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 .
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