Elysees, January 21, 2011

- Rimsky-Korsakov, Shéérazade - Brahms Symphony No. 1 in ut minor, op. 68

- Maggio Musicale Fiorentino Orchestra dil

- Zubin Mehta, executive

time to discuss this unlikely concert is timely: a victim of the outbreak of gastroenteritis that descends on Paris, this is an excellent excuse for not getting tired too, and incidentally to beat my own record again Pun of the dumbest imaginable - but still has some meaning. Zubin Mehta, a living legend of the line, as do ultimately matters more than four or five claiming such longevity at this level (and none can boast of having directed him as fifty seasons ... the Vienna Philharmonic) , shares a lot with Lorin Maazel, which is not a very original observation. Same generation, almost the same trajectory of gifted orchestral highlights many relations in common (Vienna, Munich, New York), a technique to beat her own pocket to put in their most skeptical musicians despite the propensity for superficial and tropism shared for the spectacular and possibly foil, thus for odd style programs that proposed here. Remains the most embarrassing thing in common: chefs, as cruel and conclusive the finding may seem, aging badly: the latest Parisian concerts Maazel have nearly all proved the point of nausea - and it is very unlikely I would venture to go live with its Mahler in the spring ... Mehta had not appeared here since his concert with Vienna in January 2009 as scheduled concert accessory very same evening when a boulézienne anthology. In view of this concert, it's hard to believe that we had missed something two years ago.

I have rarely seen a concert, at least for the so-called international level, where a head seemed to have as little or as badly to say. To the point that this happens in any analysis, comment, exegesis, we can not really describe the emptiness, the absence of up to one interventions in poor taste that might have made the evening at least funny. In fact there was one, a piano subito Match grotesque effect in introducing the first of Brahms ... Just to remind them who's boss probably because the Besides, the only thing to put in their mouths, much against expectations, was the Maggio Musicale Fiorentino Orchestra. Many listeners had to find this training at least as, if not more shocking than his musical director. This era is my somewhat perverse fondness for the charm of the bands rotten Italian orchestras of the 50s (which we always end up getting used because of when their plays called Furt, Kogan, Michelangeli and De Sabata), but I found qualities not only pleasant, but quite rare. First in the little harmony, as opposed to the smooth round and uniform to own charm, but with at least significant virtues of strength and willingness to pierce the fabric (including oboe). The brass have the charm of another rocky time, and the strings, despite their solo violin and cello in Rimsky also insufficient in Brahms, have at least quite the natural ability of orchestras Italian economy phrasing , which finally form their community spirit with the Russians - for fairly obvious reasons of similarity of writing.

These qualities have somewhat deluded in a fundamentally non Rimsky-headed, if not in terms of implementation, few challenge: if voltage architectural forms of engagement were instrumental to the exchange, and in a way more meritorious than listening to what Shéérazade was not obvious, a year after that, literally extraterrestrial offered by Temirkanov and Petersburg. It would be interesting to hear this orchestra with Temirkanov, if one day it was pushing its incursions to Florence Italy. Even Brahms, it surely is clear that with this more speeches Mehta in total autopilot, offering only cumbersome and confusing boredom at one point.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .

Fotos Patricia Monterola

Indeed, in three time

Π Π → VV

- Paris, Théâtre des Champs-Elysees, January 20, 2011

- Tchaikovsky, extracted from Swan Lake, Op. 20: Out of the guests, waltz of the act II waltz in Act I; extract Eugene Onegin, Op. 24: Waltz from Act II; extract The Sleeping Beauty , op. 66: Waltz in Act I; extract Nutcracker, Op. 71: Waltz of the Flowers (Act III); first movement of the Symphony No. 4 in F minor, op. 36; third movement of Symphony No. 5 in mid minor, op. 64; second movement of Symphony No. 6 in if minor, op. 74

- Orchestre National de France

- Kurt Masur direction

Should no complacency about the very great man, Kurt Masur, welcome or lament before such a program? Both, probably. A head that nobody will get suspicious of triviality or superficiality has a program dedicated to Tchaikovsky's waltzes is certainly likely to throw light on some of the seriousness of this matter: the less we know from long the sincerity of the love that Masur is the music. On the other hand, the presentation itself, giving the most to the tubes and the second part suggested a strong anecdotal, might also believe in an evening of entertainment - with annual output power of grandmothers in mink to fill almost to the brim the TEC. Yet one could not deny, no a priori or a posteriori, the seriousness with which Masur has considered the issue. And if we sometimes overestimate the ability (or motivation) of the orchestra to follow him body and soul, it tends to underestimate the authenticity of Tchaikovsky Masur, who inherited thirty years of loyal service Eastern bloc, has nothing to do with romance adulterated and standardized, full of silly effects and phrases, which more or less authority now (just look at the success of critical ridiculissime Nutcracker rattle). If it still is brilliant, with at least Tchaikovsky Masur remains dignified and turned its natural depth - his stoicism, for short. It is after all also Masur, who two years ago, with rare panache exhibited the Manfred symphony , driving for an evening at the National level disproportionate to their daily lives.

And at the start this concert, the feat is almost Tchaikovskian renewed for the third consecutive year (beautiful Romeo and Juliet last year). The initial sequence of Swan Lake frieze what National can offer better: Nemtanu is in charge and control property, the statement of the theme of the waltz in Act II is quite exemplary - the maximum simplification of the intonation, maximum intensity of sound in dynamic compliance. Masur, who takes his time fairly justified in my view, ideally ensures the stability of the plans, and if the horns are not a classy, the overall balance is quite held not to spoil the good concentration of strings. This is not Petersburg, but it's enough here for the thrill operates - that is to say that every crescendo of timpani we can believe a little that you can hear the music the most important world. This is a great joy to hear our national orchestra play as seriously this extraordinary music, which remains confined to its status ridiculous "nice classical music success," we should have a little ashamed of loving - then enjoy! But a day will come when we recognize that without the genius of Tchaikovsky orchestral, there would never ballets of Stravinsky.

