Π Π
- London, Barbican Hall, February 11, 2011 - Sibelius Tapiola , op. 112 - Glanert, Music for Violin and Orchestra - Sibelius Symphony No. 5 in B flat major mid , op. 82
- Stephen Bryant, violin
- BBC Symphony Orchestra
- David Robertson, executive
In our region, David Robertson is best known for his contribution to the contemporary landscape, because of his seven seasons at the helm of the Intercontemporain. Between the mandates of Eötvös and Nott, the then U.S. chief was distinguished by an openness to creative and phone excluded from the orthodox temple guards boulezien. It is unclear whether the Parisian music lovers have kept for this reason or other, an enduring memory of him, as then Lyonnais - who have the gift manifest disgust of their city leaders or so to disgust leaders they hire. Go figure how someone emerging from anecdotal term as head of a French provincial orchestra finds himself courted to head either the Chicago Symphony or the New York Philharmonic. We know the end of the story: Chicago chose to break their piggy banks and NY Muti has plunged gaily into the médiocrophilie by siding with communal politics, and our conductor Malibu merely the direction of the (very respectable) St. Louis Symphony, and status of Principal Guest Conductor of the BBC Symphony. I've never seen Robertson lead Lyon and therefore have no opinion on it, but instead on what I saw at the Barbican, it is a pity for vitality of orchestral it does not occupy the throne of Manhattan scandalously squatted by Gilbert.
For a directory now as competitive (at least with such high standards) and Sibelius, the leader in the relatively atypical course does more than defend himself, even as it addresses two pages probably the most complex and technically difficult of the composer. I hope to one day of rest compare its performance to one embodiment of the 5th Symphony e by the current boss of Intercontemporainn Susanna Mälkki - yes, when she has time to escape conformism Paris to lead also offers Mälkki Sibelius and Beethoven. Robertson opened the evening, as Paavo Jarvi this fall with Tapiola. If Järvi had flown his own, too tense to Success (admirable) of his Prokofiev, Robertson moved much better, that is to say almost a true Tapiola. It is true that he has to do a phalanx of other suitable means that the Orchestre de Paris. Since the last visit to Paris of the BBC Symphony (superb concert Jiri Bělohlávek) , I believe that this orchestra had very little if anything to envy to the median level of the three London big bands. Having thus heard the last four in a season, I confirm that impression. And by the way, reversing a platitude about the acoustics of the Barbican Hall, held responsible for the blandness of so many recent discs: this audio is excellent, warm, breathing naturally, without excessive dryness or effect cathedral (I think even the have preferred that the Festival Hall where I was before), quality can be increased, of course, by the fact that the room was half empty (and I'm nice), allowing me to occupy the center the second row of the Circle . Anyway, the start of Tapiola has absolutely all the splendor and the required density, with strings very intense and homogeneous (with a harmonic balance rather high, in contrast to their three neighbors London), and especially the little harmony which is probably most intrinsically beautiful in the UK. Certainly, the solos of the LSO are brighter, and with Jurowski and the LPO woods Salonen and the Philharmonia played with even greater commitment, but this does not suggest that the tool is the BBC most desirable.
Moreover, can not be faulted in Robertson not to get the maximum, or almost: the intensity of play flutes in particular is quite gratifying to number of places (just the first development from C to F, or Division 419-461 meters are an unfailing commitment, and that is a delight in itself). Robertson takes a rather basic tempo faster than the norm and is held globally. However, we can make two reservations about his leadership: one related to imperfections in the master plans, particularly when planes collide violently - M to N, with horns a bit garish (why not) and poorly adjusted and the same problem in the big climax on tremolos. Robertson recently said about this passage (I translate) "the storm that rages Sibelius just before the final blessing of a surprisingly rich major chord is the most terrifying of all the directory: if the process was flawless in the strings, unfortunately the outbreak of the terror that has just eluded the head. The other reservation concerns the rhythmic fluidity and suddenly instrumental (violins in particular) of certain transitions and especially the coda, in which the bonds are cut rather laboriously, to drive a species as a poorly managed. But these are objections to every purely Technicians: overall, the ride is beautiful, natural and full of sincerity, without complications.
