Π Π Π Π
- Paris, Salle Pleyel, January 29, 2011
- Mahler Kindertotenlieder - Symphony No. 10 in F sharp major, concert version (III) by Deryck Cooke
- Thomas Hampson, baritone
- Czech Philharmonic Orchestra
- Eliahu Inbal, direction
Mahler was born in Bohemia and grew up in the current Czech Republic deepest, Moravian, and there even got his first permanent post pit at Olomouc in 1883. Two years later, twenty-five years, he became assistant conductor of the Neues Deutsches Theater in Prague, where he won his first triumphs in Mozart and Wagner head. Almost perfect loop is in Prague, another twenty-three years later, that was given the penultimate creation understood in his lifetime, the of the 7th Symphony : Mahler himself led the Czech Philharmonic this September 19, 1908 (approximate date the photo above). In short, Mahler was an Austrian Czech almost as much (he said he was also well three times stateless), and it's not for nothing that the Czech musicians have tamed his music even before the Viennese. This is definitely not for nothing they have always played magnificently last fifty years, and that without necessarily always take the comparison with the greatest performers, how they play Mahler has always been something strange and deeply recognizable. The alternative to hubris Mahlerian grown Germany United States has always been obvious to these musicians, and it was also instructive as pleasant to hear that voice peculiar nature, from afar, as a result of the courageous challenge to the Mahler-shot Gergiev made by last December.
All this is even more valid than the stick of Eliahu Inbal - 75 Spring this year - is always the one whose first tabula rasa Mahler had conflicting passions unleashed in the 80's: there is a little quickly, even today, reducing its way to "objectivity" (I have all way never understood what that term covers music) textual or at least withdrawal from personal involvement in the score. This is certainly due to the standardization of a hypertrophied Mahler, supercharged and over-invested, that the mere relief textures or clarification only vertical (ie, some good musical sense) were enough to question. Last season by naming the maestro Israeli Chief, the Czech Philharmonic has at least as regards his Mahler made a relevant choice of identity, and this concert in Paris showed.
This exceptional band is far too rare Paris, so much so that I could not listen that far into the Rudolfinum in Prague, for a Beethoven concert. I remember very well, especially from my amazement at the fabric of unreality in the legendary horns Violin Concerto, or to the class's irresistible oboe Jana Brožková in Symphony in C major . This same oboist, unless I am mistaken in one way or another, which offered a divine sentence of Kindertotenlieder. It seems no exaggeration to say that Nun Will Die Sonn so hell Aufgeh'n original was one of the absolute peaks of the concert, and therefore one of the finest moments of the symphony season. For all affected by the boundary points, then we can not get much better, excellence instrumental: After the oboe, there is an entrance ramp to Ondřej Vrabec, horn of an alien (who in his spare time directs his orchestra), which refers to their beloved solo studies all his counterparts in Berlin, Munich, New York, etc.. As to the first segment of the first violins, - "... musst sie ins Licht ew'ge versenken ..." - I think he is the finest, supple, elegant, sensual and intense violin phrase I've heard since ... the Swan Lake St Petersburg last year, and say it. And what follows is then secured to this exceptional level of individual perfection as much subtlety as collective.
In the direction of Inbal, we can certainly challenge, question, at least on a relative tendency to dichotomy between integration, general fluid on one side, and sudden development Emphasis on the other - we can also understand that with a panel of horns so prodigious it may be tempting to isolate from time to time their interventions for the general melodic line. His attention to Line Hampson is however generally exemplary, sometimes disturbing to the community of breath - the cellos on "... O Augen!", even as both sides over the bar line is also free as possible. And Hampson? I heard worse than hang Kindertotenlieder he gave a recital at TEC two weeks earlier, which also surprised me: the American superstar, whose fame is closely linked to that directory with Bernstein, still had last season was the sunshine of a nightmare concert at Pleyel NY Ph.. He is not alone to shine here is the least we can say, but the extreme simplicity of its expressive delivery has the great merit to melt completely in the atmosphere more spiritual and introspective than shocked at the general interpretation. The voice is probably veiled but its emotional power, almost consubstantial with its economy of means, is clearly intact. Just the projection of its ultimate "... Im diesem Wetter ..." she just a little denser pianissimo - Workplace sheep left, I can not complain, but in the middle of the balconies, all Wiegenlied (blameless in mind also, but full of pathos without natural affection) has been barely audible. The Kindertotenlieder
typed, more translucent than corrosive, but really poignant, which will finally seemed entirely outstretched to return to the cradle, the welcoming warmth and softness of the maternal home in which the conclusion is merges with the eternal rest. Finally a
Tenth ! It is correct to quantities of music lovers complain about inflation Mahler, who did not wait for the centenary of 2011 in order to exist: it is nevertheless symptomatic of something else, which is the fascination to love -hate Current music definable at least in part by their exaltation of individualism frenzied battle, the tragic hero against the oppressive society, the singularity of the subject against the collective spirit and value systems, expression maximized itself, in short, all post-modern crap that serve as a substitute for the loss of aesthetic values, moral and political: it was reduced to what purpose unconscious Mahler to this repulsive thing, a pure music of mass psychology. There is a direct relationship between the playing of Mahler ever before, and always filled rooms and conquered while complaining ever more of the overflow of Mahler, and Other recent events relative to the directory as the extreme scarcity of Mozart symphonies, for example. This, surely, would be deeply offended to Mahler, which he did essentially nothing other than take his place in the great tradition of Germanic classical symphony, and who on his deathbed, failing to finish the 10th, ran a last imaginary orchestra in Mozart. This situation, there can not do much, but at least we can rejoice in the performance by these wonderful musicians, a work that carries too many misunderstandings.