I would have gladly continued to praise the pretext of the program presented, but the protagonists did not, unfortunately, given the opportunity. Once past the waltz from Act II of Onegui No, still quite successful, we saw the beautiful mechanical orchestral introduction bind slowly to finish the first part at a level almost incomparable with that already from the start - a clumsy and Waltz of the Flowers foutraque enough. The second part will be unlikely, unfortunately, that the continuation of the slow disintegration, giving the strange impression of a gradual loss of adhesion of musicians the plan of their leader. One begins to look a particular violinist of Range and think that this one or that one should not believe one second that he plays serious music, or else do not believe anything whatsoever of this so it takes the play - which is quite the same. And if a few bows do not play the game of concentration focused on the essential, the whole collapses. Masur's will move at least in the first movement of the 4th Symphony it is almost sabotaged by training who, however, is able to succeed by surpassing such highly-disciplined team performance, magnifying the minimal intervention of the head. A one time, certainly not negligible (241-291 m), obedience to the design of Masur seemed to take a little body to generate a voltage sorely missing from the rest of the movement (and particularly the presentation of the theme sonata for strings). Waltzes 5th and 6th symphonies are little more glorious, despite, in one of the Pathetique, the grain naturally noble and singing cellos. But here as in the last waltz for the first part, what astounding intensity missing in the little harmony!

Ropes National save - in part - in honor of the waltz the Serenade for Strings originally scheduled in the program and finally given a booster, but it was very late, and hope to hear an hour and a half Tchaikovskian sacred fire had long since vanished. Too bad, because the head and especially his idea deserved better.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Conditions 2.0 France.

Clever Cross Country Sayings

Beethoven is it soluble in democracy?

Π Π Π / Π

- Paris, Salle Pleyel, January 19, 2011

- Beethoven Symphony No. 2 major re , op. 36 - Symphony No. 3 in mid flat major, op. 55

- Chamber Orchestra of Europe

- Bernard Haitink, direction

The Chamber Orchestra of Europe is an exceptional training. Bernard Haitink is a great conductor. The heart of the first directory is the classic and the first romance, and Beethoven is the hub - they have on disc, full of remarkable Harnoncourt to their credit. As for the second cycle and recorded concerts with the LSO appeared to me as well as the simultaneous work of Abbado, as the successful synthesis of tradition and novelty philological. There was nothing obvious to the rest that it is these two leaders, celebrated as never before Beethoven prophets, who are fighting the synoptic view of a cycle always pulled for the last decade, success between Barenboim and antagonists of a Järvi. And if the disks at the Barbican, obviously too licked, controlled and mainly dry, could leave any doubt, concerts Haitink / LSO given quasi-Pleyel reopened (September 2006), were almost entirely removed. The wise therefore incorporates Dutch Case (Paris) where he had left four years ago: what is billed as an integral over two years and started with the same four symphonies (and the same opening) in 2006 . But in reverse order (first the 8th and 5th, then 2nd and 3e): insofar as I had especially with the LSO, was persuaded by these last two, and when I do not miss a recital Lugansky even knowing it will not be good, I am satisfied the second concert.
It was easy for me to say that the first had been better ... And besides, I'm willing to believe (especially since the video of Arte is quite eloquent): no doubt this band does it produce more natural speech in symphonies where at least part of the form unfolds From rhythm and emphasis. Let's come to this orchestra, or nearly all respects different from the LSO presented by Haitink in 2006. First, the number was restricted to approach the standard "authentic" (40 string all round). Then Haitink seems to adapt to the natural disposition of the orchestra, with violins vis-à-vis (I am anything but cons). But all this does not say the most important is the mindset, the mentality of the WCC exhibited limits of indecency in this concert.

must be very careful to describe this phenomenon fascinating and disturbing. This was not the first time, even far from it, I heard this orchestra in concert. But no other concert I never much gave the impression of a cult dedicated to a democratic way to make music as a systematic layout of the creed of abbadien zusammenmusizieren : Democratic claimable, so to speak. I'll describe a little something from the menu, but I am surprised at first that, under the baton of Haitink, this thing has been able to seem so obvious, if not indecisive. The Haitink I've seen here (and seemed happy fact, somewhat better shape than last year with Chicago) showed no unusual signs suggesting a new appetite for detail, dialogue, circulation more refined tones or a more muscular support of the boost. His beat is always similar to that known from time immemorial, proverbially efficient, and marvelously clear, focused entirely on the right distance expressive, which is certainly one way to formal domination. How in the circumstances, not to the huge difference of character of these interpretations over those of the LSO on behalf of an orchestral personality, gradually seemed more and more bloated? A
a priori more favorable than the concert I probably helped to think through most of the 2nd Symphony the possibility of this approach. Certainly, the second is the Heroic , but rather is provided within the body in the upper range of requirement orchestral density, and first strings. And objectively, here there is a lack of presence of inner voices, and especially deep voices: thus, in the I missing Is there any natural body (offset by accents) in responses to octave violins (m. 57-60 , basses covered by the enthusiasm of wood), and especially in the central fugue (143-156 m), where the six cellos and four double basses do not lead to energy frenzied violins, and are struggling to assert the sudden irruption of scary agreement of C major. This passage is always amazing musical lesson: you can play divinely, as the orchestra, with a total commitment, total. If the conditions of production and sound balance is not met, the harmony can not be intelligible and Beethoven symphony as a pinnacle of the music considered as a pure harmonic form developed over time, is his intelligence formal is lessened by the mere fact of missing strings. It is however
especially the first movement are my reservations for the second, primarily for these reasons harmonic balance. Difficult for the rest of expressing any criticism on that cohesion in its relentless rhythm ... flexibility, and on this small celestial harmony, at least with respect to the pair formed by flute, oboe and François Leleux Josine Buter (clarinets and bassoons are more neutral, but still excellent). The horns are a little less clean and shiny, but not so looks good in an orchestral sound usually a rare comfort (homogeneity, splendor plastic stamps and transparency). Too much comfort? Of course, one seeks hideous monster dying and struggling furiously strokes in the dust tail (if the issue here is to add a layer of authenticity, then it is reasonable to expect recall the feeling of critics of the time, right? ). Monstrosity, the conflict is foreign to this vision (they were not with the LSO). Given the long term behavior of the leadership qualities and exceptional instrumental tapped, we can not claim that the tension is absent. Mechanically, there are things happening, but things uniquely beautiful, stubbornly elegant, distinguished. Wow, this is a distinctive feature the elite in this interpretative repertoire, as elsewhere, but ... we already said he will miss something in the Heroic if nothing changes.

