Π Π Π Π
- Paris, Theatre du Chatelet, the February 11, 2011
- Salonen, Stockholm Diary ; Five Images After Sappho ; Mimo II ; Mania - Ravel, Le Tombeau Couperin
- Barbara Hannigan, soprano - Francois Leleux, oboe
- Anssi Karttunen, cello
- Orchestre Philharmonique de Radio France
- Jonathan Stockhammer, direction
- Paris, Theatre du Chatelet, February 12, 2011
- Salonen Gambit - Lutoslawski Symphony No. 4 - Salonen Giro ; Foreign Bodies
- Philharmonic Orchestra Radio France
- Esa-Pekka Salonen, executive
Salonen, a hero like any other - by Vincent Haegele
Esa-Pekka Salonen knows to surround himself is undeniable. His outstanding career as a conductor allowed him to find the ideal interpreter of his own works as a composer. And what performers: Barbara Hannigan, Kariya Kriikku, Leila Josefowicz, Francois Leleux ... to name a few. Quality of interpreters for demanding music, but probably subject of debate and controversy in the context of a festival such as the Festival Presences. It is not uncommon to come across conductors composers in their spare time (to find composers who dreams of being conductors to direct other people's music is more rare), but ultimately, it is not regret that the talented leader Salonen be put at the service of his own music. Especially as he has things to say.
In this first column, we'll raise the case of composer Salonen. The second will give us the opportunity to discuss some moments of the festival, including the creation (re-creation?) of Fourth Symphony Witold Lutoslawski and how Jonathan Stockhammer has managed to give a reading almost solar Tombeau de Couperin . Salonen and composer has been in effect surrounded by Ligeti ( Requiem), Ravel, Lutoslawski, Stravinsky or Saahariao, traveling companion since the conservatory in Helsinki. A nice consistency in the directory, especially as the Scandinavian composers were not entirely absent with the Master Radio-France.
Composer Salonen, so. Festival Attendance is managed to give a comprehensive picture about the man and his stylistic obsessions (the machine, the chorale, the clear line), but also the interesting journey that has taken him from serialism to a true fundamentalist Cultural Revolution and sound, caused both by its passage in the U.S. and the attendance large partitions repertoire directed by him. A "revolution" which consisted primarily to restore his place in the orchestra and not the only "big picture" comparison to most the major composers of the past fifty years of tireless and embroidery variations on modes and cross lines. The least we can say is that he has a style all its own and is not without a certain originality, although many facilities may be open to criticism murders (use of percussion, including some instruments and the kitsch out). The most extreme example that we have heard is certainly Insomnia , a symphonic fantasy (fantasy is the expression most just) a one piece, which evokes both Scriabin for its conclusion, a number of other composers might be fun to be identified for hours. Yes, but. That remains Salonen from first to last note. Outdated? Certainly not, or if humor is to be considered a form of nostalgia, I dare not imagine what the future holds for us ... because of the humor there is in Salonen, even when it evokes a night troubled by bad dreams and obsessive thoughts, a bit ironic indeed, and conduct the music of Bernard Herrmann ends always leave traces. But the humor we find also more translucent brighter in Mimo II, arguably one of the best pieces that I have ever heard during the festival, namely a piece concertante for oboe and small orchestra (the term may do little to smile Salonen, because the number of musicians is very consistent): The pace is fast, virtuosity is not free (unlike Mania, the cello concerto given in the same evening, the most annoying), and especially his orchestration is a marvel of inventiveness and lightness. Salonen has the luxury of a form quite mastered, classic look without falling into nostalgia classicist. The same goes for the beautiful piece for string Stockholm Diary written for the New Stockholm Chamber Orchestra, and appears to be a great discovery. Again the line is very pure, though a thousand details abound side by side, and the melodic ideas are simple but beautiful, ranging from cold Scandinavian any higher feelings. Yes, there is perhaps a penchant for romance, at least romantic reviewed, processed, radicalized and immersed in the bath providing very current. Salonen is a composer of his time, we must recognize nevertheless that his talent is expressed more personal even in these rooms reserved for smaller sets, even for strings alone, he knows the technique on the tip fingers (it was fascinating to follow the developments of the desk basses).
Foreign Bodies, given under the direction of the master himself, is just the opposite of this movement towards the sketch, but the result is still no less exciting if not surprising. It is a symphonic triptych arranged in one piece, that brings Salonen himself (thumbing its nose at his detractors?) Of Kappellmeistermusik , music conductor. Indeed, this is it, but as usual, the composer claims that he writes and does not theorize paragraphs for what he has put on staves. Salonen returned somehow to the fundamentals of music: write first, then explain, if necessary. Can we blame him, in Foreign Bodies or even in Insomnia is falsely casual appearance of developments, which suggest that Salonen is still very responsive to judgments of his immediate contemporaries. The fact is that after Lindberg, he chose a path that may offend and may be tempted to give guarantees of "modernity" but why bother? What was the strength of composers like Khachaturian and Herrmann (it's still a little to them that we believe in listening to the pieces of the last Salonen), is precisely the fact of getting to the bottom of things, like a cataclysm. To think ... More
midway of an avant-garde dried and renewal solar found parts Gambit (1998) and Giro (1982) . The second clearly belongs to an aesthetic still marked by serialism and the rules made aware of the 1970s. While listening to ... well, we hear that the young composer did not intend to stop there, and showed a lot of freedom with the conventions. Giro, although as already marked by time, still a major part but some claim that is usually found among many young composers. Gambit, meanwhile, seems to come from a mold a priori identical, but much more fun with the employment of contrapuntal rules and game stamps. The relief, which lacked Giro, takes its full extent in Gambit. Thus
born composers, even though we are still unable to anticipate the success of these works in future times. But there is nevertheless an important aspect that has not been spoke so highly developed during the festival, and yet must give food for thought for years to come: Salonen is a Finnish composer. Yep! It's stupid, but it's important he has behind him Sibelius Madetoja, Einar Englund, Kokkonen, Rautaavara, a school with an engaging personality and unique for over a century now and, since its origin has always shown a distrust welcome to the spirit of system that could be found in Germany (Wagnerism) or France (Debussyism). After short moment of madness between 1950 and 1970, where the Helsinki school seems to have temporarily ceded to the sirens of an avant-garde of breath already, we will see a genuine revival of the composition through a number of pieces Major (Violin Concerto of Rautaavara, Sallinen's symphonies, works very personal Segerstam). The latest generation, which often counted them among their professors, could only find where the milk was going to eat for a long time. You only wish that this originality persists.
Vincent Haegele
Vincent Haegele
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