For the 10th Mahler does not exist is a factual thing, since the composer did not put himself last double bar to send to the publisher. But nobody questions the legitimacy of executions Requiem of Mozart, which is even less complete than the 10th (when the drafts and Particelli latter allow only very few gray areas regarding the speech by thought Mahler). In the case of Requiem , we just debate (just) the appropriateness of use of a particular completion. And nobody ever protested (and better) against the performances of the novelty D minor, or the Andante of the Sonata in C major, whose last two lines are not times of Mozart. Again, we touch with the latest symphony by Mahler to a collective sensibility far more likely today than in the case of Mozart? Go figure. For my part, I stick to the point: what it is in the text is to A performing version of The Draft For The Tenth Symphony, Prepared by Deryck Cooke : it is written in all letters on the front page of the driver Faber second edition (revised by Goldschmidt and the two Matthews) Cooke completion of the second (which I call therefore Cooke III). Incidentally, note that partition costs a small fortune, but the investment is largely justified by the editorial care general interest of the preface and critical apparatus, and especially the reproduction of the main Particelli Mahler. It is little doubt that this is completion or another (even if that assumption becomes less and less likely) will eventually no longer be seen as only the 10th of Mahler, with no subtlety: it's good for completions. But in the meantime he must still convince the willingness of the authors of the admirable work done there over half a century has never been to believe the public that the 10th was resurrected, as such, since she never lived.
Reading that offer Inbal and Czechs is pretty close, in spirit, the new reference which is the recording of Michael Gielen. It is characterized by strict compliance with the enforcement of a "concert version" of unfinished score, which does not seek indications of rubato, or dynamic character other than those published cautiously. This is certainly not bad: I was reading the other day about the very interesting Salonen on problems posed by the music of Ligeti in conductor, for straightness and continuity expressive sound. Salonen says (and he worked with the principal party to it) that to achieve the result desired by the composer he was required to sort among the many indications, including dynamic. I think it can be said of Mahler, and not necessarily for the dynamics. Similarly, too, that the extraordinary ripening of Shostakovich Borodin, another connotation in music so emotional charges - charges which always, to paraphrase Boulez, for crossing the fine line between tradition and bad habits, habits of the least easy ; or another border crossing, even more dangerous than across which emotions become representations of themselves.
From this viewpoint, the whole of this interpretation of the 10th is unassailable: it embodied the pursuit of pura cosa music to which one would be well advised to tender usually every Mahler symphony. And it is all the more attractive that the orchestra is called perhaps the most ideally servant this purpose. Minor reserves of design and finish can certainly be made: the main concerns the management of metronomic first movement, which is conspicuous by its flexibility, but frustrated by the excessive differentiation of andantes and adagios. A problem, however, nearly offset by the incredible openness of the Czech Philharmonic Orchestra - even the quasi-clusters are phenomenal readability, and yes, I know, strictly speaking, they are not clusters. Another concern relates to a certain lack of rhythmic sharp and vibrant in the two scherzos, in fact especially in the second, when you could be frustrated that the world's most beautiful horns are not more available to contribute in particular for their dedicated ground (103-107 m and above 197-210 m in the progression, which also lacks power in the violins). This does not prevent the will be lectures from beginning to end, although affected by the turnover General (Vrabec, and the concertmaster Brožková Bohumil Kotmel leaving their room for soloists may be slightly less bright) . In contrast, there was one who did all the concert is the first flutist (which I unfortunately could identify: Radomir Pivoda?), A class in the great sensational melody of the finale. And that's all the orchestra sparkles Purgatorio fires in a wonderful, absolutely perfect pastoral and intense yet (what refinement of the belt ropes!).
A final where this time the ductility of the advanced sound guarantors and illuminates this page rather fabulous architecture of all the evidence it deserves - the return of clusters n has no veneer, there is conducted with the greatest need and sweet. Detail by a slight sprain in compliance with philological work, the IV and V are linked by a single shot drum: the problem is already well known, Cooke and his students could not, strictly speaking, given the existing material, do something else in a note to the last of the scherzo and the finale initiating another. In the preface to the second edition, said students need to understand the show's musical play only once, and say even think that is what Mahler would have done. I'm torn, myself: in its Particelli, Mahler was careful to note his shots in the meter of each movement, the first on the first of three phases, the second on the first of four times ... even though the second measure of the finale returns immediately to three steps: admitting that Mahler without hesitation decide on a draft of scherzo concluded by the coup, and a final draft of the coup began, why would he then inserted anyway as a first measure of the final a 4 / 4?