And specifically, nothing changes. The number is strictly identical. I'm repairing a strategic mistake of the first part of the fold and go left to right the fold (and thus increase the impact of low), the general plans this does not sound very balanced. Here it is useless to enumerate the glories exhibited by the orchestra, which are innumerable, the only François Leleux delivery in the first movement is in itself a pretty unique show. To summarize the problem, I speak mainly of the fugue of the funeral march (as a passage to isolate as representative as you recognize that there is more anecdotal) that without yielding to the logic of virtuous excellence me deeply dismayed . What is happening there? Each fourth grades of primary statement about the violins and cellos and violas as is shunted to allow drilling in the white game played as echoed by the flutes, clarinets and etc.. Consistently, after this course, after about fades this method produces a curious Klangfarbenmelodie. You can see an amazing job on counterpoint. The problem is that we can reduce this section to a small set of contrapuntal refinement: no running away this point, one of three or four more charged with meaning and symbols of all music. And without having to play against historicism historicism, even if that point of view much more critical of the abstract musical logic, deny that any runaway tipping function, change of dimension in the movement, lifting masses left unrealized, it is unimaginable. Now this is what happens to want to force and at any price exchange, dialogue, communication within the orchestra: the subject is never completed it, never catch the listener by the collar for the trainer to the ground, nor ropes, nor wood, nor horn, and thus the need for development of the fugue loses substance.
What sums it up there for most of this Heroic? Because what was latent in the 2nd, but hidden by the shiny chambrisme of the orchestra, appears here in a light far more raw and cruel to the hopes still legitimate after the splendid opening chords of the symphonies (what light! ). Everywhere means the pleasure of making music together, the democracy push musical, elevated to a rank of aesthetic discipline, with a sage of the stick merely to keep the son of the shape at the macroscopic scale. The characterizations are there, consistency and, somehow, diachrony is there, as it sings from around the same time. But I can not hear the Eroica : I do not hear it because, in this idyllic Republic parlementaro-symphony, I can not (not for lack of desire) to receive a single vote who speak from one end to another - and that voice was indeed present in the Heroic 2006: Again, if Haitink does nothing fundamentally different from the rest and uses the same hardware Bärenreiter, which is involved if the orchestra? A notable difference with the LSO is still the WCC takes a lot more literally accents and articulations characteristic of the Del Mar edition: what happened to me fairly hard, and explains a lot, not this spirit of dialogue madman, but the shape of it: if we take the example of the fugue, playing all the (many) sfz as fake accents between fortepiano and reducing the value of the note leads this fragmentation makes it does not cross the blood levels of force to refuse to build, to refuse to unify, to subsume the individual impulses.
But still, this does not prevent me, for example, to fully enjoy the 3rd of Jarvi in 2009. Even fewer strings, much less vibrato, more accents and bellows, yes, but ... this time a voice spoke, all the time. It was closer to anarchy (running after a stick inspiring) as the conducting authority, even the despotic conduct of the recent Jurowski, but it was not democracy. Barenboim also rightly said why Beethoven was hardly soluble in a democratic vision of music: Democracy is a system that stands in an ideological framework in which opposing forces are not enemies beyond a certain point, do not contradict not beyond a certain point. But in the Heroic more than any other symphony, the forces opposing the constitutive form a thousand times go beyond this minimum requirement of harmony in advance. Harmony can only be obtained, so that after the war, and there have been as brilliant forces, the war has simply never occurred.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .

Rave And Beaded Bracelets

Lugansky, seductive

Π Π

- Paris, Théâtre des Champs-Elysees

- Schumann, Carnival of Vienna , op. 26 - Brahms, 6 Pieces, Op. 118 - Chopin Nocturne in F major, Op. 15 / 1; Fantasy in his minor, op. 49; Prelude in C sharp minor , op. 45; Scherzo No. 4 in mid major, op. 54, Nocturne in D flat major, op. 27 / 2; Polonaise in A flat major the , op. 26

- Nikolai Lugansky, piano

There is little and a lot to say about this recital, go to the Theatre Champs-Elysees as ritual appearances Sokolov . The next concert in Paris Lugansky (March to Pleyel with Marek Janowski) will be my tenth evening with the little Russian prince. I hope very much, because it is the fourth of Rachmaninoff, because Rachmaninoff is short indeed, because it incidentally Janowski. And also because, ultimately, it is never to TCE that I heard the best Lugansky, and tonight was no exception to the rule double rule, in fact, that seems to stubbornly than programs without Russian music, let alone Rachmaninov him partially successful or very little. So we were TCE, and there had neither Rachmaninoff nor Prokofiev showing. There was nothing new from the rest: Opus 118, Lugansky chose particular, twelve years ago already, to one of his first recitals at La Roque (released on DVD). The Carnival of Vienna was already in its programs in 2007. Chopin in the selection, which reproduced essentially that of his (excellent) last record, it is also a shed on the loom (the Fantasy , the scherzo and the Nocturne in D flat had already been previously recorded ). Challenge (s)? It does seem, at least as regards the first part, devoted to the Germans.

