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.
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 .
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