Π / Π Π Π
- Paris, Théâtre des Champs-Elysees, January 24, 2011
- Chopin Ballade No. 1 ground minor, op. 23; Ballad No. 2 in F major, op. 38; Ballade No. 3 in the flat major, op. 47; Ballade No. 4 in F minor, op. 52 - Liszt, extract the Second Year Pilgrimage (VII), after a reading of Dante Sonata quasi fantasia - Schumann Symphonic Etudes , op. 13
- Lise de la Salle, piano
For his first recital at the Champs-Elysees, our national Lise, who might not even close to being a prophet in his country, managed to give a recital more senior administrators and non-standard even than expected, including the volatility in the level of it - the volatility had fortunately not led to crash here. You can not really talk about surprise, about the whole: in this case, the inequality of success on both sides of the concert was, in my opinion, more than expected. What was the least that this passage by almost all states of the success and failure, even within parties and sometimes even within the works. In six concerts Lise I've never had this experience of extreme fluctuations, which has had some merit, that of proving once and for all against the advice of many doctors stunned that I'm not heart. And yet, against my expectations, against the pressure of these Elysian debut, everything had started the best of ways, the best first Ballade I heard Lisa, live (twice), and radio disc included. Two observations common to all four ballads needed elsewhere: I think they have all been Châtelet played faster than a year ago, and certainly faster than disk - this impression is somewhat less clear for the second. And they were all taken with too much risk to a degree readily excessive, as another way to gauge the issue.
What is peculiar to the first is the gain discursive fluidity across the whole work. Page by page, there will have been snags in the most unusual move, producing supplements of edges in the coda sometimes annoying, but nothing insurmountable. In contrast, nearly everything above is attractive in the redesign of metronomic proportions and relations, especially the development leading to the main theme and main theme of the statement itself: at this time we thought she had finally found the immediacy of your major Chopin who fled far. She played quite well this ride before, and this time the result is almost fully consistent with what one would expect an ideal LDLs Chopin.
But hope does not take long, and its power ballads, which I was never convinced, do not follow the slope of happy simplicity. It rather the opposite, the original wording of the ballad in his major appearing more complicated than before: it all comes down to the bottom of this problem with the complication of Chopin Lisa, because the piano is not the problem - it should be the solution elsewhere. We foresee quite in the style she always shows to ring with the most wealth possible presto sections, including the end of the second and its progression to the double trills, however, the last two pages, which are without doubt one of the most appalling composed by Chopin, fleeing really go too far forward and also next dimension of grace and ease that is the only one to provide depth. I can not make a criticism, not even being sure there is more than three pianists in the world capable of doing.
However, I was really disappointed by the third Ballade because it the least successful in the discus and the Chatelet already had seemed much better when she had given back (with the first) in Epernay in April. But Lise falls through its worst here in Chopin: complexifications empty line in the first two pages, then permanent reminders of the speech, at once Dynamic painful reinforcement, from the eruption of the second theme, and the second statement it the first cartoon in addition, also in complete disregard of the alignment decrescendos. I'm usually very little dynamic look at the indicators of Chopin, especially when it comes to all of them down but here the problem is reversed, and especially those decrescendos then say exactly what that they mean, that each group of eighth is an implication and not an assertion, and the indications here are dynamic signals and not breathing intensity. As for the coda, it suffers again this WinCE game - so that loss of domination harmonic - which is yet little Lise customary.
The 4th is much better but has not convinced me that much Chatelet, failing to keep its end to end minerality and austerity - the only slow ballad where she adopt generally seems to be a fallback convincing, and she has dropped a bit this time. It's a shame, because here Lise, in the design, found a viable parade lack of immediacy, of classicism in substance from his playing Chopin. The quality piano that can not happily ever present : Beautiful stamp on the notes made (its midrange is still as rich and sensual), flexible hinge of the left hand, nobility and expressive control lines running the last section, in short everything a little remains inexplicably to fail in its 3rd. I think it's from the transition m. 80-99 as the tempo began to ease, as it would have been desirable to be covered in the previous two ballads: the tension is lost a little, but it is dramatic, but not without frustration. The coda lacks much distinction as the previous, unfortunately (the last page of the first Ballad apart). The sequence of Chopin
LDLs Will it continue and we can still hope to get better, or will it be close this season? I do not know, but I tend to think that this is not the ballads that will help grow and reveal the talent of Lisa. An easy shortcut is to put it right back on the lack of maturity. This is not false, if one adds that it is not proportional to the symbolic meaning or charge works. With the ballads, I do not think that Lisa has aimed too high, but I think she has evil purpose. His gift more amazing is that discourse, construction, and here she handles a subject that refuses to be stacked step, which only accepts immediate diachrony. Other peaks at least as intimidating to me seem more desirable for and by it: whether it is Mozart, it plays beautifully, whether the great sonatas of Beethoven, Brahms those, or Bach, so in short, where the strength of his head will not have to fight against music decidedly intolerant of conquest, who invariably refuses to be rebuilt and reinvented, who wants to appear as pure harmonic motion.