Between the two Sibelius, the UK premiere of Music for Violin and Orchestra by Detlev Glanert fact a mixed impression. The young German composer, far more famous for his operatic vocal writing and, apparently on the rise in London. I must say that its style for the violin, as such, seemed fairly innocuous or anonymous: the gallery of rational good little concerto spends (melody, rhythm double stops, pizzicato strings of LH in polyrhythms, etc., etc..), but some days with the French premiere of Salonen's concerto, it all seems very wise and agreed. We can save some of the listening, paying attention to the fact that this is not a true concerto - unfortunately for him the title without seeming convene still a hell that is too little known, the sublime Musik fur Geige und Orchester Rudi Stephan. Its three movements do not really follow a logical dialectical thinking for the soloist, but offer three tables Orphic (Cantus, and Passus Spiramen, sonnets inspired by Rilke) concerto in which the character operates very much, somewhat or not at all. It appears certain passages particularly inspired and subtle, like the false rate, it seems to me at the end of Cantus, which is sort of mini-fantasy for solo violin, piano, harp, some drums and tuba (the n is probably not completely accurate nor comprehensive, but I was simultaneously a concerto for plastic bag behind me, performed by a vigorous cacochyme. A passage much more convincing than the final cadence itself, rather academic and harmless, and the final extinction pointillist charming but also agreed. Concertmaster of the BBC's Stephen Bryant defends with great seriousness and conviction that partition unequally: it sounds a bit cramped, but its ability to interact effectively with colleagues at the newspaper is however much to the intelligibility of music.
Born exactly the same year as Salonen (who directed the Festival Hall the night before), Robertson has other things in common: the appetite for music of its time course, but also air forever young, physical commitment of management and a clear penchant for excitement, even trance virtuoso. And one might think in some ways the American visual sometimes seek to emulate the Finnish master. What saves him from a comparison necessarily cruel (5th Paris given by Salonen at the full tour in 2007 was tetanic, even monstrous creation of the world) is however a significant difference of overall design. Robertson, as in Tapiola, opts for fast tempos in the ranges, with little fluctuation (but fortunately not enough without flexibility). One of the most fundamental difference being that it takes a reading "normal" second theme of the finale without radical change of beat (which is fortunate because it is not too much else that could try such Salonen audacity without wallowing miserably). On the other hand, Robertson takes the option to play a symphony with two deals attac. I must say that I am frankly opposed to this option (only in respect of the attac I to II): this association difficult harmonically (tones far removed from mid flat and D major, especially since re is not initially aligned at all and the mode of the previous agreement is as bright as possible) is even more than the pages and related characters are radically antagonistic. And if there is a necessity born of the irresistible musical passion finding the I, I do not see what it would be more than a (long) silence the argument of the stupidity of the public does not, it Just stay arm and bows hung for remaining silent. But never mind.
This major regret aside, Robertson and the BBC have the same qualities and minor defects in Tapiola : cohesion and warmth Quintet, richness and excitement of the woods (absolutely perfect , but so perfect begins on the theme of swans); power but slight inaccuracy, and problems of terraces on the side of the brass (frustrating concern equilibrium trumpets / horns, the former do not play outside enough and the latter too much in the coda of I). Vivifying direction and direct (how to start and lead the rhythmically sfz the second theme in the violins I no lack of effectiveness or class), who is fishing sometimes excessive enthusiasm and a little naive - some changes tempos of II tend too quickly to keep the anger without under the pedal. But the tension from one end to another, is still present, all this energy being deployed without guile or artifice - apart from an unnecessary coda to the doors (5 after P) for suddenly interrupting the crescendo leave the piano to fortissimo and rushing. The coda of the finale will be on her more successful, with a nice progression, final agreements extremely rich and homogeneous (it sounds, in fact!) And a rigorous and consistent management rests. It's already a lot and very friendly.
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .
For a directory now as competitive (at least with such high standards) and Sibelius, the leader in the relatively atypical course does more than defend himself, even as it addresses two pages probably the most complex and technically difficult of the composer. I hope to one day of rest compare its performance to one embodiment of the 5th Symphony e by the current boss of Intercontemporainn Susanna Mälkki - yes, when she has time to escape conformism Paris to lead also offers Mälkki Sibelius and Beethoven. Robertson opened the evening, as Paavo Jarvi this fall with Tapiola. If Järvi had flown his own, too tense to Success (admirable) of his Prokofiev, Robertson moved much better, that is to say almost a true Tapiola. It is true that he has to do a phalanx of other suitable means that the Orchestre de Paris. Since the last visit to Paris of the BBC Symphony (superb concert Jiri Bělohlávek) , I believe that this orchestra had very little if anything to envy to the median level of the three London big bands. Having thus heard the last four in a season, I confirm that impression. And by the way, reversing a platitude about the acoustics of the Barbican Hall, held responsible for the blandness of so many recent discs: this audio is excellent, warm, breathing naturally, without excessive dryness or effect cathedral (I think even the have preferred that the Festival Hall where I was before), quality can be increased, of course, by the fact that the room was half empty (and I'm nice), allowing me to occupy the center the second row of the Circle . Anyway, the start of Tapiola has absolutely all the splendor and the required density, with strings very intense and homogeneous (with a harmonic balance rather high, in contrast to their three neighbors London), and especially the little harmony which is probably most intrinsically beautiful in the UK. Certainly, the solos of the LSO are brighter, and with Jurowski and the LPO woods Salonen and the Philharmonia played with even greater commitment, but this does not suggest that the tool is the BBC most desirable.
Moreover, can not be faulted in Robertson not to get the maximum, or almost: the intensity of play flutes in particular is quite gratifying to number of places (just the first development from C to F, or Division 419-461 meters are an unfailing commitment, and that is a delight in itself). Robertson takes a rather basic tempo faster than the norm and is held globally. However, we can make two reservations about his leadership: one related to imperfections in the master plans, particularly when planes collide violently - M to N, with horns a bit garish (why not) and poorly adjusted and the same problem in the big climax on tremolos. Robertson recently said about this passage (I translate) "the storm that rages Sibelius just before the final blessing of a surprisingly rich major chord is the most terrifying of all the directory: if the process was flawless in the strings, unfortunately the outbreak of the terror that has just eluded the head. The other reservation concerns the rhythmic fluidity and suddenly instrumental (violins in particular) of certain transitions and especially the coda, in which the bonds are cut rather laboriously, to drive a species as a poorly managed. But these are objections to every purely Technicians: overall, the ride is beautiful, natural and full of sincerity, without complications.
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| Detlev Glanert |
Born exactly the same year as Salonen (who directed the Festival Hall the night before), Robertson has other things in common: the appetite for music of its time course, but also air forever young, physical commitment of management and a clear penchant for excitement, even trance virtuoso. And one might think in some ways the American visual sometimes seek to emulate the Finnish master. What saves him from a comparison necessarily cruel (5th Paris given by Salonen at the full tour in 2007 was tetanic, even monstrous creation of the world) is however a significant difference of overall design. Robertson, as in Tapiola, opts for fast tempos in the ranges, with little fluctuation (but fortunately not enough without flexibility). One of the most fundamental difference being that it takes a reading "normal" second theme of the finale without radical change of beat (which is fortunate because it is not too much else that could try such Salonen audacity without wallowing miserably). On the other hand, Robertson takes the option to play a symphony with two deals attac. I must say that I am frankly opposed to this option (only in respect of the attac I to II): this association difficult harmonically (tones far removed from mid flat and D major, especially since re is not initially aligned at all and the mode of the previous agreement is as bright as possible) is even more than the pages and related characters are radically antagonistic. And if there is a necessity born of the irresistible musical passion finding the I, I do not see what it would be more than a (long) silence the argument of the stupidity of the public does not, it Just stay arm and bows hung for remaining silent. But never mind.
This major regret aside, Robertson and the BBC have the same qualities and minor defects in Tapiola : cohesion and warmth Quintet, richness and excitement of the woods (absolutely perfect , but so perfect begins on the theme of swans); power but slight inaccuracy, and problems of terraces on the side of the brass (frustrating concern equilibrium trumpets / horns, the former do not play outside enough and the latter too much in the coda of I). Vivifying direction and direct (how to start and lead the rhythmically sfz the second theme in the violins I no lack of effectiveness or class), who is fishing sometimes excessive enthusiasm and a little naive - some changes tempos of II tend too quickly to keep the anger without under the pedal. But the tension from one end to another, is still present, all this energy being deployed without guile or artifice - apart from an unnecessary coda to the doors (5 after P) for suddenly interrupting the crescendo leave the piano to fortissimo and rushing. The coda of the finale will be on her more successful, with a nice progression, final agreements extremely rich and homogeneous (it sounds, in fact!) And a rigorous and consistent management rests. It's already a lot and very friendly.
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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