Where Is The Voice Changer In Bioshock

Salonen (3) Lutoslawski string-

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- Paris, Theatre du Chatelet, February 12, 2011

- Salonen , Gambit - Lutoslawski Symphony No. 4 - Salonen Giro ; Foreign Bodies

- Orchestre Philharmonique de Radio France

- Esa-Pekka Salonen, direction

Songs of a destiny as agreed for a concert less conventional by Vincent Haegele

Hey! no, it was not a creation ... Why not start with a small controversy in two, just to evacuate quickly. But it's still a little stupid on the part of the Festival Presences, claiming that the masterful Fourth Symphony Lutosławski knew at the beginning of 2011 the French creation. It took place much earlier, in 2004 during the opening concert of the Year of Poland in France and was the great Stanislaw Skrowaczewski which it was loaded, at a concert (can not be memorable) also devoted to Penderecki and Szymanowski. Apart from that, we say more? Nothing, after all, because reading that gave Salonen still dizzy and still an event in itself. We played Witold Lutoslawski Paris this month of February 2011, it is rare and it should be saluted for its value.

With Requiem Ligeti and Varese Americas, Attendance boasted a lineup unusual and welcome, adding that famous Fourth Symphony, one of latest pieces of Polish composer whose composition was announced Salonen after a concert in Los Angeles. It would have "failed to fall off his chair" upon hearing the news, it is true that this is the kind of events we would like to hear more often. The symphony could not anything but a wonderful song of farewell, but Salonen has managed to avoid most pitfalls posed by such a score.

Write Fourth Symphony is a challenge: Lutosławski had not failed to remark: "It's a matter of form. I thought of forms collected over large scales. I've never been comfortable with the tradition Brahmsian. In Brahms, we are two main movements, the first and fourth. In my experience of hearing it too. Too much substance for a given time. I think the ideal relationship is in the symphonies of Haydn. And I thought that maybe I could find a way to unite these two different modes. My solution is to consider the first movement as a preparation for the main movement. The first movement must engage, engage, it must "intriguing." But it should not give any satisfaction. It should leave us on our end, and even impatient. It's the perfect time to introduce the main movement. Here is my solution, and I think it works pretty well [1] . Pretty good? Yes, rather.

Indeed, the Fourth seems to be composed of several sections that most movements, starting on a very large, very calmed, almost endless string phrase, sentence ambivalent, almost Mahler of by its appearance, but devoid of nostalgia or sentimentality. It is also indeed the strength of this symphony that failing a song of farewell is nonetheless taking leave of this world. His orchestration is a reflection of its construction: sleek, surprising, and to use the term Lutosławski, "intriguing." The composer may have conceived two consecutive movements, they are nevertheless broken many times and sparing of short moments reserved for solo improvised piano and violin but mostly wood, part of which is formidable. But the top part is undoubtedly the huge unison whose journey is punctuated by so terrifying brass. A writing lesson, an economy means worthy of the greatest. The conclusion, grating, is even more dramatic.

This partition, Salonen seized on it with greed that characterizes this obsession and clarity found in both his conducting and his own knowledge of writing (that's why differentiate from each other is sort of pointless). Conductivity (as defined energy term, but also taking into account the movement) is so full justice to this demanding music, with multiple points of tension. No loosening, and certainly not in the introductory phrase of the strings, hence the term electricity is ideal. It is also at the pace that we find the best Salonen: shimmering percussion, brass scansion (but not), hard work vanishing points personalized isolated by a piano, and the charm is working twenty-two minutes during, relentless and superlative (Helen Collar we had not given better interventions soloists long).

much for this recreation of a rarely performed symphony. Strangely, we will still think much of Brahms, some form of symphony, while writing requirement and pons. Lutosławski created a template and completed.

Vincent Haegele

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[1] Interview W. Lutosławski given to NZ (1992), taken by the publisher of the composer.