Π Π
- Paris, Salle Pleyel, February 14, 2011 - Rossini, L'Italiana in Algeri , opening - Mozart Concerto for piano No. 24 in C minor, KV. 491 - Beethoven Symphony No. 7 in the major, op. 92
- Leif Ove Andsnes, piano
- Royal Concertgebouw Orchestra Amsterdam
- Mariss Jansons direction
Since the day in May when Pleyel has sold its tickets 201-2011, this concert was one of three or four that many music lovers had made a huge joy to listen to, and therefore had waited the evening, night and half the morning to get their sesame cheap. The plate was well advertised it, but Rossini was absent and the 7th Bruckner provided instead of that of Beethoven, which did not fail to disappoint more than one - including, presumably, for good, reasons, Jansons has much to prove in Beethoven in the post-Romanticism in general. However, according to the memory of his beautiful Linz given in 2008 with the Bavarian Radio, one could expect that her marriage to one of Andsnes Mozart tu Everest summits. And so it is, for me, especially compared to this expectation it is legitimate to speak of disappointment. All means were, however, combined to give a big KV. 491. Of course, there is invariably at the rendezvous, the gleaming polish quite unparalleled in the orchestra, as demonstrated by mouthing Rossini almost overly classy - Not that the distinction may be unnecessary in Rossini! But the pleasure is all that when it presents a natural dimension, a form of relaxation greater, whereas here the aim to make the most outstanding qualities of the small band has something indecisive. Watch as we play divinely! But yes, yes, we noticed, and indeed already knew! There is something superfluous: if you have the choice between a few very large palaces for the same benefits, you expect that it persuades you to choose one on the grounds he is ... luxury? Even the huge bell suspended seems to say ... - It is also not called for in the score, but we must recognize that it's very nice: a large bell mounted on a pole, decorated with gold and purple, covered with bells and rattling on its surface . I see no qualifier approved specifically dedicated to this instrument (we'd love to have at home when the neighbors listen to rap, for example), but after all have a unique piece is precisely the definition of luxury.
In Mozart, this perfectionism typical Amsterdam presents another problem, which recalls quite strongly the recent Beethoven's Chamber Orchestra of Europe proposed by Haitink: breathing and fluidity of movement is breathtaking lines from one end to another. This is more of the orchestra, it sounds like those restaurants where large aquariums solitary fish and small fish in various banks merge, overlap, cross miraculously without being shocking, all in one continuous movement and imperturbable. It is clear from Mozart, undoubtedly, and Mozart's orchestras such as less than the fingers of one hand could achieve the same. But it appears the case of the drama of the KV. 491? No, it's the least we can say. Yet there is body density despite the balance characteristically high strings and orchestral sound general and dynamic. But the speech? I think there is a criterion, or at least one symptom that rarely wrong in the C minor: the mid tutti in B flat (the only mode of major concerto) in the middle of the first movement, which can hardly be played two ways, with resolution good enough or as compounded the tragedy. Must specify which side the Concertgebouw has looked here?
Clearly, Andsnes and Jansons does fight not here, and share that vision enough slack and still stubbornly elegant. Is it because it is Mozart? In which case we have here a most disturbing symptom, that of an age that increasingly (and changing directories dominant demonstrates) takes seriously the musical tension in the music after, say, 1860 . I'd bet big that, during this tour which alternates with the 24th second of Brahms, he receives treatment far more dark, rugged and tense. Save what remains of the execution of the full story, and it is almost entirely in Norwegian pianist we should. He too said nothing, provides no combativeness or edge, but this is not the same thing, because it is the piano, and the smoothing here is not contradictory with the voltage or with gravity. One of the most striking demonstration is the outline of the Larghetto, admirable density and clarity joint: the Larghetto, which is also the least movement to challenge, given the festival luxury that stands in the little harmony. In contrast, in the I, Andsnes plays just as well but we feel much more at stake than in the orchestra: one flash of blackness, a rare pace (I'm not sure of myself but it seems that was that Brahms), rough and tough, obviously played without triviality - the chromatics of the orchestra at its output has appeared to him, though harmless ...
While we imagine this quiet nobility diction even more about the KV. 595. But meanwhile, there is what makes this nobility then, that the move is anything but trivial. We already knew, yes, but this pianist plays his instrument well! However, I could be choosy if we had even just five more of this level occurs regularly in Mozart. We did not. We Barenboim, and we Ranki, but the last Once we Ranki invited to play concertos by Mozart in a large hall in Paris, I think it was ... Oh no, I forgot, in fact it never happened. So I can not, as many did, spitting in the soup, because she is far too rare. And if tomorrow Andsnes embarked on a comprehensive public concertos, I'd come cheer every concert, because in the short term a few years, nobody is likely to do better. This is unfortunate, but true. I understand the frustration of those who have been waiting much longer than me, for fifteen or twenty years, that finally reaches the enormous potential to hatch the great pianist hoped. Waltz in B flat the Chopin encore summed up perfectly the problem, and hope with it is almost impossible to better play the piano here. In the small margin that exists for that waltz, there Berezovsky, finer, softer and more intense and obvious at the same time. But this margin is it in the piano or in the head?
 |
| Mariss Jansons leads the Concertgebouw in Amsterdam |
Then all was luxury, calm and voluptuousness. I want to stop here. He did almost nothing happened during the 7th most beautiful (almost only because the strings have not been absolutely flawless cohesion here, especially in the first movement often losing rhythmic middle, and elsewhere also timpani). Some moments were out of the torpor five stars to say "hey, this is not evil, that" the entrance of the ostinato of the second violins, and then held. Small refinements in the finale of Jansons (repetitions of the scanning twice as strong as the first few times, and twice as loud response: escalation of class to hide lack of intuition, feeling, necessity?). Or just the last chord of the first movement, precision and a staggering sonic splendor (the same thing would have been welcome from the start ...), where one found the space of a second the Jansons of the best nights, when he directed the Bavarian Radio, and that it reacts as one man, one-tenth of a second, his every move. Is Beethoven, is Amsterdam, or both, which pose problem here? The musicians do not seem harmless in any event, because the difference in reactivity with Munich is still quite striking: in fact, the side ropes In any case, I did not even see the level of commitment a little artificial Chamber Orchestra of Europe in the Heroic a month earlier. This has played with seriousness, consistency, control, and had no importance, as the opening of Marriage could give in return for a moment the illusion that a crazy day could follow behind. It was much like that of the Italian Girl in Algiers : look how we play. So be it, but if my holy trinity orchestral marched in just one month in Paris (TCE Petersburg, the Czech Philharmonic at Pleyel), there is clearly a component that was very far from its promises.
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .
0 comments:
Post a Comment