The debate will probably never resolved: that which is decided is how the shots are ringing throughout the final, ie, with dryness, hardness, without resonance, and this was remarkably well done - as well as any delivery timpanist, very inspired in his choice of mallets, and percussion. The tuba is perfect, just like trumpet soloist, his impressive post-pedal cluster, above which the four horns are covered with glory one last time, showing a true unison horns, the fourteen steps slow, for all the dynamics that is intonation immaculate, well yes, it is possible, and no, it is not God who decides, but the horn players. Inbal maintains tension once this changeover, and glissando finish is wonderful: a little cheated, encroaching on the white, but with what mastery in slowing down! The icing on the cake, he has the luxury, arrived on the ground #, to play thirty violins without bowing, determined and not with simple cons-coordinated bows, but with the full range of notes held possible, simply from the near-tremolo: given wielding bows, the sound effect is also extraordinary beauty of terror . An end to live up to expectations, the importance of the rarity of these performers like this score, all of which are of inestimable value.
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .
All this is even more valid than the stick of Eliahu Inbal - 75 Spring this year - is always the one whose first tabula rasa Mahler had conflicting passions unleashed in the 80's: there is a little quickly, even today, reducing its way to "objectivity" (I have all way never understood what that term covers music) textual or at least withdrawal from personal involvement in the score. This is certainly due to the standardization of a hypertrophied Mahler, supercharged and over-invested, that the mere relief textures or clarification only vertical (ie, some good musical sense) were enough to question. Last season by naming the maestro Israeli Chief, the Czech Philharmonic has at least as regards his Mahler made a relevant choice of identity, and this concert in Paris showed.
This exceptional band is far too rare Paris, so much so that I could not listen that far into the Rudolfinum in Prague, for a Beethoven concert. I remember very well, especially from my amazement at the fabric of unreality in the legendary horns Violin Concerto, or to the class's irresistible oboe Jana Brožková in Symphony in C major . This same oboist, unless I am mistaken in one way or another, which offered a divine sentence of Kindertotenlieder. It seems no exaggeration to say that Nun Will Die Sonn so hell Aufgeh'n original was one of the absolute peaks of the concert, and therefore one of the finest moments of the symphony season. For all affected by the boundary points, then we can not get much better, excellence instrumental: After the oboe, there is an entrance ramp to Ondřej Vrabec, horn of an alien (who in his spare time directs his orchestra), which refers to their beloved solo studies all his counterparts in Berlin, Munich, New York, etc.. As to the first segment of the first violins, - "... musst sie ins Licht ew'ge versenken ..." - I think he is the finest, supple, elegant, sensual and intense violin phrase I've heard since ... the Swan Lake St Petersburg last year, and say it. And what follows is then secured to this exceptional level of individual perfection as much subtlety as collective.
typed, more translucent than corrosive, but really poignant, which will finally seemed entirely outstretched to return to the cradle, the welcoming warmth and softness of the maternal home in which the conclusion is merges with the eternal rest. Finally a
Tenth ! It is correct to quantities of music lovers complain about inflation Mahler, who did not wait for the centenary of 2011 in order to exist: it is nevertheless symptomatic of something else, which is the fascination to love -hate Current music definable at least in part by their exaltation of individualism frenzied battle, the tragic hero against the oppressive society, the singularity of the subject against the collective spirit and value systems, expression maximized itself, in short, all post-modern crap that serve as a substitute for the loss of aesthetic values, moral and political: it was reduced to what purpose unconscious Mahler to this repulsive thing, a pure music of mass psychology. There is a direct relationship between the playing of Mahler ever before, and always filled rooms and conquered while complaining ever more of the overflow of Mahler, and Other recent events relative to the directory as the extreme scarcity of Mozart symphonies, for example. This, surely, would be deeply offended to Mahler, which he did essentially nothing other than take his place in the great tradition of Germanic classical symphony, and who on his deathbed, failing to finish the 10th, ran a last imaginary orchestra in Mozart. This situation, there can not do much, but at least we can rejoice in the performance by these wonderful musicians, a work that carries too many misunderstandings.
Reading that offer Inbal and Czechs is pretty close, in spirit, the new reference which is the recording of Michael Gielen. It is characterized by strict compliance with the enforcement of a "concert version" of unfinished score, which does not seek indications of rubato, or dynamic character other than those published cautiously. This is certainly not bad: I was reading the other day about the very interesting Salonen on problems posed by the music of Ligeti in conductor, for straightness and continuity expressive sound. Salonen says (and he worked with the principal party to it) that to achieve the result desired by the composer he was required to sort among the many indications, including dynamic. I think it can be said of Mahler, and not necessarily for the dynamics. Similarly, too, that the extraordinary ripening of Shostakovich Borodin, another connotation in music so emotional charges - charges which always, to paraphrase Boulez, for crossing the fine line between tradition and bad habits, habits of the least easy ; or another border crossing, even more dangerous than across which emotions become representations of themselves.
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| Ondřej Vrabec |
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| Photos of the concert: lpc |
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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