V
- Paris, Salle Pleyel, January 31, 2011
- Mahler Symphony No. 9 in D major
- Los Angeles Philharmonic Orchestra
- Gustavo Dudamel, direction
After the wreck, also unexpected for me, the Titan given 2009 with the Philharmonie, I was not expecting anything for the 9th, or rather even worse than what was given. Nevertheless, the question of why (Dudamel's Mahler) remains, and appears quite disturbing. It is not, for example, of the same nature as "the Beethoven of Thielemann why?" or "Why is it Rattle director of the Philharmonic Berlin. "This last question itself being more serious than that questions the legitimacy of the directorate Dudamel to LA. The 29 year old Venezuelan is talented, gifted, even - that point of view, by deepening and adjoining the problems related to the directory, there is above all a resemblance to the young Simon Rattle. His conducting technique is pretty good, certainly effective, sometimes impressive sense of anticipation and help to make smart - to musicians who do, that being said, little need, and have been dealing with a whole new level of requirement with the manager of the two previous decades. Its design works, music in general is certainly not entirely superficial - at least she is a bit obvious, but it does not seem obvious that it is smart to blame him. The problem lies elsewhere, in some way at the intersection of technical issues and those relating to meaning. Dimensions that are most often related to music in general, anyway.
seen and heard at this concert, it seems that the stagnation of the trajectory dudamelienne is linked to a set of contradictions, many of which do not depend on him, alone, at least. It begins Obviously with the fact that he was given a ten or even top five orchestras in the world, passing the baton (French and English meaning) anyway not the greatest chef in the world. Absurd, which was its consistency in the absurdity - as Salonen succeed on purely musical is impossible, except cryogenized Boulez, as well choose on extra-musical criteria, vouchers and / or bad: young people, of course. Popularity, of course. A little better: the ability to continue working anchor in modern music. Very good. But that may have to make to an orchestra reached that point of excellence technical and cultural repertoire leader whose main assets today concern the ability to develop, make it sound, build collective virtuosity? Obviously, nothing, or very little. But he must do something, something that continues to ensure, at least, its success. And how: Mahler's 9th, for example, and too bad if it goes further to that of Abbado. What
remember? Essentially anecdotal in terms of interpretation itself. His terms of possibilities, without surprise, did not disappoint: the LAPO is always fantastic machine War Salonen, and if there is one thing we can give credit to Dudamel, this is not to be a leader who will lower the virtuosity and the homogeneity of the phalanx. The war machine, however, shows signs of fairly obvious running dry: the horns are beautiful in their way quite American, overpowering, almost foolproof, extremely coherent sound. But twenty-four hours with those of the Czech Philharmonic, somewhere, the comparison is cruel (as with everything else), and refers to the direction in which everyone enjoys desks: lack of guidance, including with respect to equilibria polyphonic the California horns continuously oscillate between dynamic uncertain, almost always too high in the first movement: it is believed, moreover, first, hear a ff misplaced before understanding their own scale than it is in fact a mf, and the ffff is easily accessible. It's fun, but in terms of integration polyphonic discourse (and if there is one fundamental thing in the Andante comodo ...) could use some work, because at no time do we saw Dudamel s 'worry about this annoying tendency to intergalactic conquest.
And because he has other things to do in the Andante comodo as seek a formal logic, for example. We can not say it does not look, but it offers little. When he tries to promote a change in tempo (like the first PASAGE to the allegro (m. 80, after a spectacular sfz horn) is the sickle that he picks up his new beat, and breathing collective suffers. More generally, if need be, and especially the familiar warmth of the strings are waiting for you, there is reason to be skeptical about these bow strokes always aroused by the Dudamel launched in snatch: in some passages, is essential, but continuous? Similarly, as we approach the third climax Dudamel looking (without much noticeable success for that matter) to accelerate again, breaking the continuity from the top of the theme and seriously endangering the descent of the small broken harmony. The technique can not be beaten in question: it is a lack of clarity it is. Dudamel is clearly aware of the issues, but can not avoid a form a guilty excitement, as there looking at number of places to maximize growing intensity where it would provide the base voltage. This passage is significant, as the head seems to jump into the void with the only goal of the call trombones ("Come on guys, is dark, we go, here we go, faster, yes ... there is great!). Things are getting worse throughout the last section, loose and incoherent, the increase of the final recapitulation (m. 347-371) losing any traction, any sense of progress, and finally all lyricism - especially because of a clear contradiction between the languor (useless) the tempo here, and very short bow strokes clearly desired by the leader.