Schumann The original may be in retrospect that I keep the best of the recital. Yet the start has anything exciting for the Lugansky: conduct is prudent or cautious, and especially we do not recognize this piano timid, lacking in projection and body, surprisingly neutral on both sides of the medium. But things are gradually improving, thanks mainly to the intelligence of characterization: the irruption of new episodes are remarkably related to choruses and impose a sense of listening rather uncommon here, while remaining a very sober. For the rest, the qualities "minimum" of Lugansky are waiting for you: on the readability never-articulated plans, the quality of depreciation, in short, lack of prosaic. For the fire and elevation, it was not until the Romanze, beautiful (the intensity will be no great effect on an audience coughing particularly painful). The Scherzino may seem trivial, but it is on paper, after all: the whole story is to make the distinction, what Lugansky succeeds very well (though the conclusion is not natural). The Intermezzo, he had already restored encore two years ago (video below) is perhaps the only piece of the recital to be struck by the novelty of his interpretation, at least compared to how Lugansky has already played a lot more in the first degree. The first degree, in this case is well illustrated by the bis 2009, and it is superb. But what is here proposed in a dynamic general much more efficient and successful, is a delicacy most fascinating and probably richer in harmonic and melodic exhibition. A delight. The finale is an admirable trait continuity without ever grown, and treatment of a lyrical theme Natural exemplary again, only the coda dullness and necessity.

The case of Brahms leaves much perplexed. If Lugansky still present, although it must be to look for new things to say. However, if there is a national frustration with this execution, that's the impression Lugansky trying anything new, or, alternatively, more intense or invested. And besides, somehow, that makes sense and almost desirable: if the pianist is a master of characterization "pure" without musicality voluntarism or school this dimension of her deeply admirable style disappears when it does not seem to feel a partition in an absolutely immediate. If there are few signs of that in Schumann, Brahms in the phenomenon is unfortunately far more cruel compensate musicalisation, attract attention, Lugansky is unclear how, precisely because it is not a doer. But persisted in defending a cycle with which it does not really seem to connect, he condemns almost bored. Especially on a night when the piano is as good only. The sacred fire will re-aim the tip of his nose (and no more), at best for a few moments of Section Allegretto grazioso the fifth part. The rest is mastered and applied without desperately poetry agrees to go out alone, and without that we can neither expect nor desire that the force out. It is understandable why so admires Lugansky Sokolov, in many ways its polar opposite in the Soviet tradition: it has that other genius of characterization, the obsessive mode, visceral, the ability to add a charge authoritarian discourse and hypnotic. How else to explain, with two pianists who can bring both to heights of emotion, as one of Brahms is so vastly superior to that of another? Perhaps also we should see this limit Lugansky to better understand why so many people see him as an icicle expressionless and others the ultimate piano poetry: his power of seduction is a very complex phenomenon to the bottom, and especially fragile.

This fragility, which is also that of her piano, we have found in some Chopin strange in many ways. In its construction, first, quite ordinary and academic first - short and long piece piece twice that mirrors the patterns and relationships - and then pulling on a surprising to the potpourri recital pianist second class (or Chinese pianist). But what he did he added the two large cream pies, especially after the mid scherzo is a major peaks of the absolute work of Chopin? Especially since I did not understand the need Lugansky himself could find. Before that, I was surprised by his nocturnal major, wonderful success of his latest disc, which here is of great quality but differs substantially from the record. The basic tempo is more restrained, and especially the work of dissociation plans much further: the right hand is very outside (timbre, dynamics still very controlled), while the last two notes of each triplet, while distinct, seem played una corda. The central part is remarkable clarity and meaning of the song. The Fantasia concert is never completely satisfactory, and this is no exception to the rule: it's still the beautiful work, technically impeccable, extremely intelligent building, but ... it lacks the piano most transcendent Lugansky, who sings Rachmaninov around. The prelude, however greatly disappointed, but I'd do the same remark as Uchida last month: the same As for the Nocturne in D flat, it may take some time after the Pollini recital in these pages again become audible to anyone else. The fourth Scherzo is for me one of two or three works of Chopin's most difficult in terms of the conduct of the speech (with Barcarolle and 3rd Sonata). Lugansky appears as a synthesis of his recital, while there is clearly capable of much better: up trio, nothing really strong and lyrical happens, the richness of tone is missing, the diachronic the song just as the left hand does not talk enough. The trio, it is very beautiful, and From the return of the theme (the difficulty of this discursive passage will never cease to amaze me!) everything is improving and is much more rewarding.

Lugansky is one of the most pianists customary series of bis most admirable, making the exercise too seriously and many issues as possible. Any sign of an evening, these series do not offer anything extraordinary. The Fantaisie-Impromptu is clean and anecdotal, the two Rachmaninov, we have already heard many times before his hands are far from what he can produce at its best, and Chasse-Neige not equal those , superb, he had already given the TEC (the program in 2008, as an encore in 2010). Lugansky remains a mystery: as is my custom, I placed second in the bottom part of the orchestra in the center. It's been a long time since I'm convinced, but there is little finest pianists (in the sense of pure beauty, but also and above all exemplary) to watch that Lugansky - there Ranki and Andsnes, say . But the great pianists in the evenings without, usually give a visual impression of the lowest bidder proportional to what one hears. This is not the case Lugansky, who is superb in all respects - location, depreciation Standing wrist, maximal relaxation of the hand in the features seminated, etc.. and always so beautiful that way to let fall the arm along the body when a chance presents itself. Must the ear and head are fragile and dependent on many things. It is also the trait of humanity that we love about Lugansky, and for which he was eventually pardoned all his concerts means.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Terms Alike 2.0 France .

Is Perrier Water Good For You While Pregnant

upset Saturday of Rameau

Π Π Π

- Paris, Salle Pleyel January 15, 2011

Rameau's orchestral suites Nais , pastoral heroic The Gallant Indies, opera-ballet Zoroaster tragic opera; The Boréades, lyric tragedy

- Le Concert des Nations

- Manfredo Kraemer, Concertino

- Jordi Savall, direction

Par Philippe Houbert

     For my first posting on this blog, here I am faced with a task to be both very easy and very difficult. speak easy because of the benefits of Jordi Savall, it almost is not to condemn wicked show. Difficult, because how would you describe the indescribable, the naturalness with which the great Catalan tackles and running partitions to which it is attached? Truce oratorical! We're launching!

