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.
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.
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