I expected more from his Liszt, because she has always played very well Liszt, and that the major forms generally succeed him, and almost did not disappoint. Margin exists, certainly, but at least it allows Dante (not a discovery) through arbitration between classicist and romantic demiurge. Needless to say which side of the balance, but what is interesting here is that taking risks assumed by Lise phenomenal pay much more than in almost all the ballads together. Of course, it's sometimes too much, too fast, too strong, but this time it is not very serious because the overinvestment Finally done with the body shape, and quite beautifully. This is a Dante rather fast but fairly well balanced in general, and if it stands, is largely due to a force of characterization always on the edge of the "trick" of how to ( Horowitz, often), but that passes and may even touch, because sincerity is palpable. The first two arpeggios the flat and if are minor but striking a noble emphasis, all downhill from broken octaves at the end of the first presentation of a pleasing Satanism. Joy to the piano sound ways the most extreme pleasure to see and hear, even if it is legitimate to ask if this also will not win to be made identically but with a distance, a form of malignancy most successful: for example in the section tremolo (c. 189-198), to put an emergency second degree in the left hand, sarcasm, and then avoid the rush to the recapitulation. Generally, if the handling instrumental seduced by a zeal justified the means, the ear could do more here: creativity, harmony and pure interventionism have the opportunity to live here. But given the way his wonderful St. Francis has evolved more recently she played the studies together, there is much optimism in this form of execution. His
Symphonic Studies, I have said many times here, is a real shock piano that I had in my life concert, not because I discovered that the pianist was able to but because I heard this last work as little more expensive as I wanted to hear, and almost better than I dreamed of hearing, because the outcome may well be unprecedented LDLs fact that the five posthumous variations. Compared to drafts that I listened to (the recital of Epernay and a band concert in Copenhagen also wonderful), it looks good but not this some weaknesses mainly distributed on the ends of the cycle. The theme is a bit overflown, and therefore too close to what is unfortunately accustomed to hear; study XI slightly short of breath, especially since the middle voice does not sing with as much ; intensity she could do, and the final breath he really cut and progressing to regrettably energy, while Lisa is quite capable of deploying the love song that is missing from almost all others. Consequence of a program of physical density exaggerated, and LDLs has still not acquired the necessary business to adjust the shape of its commitment to the waning of his lucidity. Add to that the fragility of episodic behavior in the harmonic study IX, and some loss of control of timbre, as in the second section of the study VII. Ultimate reserve, Study IV, pugnacious to a fault and lacks the relentless not necessary.
The rest is roughly in line Expectations (enormous) that I founded, and shows almost the best face of Lisa, the one where his head and spontaneity of his ear pulling in the same direction and extract the very best piano of his faculties. There are always those details whose relief was heard as the capital, as this admirable treatment of double triplets left hand in the first study, triplets usually simply inaudible. This is a detail section of the great imagination that unfolds in these studies , both far and near to the litany of trivial representations of Schumann's whimsical, loving, unpredictable, flush skin, unstable, blah, blah, blah, blah: what is kept here is the important thing is to say, the dimension fantastic, scary, supernatural. The imbalance is the confrontation of extreme states, not the internal characterizations, being strict rectitude, the above reservations aside, which holds the main building - prior inconsistent once you affix the posthumous. greatest achievements, from this point of view, are the same as two concerts that I had already heard: Study V, perfectly balanced over time, and which avoids the annoying repetition of the agreement left hand on the first beat of the recovery (this is more than an anecdote, because the lack of text is coarse, inexplicably, very common); Study II, incredibly poignant at about the same as being a bit of the most poignant pages composed by Schumann - and that irresistible decomposition of the last appoggiatura arpeggio left hand!. And the highlight of the show (too) whereas in my case, the entrenchment of the study to the fifth posthumous X, with this extraordinary juxtaposition (illustrated below) to crossfade the agreement mid the major re flat major (suggested by Schumann in the main manuscript). But the high point of this version (ie the concert), for me, was the second posthumous (played like the others except the fifth between the two studies, therefore, between III and IV): there, really, for two minutes , intended to be the best possible Lise, one that draws tears, because his sense of leadership is what it is, and because here the piano approach that of the greatest. His
bis have been most successful and original than usual. I am basically reluctant to listen to the transcription of Isolde's death, which is the only one I do not like Liszt, and I think almost unplayable except to remove all the dynamics, eventually. Naturally, this was not the case here, and for a theatrical performance and narrative as hell, one can certainly not be better. The nocturne posthumous C sharp minor by Chopin seems better suited to Lise that mid minor and seems to accompany Chopin that resists simple: the better, and besides, she plays the fascinating early version ( almost never given) this evening, with its central section in all crooked and overlapping 3 / 4 and 4 / 4 which was rightly alarmed the worthy editor of the time. And finally, a Dance of Puck! I had no idea at all Lise play Debussy, but my faith, for a first, is very encouraging.
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Conditions 2.0 France.
0 comments:
Post a Comment