The weather of the month Love Me in December deprived of the pleasure of hearing the concert Hesperion XXI and Capella Real de Catalunya devoted to the music of Don Quixote, I waited with great pleasure wearing his cap Jordi Savall Baroque with all trained for this directory: the Concert of Nations. Well, not quite the simple Concert des Nations already well known, but an orchestra a bit more substantial, the parts being added for the occasion from the first training academy set up around the Concert of Nations by the major musical institutions Catalan . This first session was held in December 2010 and January 2011 in Barcelona and Metz and Paris concert crowning work. The Barcelona football fans will surely talk about music Masia, Masia is the training center through which passed eight world champions and the last ball of gold. Ironically, moreover, that the orchestra as it appeared Salle Pleyel had two oboe players named Pique and Domenech and a horn player, Thomas Müller!

Choose Rameau first job for a whole host musicians in training is not neutral. The first great arranger in the history of music could as offering a great work platform for these musicians sound, articulation, ornamentation, and musical forms ... Rameau is obviously perfect for taking a number of ideas on foundations of the Baroque repertoire. Program, four orchestral suites from the operas of Dijon: Pastoral heroic Nais , opera-ballet Les Indes Galantes and lyrical tragedy Zoroaster and The Boréades . Opportunity to show the tremendous evolution of style Ramist, particularly regarding openings. In the even "French" and that the model was inherited by Lully, for "gallant Indies" (1735), with its first serious and solemn part followed by a second sharp and fugue in that of Nais (1748), which Twig gives a mini tone poem before its time, depicting the struggle of the Titans against the Olympians, then the following year, one for "Zoroaster" in the form still new, the composer wanting to build a real program resulting from the action of the tragedy (the first section oppressive movement, referring to the tyranny of Abramane and distress of the people of Bactria, a second, light symbolizes the hope of the philosopher Zoroaster to see the fall of the tyrant then a final reflecting the victory of light over darkness) to arrive in 1764 (remember that The Boréades are the latest work by Rameau, that he died during rehearsals, that the work was not ultimately not established immediately but only ... in 1983) to an opening "Italian" in three separate movements and virtuoso orchestration by emphasis on horns and clarinets.

Mr. Kraemer

All this was perfectly illustrated by Savall, with a disarming ease that is less and less in the world of classical music. Le Concert des Nations was remarkable in every respect, throughout the concert, but particularly during those four openings. List here the other highlight of this concert would be tedious, as each piece was a gem in itself. In Nais must show the lot, the ravishing sarabande, two tambourines and Entry wrestlers with its splendid chaconne. In Les Indes Galantes , the opening was taken a fairly moderate pace, far demonstrations of virtuosity irrelevant imposed by some leaders. The crisp air, the minuets for the Warriors and Amazons, the sublime air for lovers who follow the chaconne and Bellona were absolute models of articulation, choreographic drama without the slightest ostentation.

The rest of "Zoroaster" put the value in moving Loure the passepied rapid and grave, with its dizzying descent rope. As a result of Boréades , I refuse to be selected and I keep everything. If, nevertheless, that sublime entry Polyhymnia, Room John Eliot Gardiner is instrumental piece for the most moving of all the Baroque repertoire, making a perfect tempo, far from Minkowskian delays narcissistic and another holding that the orchestral Gardiner (CD) and Christie (DVD) have given us once. Three bis, a transformant in a quadrille Radetzky march on New Year Viennese Savall handle knowing his audience.

Am I being too laudatory? No, I do not think so. Jordi Savall conducts many activities, but I defy anyone to have taken one day in the very act of having treated a concert over the leg due to lack of time, repetition, investment in the work performed. The fanatic that I am the Rameau beg to seriously consider the possibility to mount one day one of the great operas. The Boréades , for example, are well worth it!

Philippe Houbert

the small concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Terms Alike 2.0 France .

Brazilian Thumb And Little Finger

man and monkey

A man preceded by a small monkey
was walking in the woods
The monkey came and went in all directions but
s 'Never man repelled

- This is a well-trained animal!
Tell the man I
The man smiled at me
- Just think, there goes her head!

- Are not you afraid he fled? I asked

- No, he has nowhere to go
- But a monkey lives in the woods!
- That's what I say!

Zendo

Wakeboard Rail Blueprints

carp and rabbit (II romance)

Π Π Π / Π Π

- Paris, Théâtre des Champs-Elysees, 15 January 2010

- Brahms, Piano Concerto No. 2 in B flat major if , op. 83 - Symphony No. 4 in mid minor, op.98

