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- 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.
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| 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
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