The finale is almost totally devoid of interest, if not by providing the contrabassoon - that looked like a snorkel, they are strong these Americans. The commitment of the orchestra and unassailable, the seriousness and moral integrity of management as much, and it does absolutely nothing happens, and especially not in the final climax and "false" progression that follows (m. 138-151), whose subtlety seems totally escape Dudamel ("but why should we return here to fortissimo, while the clash of cymbals is already past? "- one wonders, too, this time). Adagissimo and demonstrates that it is not enough time to play as slowly as possible for the birth of emotion, because emotion is born here (valid truism for great music in general) of the abstraction process, which presupposes the intelligibility of the lines. But the intelligibility of the lines, and unifying them online, this is what has breached any such performance, for the rest very impressive, especially perched in the middle of sheep - all in the title, finally.
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Conditions 2.0 France.
remember? Essentially anecdotal in terms of interpretation itself. His terms of possibilities, without surprise, did not disappoint: the LAPO is always fantastic machine War Salonen, and if there is one thing we can give credit to Dudamel, this is not to be a leader who will lower the virtuosity and the homogeneity of the phalanx. The war machine, however, shows signs of fairly obvious running dry: the horns are beautiful in their way quite American, overpowering, almost foolproof, extremely coherent sound. But twenty-four hours with those of the Czech Philharmonic, somewhere, the comparison is cruel (as with everything else), and refers to the direction in which everyone enjoys desks: lack of guidance, including with respect to equilibria polyphonic the California horns continuously oscillate between dynamic uncertain, almost always too high in the first movement: it is believed, moreover, first, hear a ff misplaced before understanding their own scale than it is in fact a mf, and the ffff is easily accessible. It's fun, but in terms of integration polyphonic discourse (and if there is one fundamental thing in the Andante comodo ...) could use some work, because at no time do we saw Dudamel s 'worry about this annoying tendency to intergalactic conquest.
And because he has other things to do in the Andante comodo as seek a formal logic, for example. We can not say it does not look, but it offers little. When he tries to promote a change in tempo (like the first PASAGE to the allegro (m. 80, after a spectacular sfz horn) is the sickle that he picks up his new beat, and breathing collective suffers. More generally, if need be, and especially the familiar warmth of the strings are waiting for you, there is reason to be skeptical about these bow strokes always aroused by the Dudamel launched in snatch: in some passages, is essential, but continuous? Similarly, as we approach the third climax Dudamel looking (without much noticeable success for that matter) to accelerate again, breaking the continuity from the top of the theme and seriously endangering the descent of the small broken harmony. The technique can not be beaten in question: it is a lack of clarity it is. Dudamel is clearly aware of the issues, but can not avoid a form a guilty excitement, as there looking at number of places to maximize growing intensity where it would provide the base voltage. This passage is significant, as the head seems to jump into the void with the only goal of the call trombones ("Come on guys, is dark, we go, here we go, faster, yes ... there is great!). Things are getting worse throughout the last section, loose and incoherent, the increase of the final recapitulation (m. 347-371) losing any traction, any sense of progress, and finally all lyricism - especially because of a clear contradiction between the languor (useless) the tempo here, and very short bow strokes clearly desired by the leader.
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The middle movements are a little better, even with the voluntarism of the first degree, but most successful instrumental and at least Here and there some good inspiration. We salute the service of the alto solo in the Laendler, and that of the little harmony as a whole: specifically, the solo viola is one of those few moments or Dudamel offers something relatively simple and original, purely technical, but which produces at least one musical intention intelligible - the polyphonic playing with irregular accentuation of horns, very successful, as the whole passage around the m. 370-410. Change management is a caricature of tempo, very good student, but at least she is with the desire to trust the logic of the composer. All primary and is somewhat supported, but at least the sincerity Is not here drowned in the non-sense as in I. The Rondo is not convincing a lot more, then one would expect here the only success of the symphony orchestra is quite impeccable, the virtuoso beaten, but the contrapuntal structure does not mean light - is the least one can say. In defense of Dudamel, it is my sense that here was the most impossible to get behind Abbado: in terms of continuity, it is better not to initiate a systematic comparison, but in addition, Los Angeles remained by away from Lucerne on virtuosity, and even about pure power. Retail remains a very Interestingly, it must be recognized: the total lack of rubato in the middle section, which in particular calls for the passage of clarinets and flutes (m. 444-456), because of the unusually slow notes, gives the grounds pathos and a strange dimension to a very persuasive. The finale is almost totally devoid of interest, if not by providing the contrabassoon - that looked like a snorkel, they are strong these Americans. The commitment of the orchestra and unassailable, the seriousness and moral integrity of management as much, and it does absolutely nothing happens, and especially not in the final climax and "false" progression that follows (m. 138-151), whose subtlety seems totally escape Dudamel ("but why should we return here to fortissimo, while the clash of cymbals is already past? "- one wonders, too, this time). Adagissimo and demonstrates that it is not enough time to play as slowly as possible for the birth of emotion, because emotion is born here (valid truism for great music in general) of the abstraction process, which presupposes the intelligibility of the lines. But the intelligibility of the lines, and unifying them online, this is what has breached any such performance, for the rest very impressive, especially perched in the middle of sheep - all in the title, finally.
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Conditions 2.0 France.
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