- Nelson Freire, piano

- St. Petersburg Philharmonic Orchestra

- Yuri Temirkanov, direction

This is the is called a reversal of perspectives, or almost. Perspectives more than the pattern because if the symphony was a bit less convincing than the day before, the causes and effects were very different from those observed in the first of two concerts. This mini-Brahms cycle has been particularly unpredictable. Those who, after the Schumann concerto calamitous start, decided to leave at intermission and never come back were doubly wrong: they missed a second Symphony quite beautiful despite its unanimity, and a second Concerto almost beautiful the next day . Those who (like me, a little schematically) remained on the finding of an agreement and above all a totally unlikely emulation between Freire and St. Petersburg, and not betting on the 4th Symphony have been for their cool! - But at least listening to both concerts in full, we could return to his accounts. At least, by agreeing to some concessions Gluttony: Temirkanov Petersburg and will probably never quite as big in the Germanic repertory they are national in their gardens, or even than was Mravinsky with the same orchestra. Regarding the latter comparison, it is even relatively cruel in the 4th - so start there.
The problem is exactly the same as in the second: the lack of subtle dynamic (at least, dynamic bass) and uniqueness of color and atmosphere are a bit counterparts exaggerated the total non-complacency. Total? Precisely, this After discussing this further. As in any interpretation, the anti-voluntarism complacent quickly turns into complacency when it is too light. From this point of view, a number of elements that go beyond the limit of the fourth exhibition of the seams. Mainly at the start of the outer movements, especially the statement (well, the first sixteen measures) of the passacaglia, played fortissimo in full without being heavy and not saying that there really was not there to laugh. Provided this statement as conclusive as possible, gave the speech a terrain of great beauty to almost the entire second Symphony, as frieze Is there superfluous here. Even if only because in the first case the idioms were altered daily listening and shoving, and in the second they appeared rather highlighted the marker.
If in the second orchestral tension was split fairly evenly (Shipwreck horns apart), this time the polarizations are much more marked: the quintet, gleaming, roaring, whirring of coast to coast, and heavy drums (big heads, big marker) and generally dominate a brutal soundstage willingly stifling, especially as Temirkanov Jurowski as four days earlier, encloses the entire orchestra in this cube decidedly problematic TEC. It was less embarrassing to the first concert, during which the orchestra seemed almost as homogeneous as the previous year, when he was normally distributed throughout the depth of the scene. But here, the impression of wavering blackness is considerably strengthened, and the diachronic dimension of the tension diminished somewhat discursive.
remain a pipe and a holding voltage generally excellent, except for the first pages the symphonies during which the absolute rhythmic discipline takes a little time to engage (first broken down in the first violins surprising collective approximation). The third movement is however a rare level of collective virtuosity, though not playing no stroke to the wall of sound (six minutes): Honeck and Philhar had already shown amazing subtleties in this page often leaded in many conventions, and these subtleties are present here (continuity, unity and clear intonation of the second theme, among others) with an articulation and an incomparable life contrapuntal : This resurgence almost never heard the main theme for violas and cellos, m. 113-116!). And of course there are always these clarinets extraordinary that you pierce through and through and leave you in pieces from the first crescendo of the Andante; these flutes vibrato certainly debatable but for me irresistible - even if it is the most universally in Rimsky and Stravinsky, and ... these horns permanently lost to the cause Brahmsian this year. Fewer loaves than yesterday, but still greater consternation perhaps this inability to raise almost suspicious tone, beyond the lack of consistency and accuracy : Their share of the presentation of the andante was within the gag is the word when one recalls that even their sensational performance in ... Rite .

How the protagonists of these nights did they find common ground so successful grand symphony with piano have what the 2nd Concerto, given the Schumann wreck, I often ask myself. The important thing is they got there, almost giving the best of their respective abilities, and not giving up anything in their characteristic personality traits. The "almost" does not really apply to Nelson Freire, in any case, it is fairly far the best I've heard Freire concerto far ahead of other Brahms concerto given four years ago with Chailly and a notch above a Emperor Masur with superb excluding rondo (also on TCE in both cases, there are three and two years). First, the Brazilian piano, unrecognizable yesterday, found its glory here. Splendor still unequivocal and a little too obsessed with roundness, but terrifying in this work we are already very happy to hear the piano, which remains a worthy end to the other. Then there is a tension in unusual conduct him, perhaps because the concerto, with its incessant breaks gestures, movements exhausting its rhythmic power requirement at all times, forced some to play against nature: and here I want to say that can not hurt him, both the ordinary Freire, admirably proactive-but offering so few issues to feel, a sort of reminds me too Kempff post-romantic, poetic, poetic.
But tonight, it shows a lot more recalls Brahms's newest Pollini little more expressive impulses, but the presence of almost constant and minimum fair characterization of the material, never disconnected from the effort devoted to playing the best piano. And overall, it plays well, where we could least expect. Its first movement is particularly surprising or impressive in some of the most difficult developments, requiring as much force as bounce (m. 158-173, 316-331 for example), his double soaping ranges a bit, but less than ' habit, and unless everyone I heard them play this concerto in concert (which Angelich and Ax). His left hand is particularly forceful and, for consequence, precise, suggesting moments authentic poetry (no po-poetic at all), as these raids under the spicatto tremolos in the statements of the theme of the Allegretto (Allegretto superb from beginning to end, however, taken at the right tempo, very well characterized, but too much, the strings).
The horns, the solo at least, have had the good taste not to spoil the party, and overall Temirkanov maintains its troops to a new level disproportionate to the Berezina Schumann. This is perhaps not the great Petersburg, but it's bad enough to hear a symphony with piano, at least in the movements extremes. In the andante, we know for sure that these strings are able to hold long values in a more intense pianissimo (transition to the Adagio), but nevermind, it's not my kind of formalize me, but I also enjoyed a solo cello a little more sober - I keep in the ear two years after that, copy, Kristina Blaumanis the Main the LPO - especially as it was beautifully put into orbit by Freire. The central development, however, manages to be quite poignant, partners ideally breathable here together. The allegro appassionato, serious, well established, is not entirely consistent with what one would expect from a band as powerful, and in particular such wood, and Freire stay here a little too small to provide real chills at first, and his final accelerando lack of guidance and authority, but even there he manages to offer a few moments of almost through (m. 215-255: double octaves at will after the mysterious fugue, and the brief interlude major then, again with a beautiful left hand). Not quite great, far from perfect, but still, just for the outer movements, a very nice surprise.

A quick point Art Of The yet (of Volodos to Lugansky through Freire / Temirkanov, there is much demand these days, who knows why): Friday, an opus 118 / 2 fairly innocuous, after the concerto, then a Hi Love Petersburg less convincing than last year. Saturday, opus 117 / 2 not quite the momentum of the concerto, but still more persuasive and held that the day before, and finally a Nimrod ... crying, like last year! The micro-cycle ritual Elgar Temirkanov has also kept its promise to half.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .

Blue Print For A Park Bench

abandon the body and Experience Zen mind

abandon the body and mind
is the greatest consolation
Make finally what does not belong to us

Why take what life gives us
Because ultimately, it will make everything

But it is hard to leave everything
Our relatives, our friends
The love of our beloved
Whether they are hot these tears

sit under the moon
cluttered mind pain
plagued by cold
Something finally released

Zendo

How Does Hegre Get Such Beautiful Models

carp and rabbit (I, Death and Transfiguration)

V / Π Π Π

- Paris, Théâtre des Champs-Elysees, January 14, 2010

- Schumann Piano Concerto in the minor , op. 54 - Brahms, Symphony No. 2 in D major, op. 73

- Nelson Freire, piano

- Orchestra of St. Petersburg Philahrmonique

- Yuri Temirkanov, direction

; It is clear that one can sum up this concert, let alone the two concerts this improbable alloy interpreters, by Schumann opened painfully impromptu dance ritual Petersburg in the Champs Elysees. In contrast, can roughly summarize the concerto (which replaced the first of Brahms originally planned, and something tells me that this is the rehearsal had to be reduced to the bare minimum, if indeed it existed portion) by the accident rather unlikely at this level occurred late in the first section of the first movement (m. 120-132), a passage played with a good measure (two on arrival) mismatch between the strings and the soloist (the first in advance on the second). Twelve measures (sixteen perhaps because the shift has been started, almost imperceptibly, into the cello), this is not a huge mess, but played with two of lag is a bit much: my feeling is that basically this accident was latent since the beginning of execution, and was bound to happen at one place or another. That it occurred at a place where the orchestra only plays black and white and where the inputs are to give an absolutely childlike simplicity, was one of two or three largest pairs leader / orchestra the world, speaks volumes about the spirit of Schumann catastrophic.
course, Freire and the couple already existing, the threesome of carp and a band of rabbits well little interested in Aquatic any collaboration. The overall result is to say the least ... aquatic, as the guideline seems absent from one end to another of the work, either rhythmically / agogic or simply the desire to achieve something. St. Petersburg is the shadow two-same, except for some solo action of wood: almost everything is played to the image of a scrawny first agreement. Freire does not offer much better (and it is quite difficult to hold it against him): In addition to the general weakness wins it quickly, never to leave him - like the character incredibly isolated anecdotal pattern before the coda of the finale (803-818 m) - As a piano is far below the normal (astonishing hardness everywhere, starting with the allegro lined octaves affuoso, no note length and harmonic life ...). What is even more damaging than without the sound of Freire, it is generally not much of Freire. Tonight, there was almost nothing. Whose fault is a question that I would not venture to decide - unlike many of those present, told me he seemed. The 2nd

Brahms - perhaps the best work performed by the orchestra after the 5th of Tchaikovsky's era Mravinsky - quite puzzling albeit much admiration for the simple reason it has rendered a Leningrad (slip voluntary) roughly consistent with his rank. On one side there is what is clearly indestructible short term in this training: the unity of sound and breath of the quintet, its density, its discipline, the way in which the magnetic vibrato all the strings seem to be indexed millimeter and a split second on that of Lev Klychkov. At the same level - or almost here because we heard clearest demonstration - the little harmony remains incomparable beauty obviously not because of its history that it was never its purpose, but without the intensity and sophistication of sound personality - the whole orchestra can play poorly, these clarinets give me chills again and again, and besides, they m 'have yet given sacred this time (first movement, at the top of the presentation of the main theme, 134-152 m, for example). On the other hand, there are factual weaknesses which the orchestra is quite customary once out of his heart to the directory: this is necessarily new, too. If one looks at the most glaring deficiency (the impressive number of failures on horns, throughout the symphony), we can do see a variant of the tendency to erase that they almost always had. That does not make it less sad, indeed.
can also remain troubled face a form of volunteerism that permeates a bit easier this execution square, manly, dark but hope very unique climate. The lack of convenience is seductive lyric here, but especially for those who desire it. As it is rather my case, I would not make a big deal. In detail, however it is difficult not to be disturbed by the lack of consideration for the dynamic range, almost anything being played beneath the mezzo forte, especially not the first steps, compelling downright threatening. There is some logic to this, internal logic in mind the interpretation (a kind of paradoxical in its rough sketch), but it is nonetheless frustrating.

All this being said, it remains the blueprint itself, which is superb in his conduct haughty, formidably powerful and savage in its correctness. The integration of the famous lyrical theme of I in the general movement is admirable fusion of logic, as the absence of theatricality doleful development center, rocky and unforgiving. Fever never falls, and the tempo is rather quick, to compensate for the slight overhead of its density: which allows very difficult coda to flourish naturally enough, with an underlying tenderness more about the effusion that we hear too often in the strings. The Adagio non troppo (quasi Andante here, and played almost ATTAC) is absolutely beautiful, extraordinarily black, giving still more that I feel very fathoms above the audience, and thus releasing a great dignity in pain. The richness of texture here is breathtaking, the power of advanced fabulous. Once again, it is of course unique and monochromatic, but this there is in this color is amazing expression. (The entrance to the main theme for violas and cellos!) Were breads incessant horns (there are no fewer Furt in the war, mind you), a very big moment Symphony. The result will be slightly less rewarding, the Third suffering more from lack of characterization in the first degree, and, arguably, the total lack of innocence of the interpretation. But what a coda, with the invincible army of strings, this extraordinary final push launched by the violas and second violins (the -si-do-do-re # ...)! The moment, perhaps, where the imperturbable went Temirkanov solicit his right wing, and with what result. Petersburg, if not Russian, is imperfect and questionable, but remains unique.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Conditions 2.0 France.

Clots Sudden Bleeding

Justice Britten

Π Π Π / Π

- Paris Salle Pleyel, January 13, 2011

- Britten Violin Concerto D, Op. 15 - Berlioz, Harold in Italy - Ravel, Daphnis and Chloe , Suite No. 2

- Janine Jansen, violin

- Antoine Tamestit, viola

- Orchestre de Paris

- Paavo Jarvi, direction

Everyone has his works that merely to hear a concert filled with joy. Double-edged phenomenon: it can exacerbate the critical provided that inhibit it. I do not know which way I lean, in any case have been addressed in the specific case of this performance of Britten's concerto, but I freely admit that I was placing the issue in any case below the interpretative performance. This concerto composed ago seventy years is almost always in the same state of disuse, at least in France, what could be the symphonies of Sibelius fifty years ago. Note that simple arithmetic can lead to the conclusion that the concerto should say in very little time to access a certain popularity. If only it could be so simple, I'd be delighted. Note that the Orchestre de Paris had once played the work in 1989 under the baton of Günther Herbig, and the bow of Alain Moglia, whose name was known to me not only as that of a former partner chamber of a pianist who played Messiaen buddy with him, and as a member of the CIS first generation (and as creator of many pages of Ligeti, Berio and Stockhausen). In fact, he was still in 1989 concertmaster of the OP. Anyway, somebody Alain Moglia: he defended Britten's concerto. I do not think that this work is only one of the ten most beautiful violin concertos from the first, or both of the twentieth century. I think most importantly, the term is heavily weighed, along with those of Berg, Bartok and Ligeti. Important because it shows something, that thing can certainly be equally divided between these four. I see one of these pages that provide a kind of compass, not a road but a direction for the future of music.

Some presentations of the concerto there accolent tone re minor (starting tone) no other tone, and the video below for example, that of re major (theoretical tone of the last section of the work). It is not philological in these circumstances to opt for a middle way, but it seems justified to characterize the first one of its dimensions which is a great invention in a tone. Part of what justifies this view is known, beginning with what is immediately audible, namely the harmonic ambiguity of the heartbreaking coda of the passacaglia, where the orchestra is circulating a simple straight the re- without further contextualization note (except that, as throughout the concerto, if flat as his hash are never heard without a pound ground intervened), and after which the violin refuse to choose to die on the trill fa-fa # . That is very simple (like many of the greatest musical ideas), and in itself a manifesto. But we could talk about so much more about this marvel that goes beyond the ode to the tone increased. All this concerto sounds like a reflection on the present and the future of the confrontation of classical harmony and enriched, not the series, but the twelve-tone harmony; of hierarchy and anarchy. And that's where we underestimate the genius of Britten: this reflection, this course in all the great composers of the first half of this century, is born of light responses, as only Berg and Bartók have proposed. Like Bartók had redefined the relationship between other, Britten seems to synthesize all the input just prior to having regard, inter alia, the functions of harmonic degree. I know of no other work with such an expressive range that handles with such skill the cohabitation of chromatic tones and progressions - and throughout the movement extreme - in real thematic developments.

The Violin Concerto is a page resolutely tonal (subtly vehement in his relationship to the relationship tonic / dominant reversed from the start) eloquently modal (by the rule given to expressive sentences with tones), and twelve-tone to force perturbations of these steps by tones. The only low of the passacaglia being the best example, almost a blink of an eye (a series, unless a note, the ground natural grade twelve who is mechanically sounds later because of the lowering of the idea semitone lower). In the same vein one could cite the interlude given to both tuba and piccolo in the II, or of course the extraordinary concatenation of ranges preparing the orchestral coda. And many other passages whose simple procedure is confusing and the result magnificent. Why? Because the music here is driven by a principle that may well still be (and would be) inspired to take greater account today: use the full gamut of motivations as strictly related to the vitality of ideas constituting material (not to determine the material itself): or how the elegance and intelligence craft must outweigh all other considerations. It is true that I speak of a work composed in 1939 is that not only we must encourage listening and practice, but that as his lesson should still resonate.

Add to this that there is something obvious staff ideal in this Britten: its climate, its orchestration, its themes, its subtle alchemy between descriptive or pictorial material and forms purely abstract, the concerto is the perfect synthesis of all the know-how of its first maturity, at the end of the American period, following the tribute to the master ( Bridge Variations, 1937) and at the same time as the two piano concertos, the first major symphony (Sinfonia da Requiem ) and Les Illuminations . The operas will start from the sudden acceleration creative, and he long ago opened the largest opera houses in the world ... unlike his instrumental masterpieces. But Violin Concerto is almost the only page of its period (and any catalog, actually) on Britten which feels the need to revert back several times, until 1958, before being satisfied with the final version and save. Add this page should also benefit from an asset that the other concertos I have mentioned, except perhaps that of Ligeti, do not have much: his stylistically idiosyncratic character, which does not detract from its unity. At a time of barbarism European-globalist and contempt, both compositional interpreted, national schools, the least we can cling shyly to bright side, as they say.

Rather than comment, I better run in question:

I also want to return again my best wishes for 2011 to my very faithful readers of the little harmony of the Orchestre de Paris - I have not yet measured in millimeters of the degree of their sincerity, but under the offering of Britten, mine are quite sincere.

is the essence of what I had to say. Jansen, Järvi (these two have recorded concerto and gave me enough desire to buy their album) and the OP did a great job. We can only thank them from the heart. This will put a little time off, looking for an intimacy of tone and a climate chamber having been somewhat at the expense of the intensity in the first movement (but what beautiful harmonics Jansen at the end of it!). Everything went better and better then, as worn by the greatness of music. It will be produced just the opposite in Harold despite Tamestit usually excellent but very timid here: Järvi Berlioz presented a post-Soviet, that is to say tending to Tchaikovsky (which is certainly interesting in Orgy robbers, even if only through their work on general discipline) without it does come to chatter, and scrape as much as a shred Fantasy rodhjestvenskienne , for example. I have nothing to say of any value to the interpretation of Daphnis which, unlucky in this context is surely the work of established stature that I hate most in the history of music (excluding Tables massacred by Ravel, who is not a work), and even what that represents to me the most deeply antipathetic in art music. Needless to say, after Britten, my ears were very far from being able to listen to this. That said, it seemed very well played, but as I said a fellow at the exit Daphnis , basically, it's always played well - one wonders why.

Theo Belaud

little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Terms Alike 2.0 France .