Ω
- Paris, Theatre du Chatelet, February 4, 2011
- Messiaen A Smile - Salonen Dona Nobis Pacem; Insomnia - Ligeti, Requiem
- Barbara Hannigan, soprano
- Virpi Räisäinen-Midth, mezzo
- Choir Master and Radio France, Sofi Jeannin, direction
- Virpi Räisäinen-Midth, mezzo
- Choir Master and Radio France, Sofi Jeannin, direction
- Orchestre Philharmonique de Radio France
- Esa-Pekka Salonen, executive
- Esa-Pekka Salonen, executive
If there is a concert of Attendance 2011 that calls for little comment, is that latter, which opened the twenty-first festival gloriously by the new return Esa-Pekkainen. , And this, especially since it is fortunately among those whose film is still available (below) And yet it mildly Salonen was expected, was it for execution if rare Ligeti Requiem, as the messiah. Even his most important (at my eyes anyway) were not included in this inaugural program. And even so, by a strange paradox, this edition of Attendance began with a concert including creating a single (global, certainly), in this case a piece of ten minutes for children's choir ... And yet, despite all odds, the feverish desire of the evening, what a shock! Maybe it was there, indeed, the reverse phenomenon of listening to one having left me a little about my hunger during the concert in London ...
There was the start of concert something very similar with respect Salonen at the beginning of the head of Philhar 'at this concert already legendary 19 December 2008 - we do not want to see that as the beginning of a long and beautiful love story. Between what Messiaen and Ravel pushing it in ways very similar boundaries of elegance, of the immateriality of musical gesture in music that are eager to be heard with meaning, we feel able to revive twice the same miracle. Salonen in the direction of A Smile can not be described as anything but a miracle. By a curious coincidence, this beautiful piece of homage to Mozart will almost Messiaen was given three times in Paris during the 2008-2009 season, by Jonathan Nott and the Opera Orchestra, Daniele Gatti for his enthronement as head of the National, and finally by Marek Janowski and Orchestre de Paris . There were good things in those, especially in Nott and Janowski, but nothing, absolutely nothing comparable with this lesson evidence, simplicity of tone, accuracy and consistency of beaten, harmonic sophistication as if a one ear, that of the head, driving the total growth. The last four pages, from this point of view, are a kind of limit point of a conductor, Salonen like to offer to (re) discover regularly : This point is very suitable for Salonen, being one in which one gains the impression that the chef seems to be rather a (large) leading pianist ideally its polyphony.
The first performance of Dona Nobis Pacem for children's choir, the Master Radio-France, is a nice (half) surprise. It was the first time, as many people, I heard of Salonen struggling with minimal means (in theory at least) of writing, and the result appears very successful here, even flatter the image of music somewhat naive - but is not this part of By the way, with these children of our time asking forgiveness for sins they did not commit? The play is in any case a real interest in its major development, which uses the harmonic motion of departure in an ostinato moving under different treatment (reversal, alteration) from one group to another, without forcing the individualized voice than reason. What emerges is a touching expression transparency in its movement falsely calm and steady, the whole being, not surprisingly, defended brilliantly by Sofi Jeannin and toddlers.
Insomnia is one of those works that have marked the comeback of composer Salonen discography on the scene, Deutsche Grammophon (his previous album for Sony being passed unnoticed when it contained more pages yet remarkable). I recall having discovered this record, in 2004, and have found as many people as the composer could not get in right ankle. Not only would I have changed radically over time, but I have changed my mind about the works in question (except for the most part, on Wing on Wing ). French for a first, at least Will have been a little been sorely lacking in the essence of the contemporary Parisian scene: the conflict and passion! The brief silence following the conclusion of Insomnia was broken by an eloquent "is preposterous," the cheers mingling then noisily the "scandalous!". Hope for the best start of the festival of ways: the music writing is not dead, and any given partition in creation is not doomed to be received by the critical success more or less polite and consensual. And indeed, this partition there, so it is certainly not the deepest of its author, is not consensual - the U.S., where we accept very well the coexistence of this music with the mainstream post serial-Germanic, perhaps, but on the Old Continent, certainly not. Because it exhibits a peculiar insolence that is common to all pages of orchestral Salonen since overhaul of Giro and more from THE Variations: a discursive progression clearly intelligible, organic in nature and mainly concerned with the specific time to listen, a harmonic framework for the primary catalyst formal (pedal shifting the tone of mi), and use of virtuosity turned to the highlighting of lines rather than burst.
The passage I show here, one of the most remarkable work is very representative of this much-welcome attention paid to the duration of intelligible expression of an idea: especially in the case, as here, where the idea is extremely simple, and emerges from a host of other. One understands better then listening to the reading of this passage (232-251 m) tension has been felt a contradiction between the young Salonen Sibelius dedicated to the cult, which he could not be solved by , and appetite natural jumping directly from Beethoven to the forefront of the twentieth. What was a contradiction here seems to have partially solved in the integration of an obsessive motivic treatment and overly simple to process complex, dense and, admittedly, a little chatty (always these overlays virtuoso solos strings in the first section). Evolution is still ongoing, I will get about Nyx, but in this performance clearly more accomplished than in the recording of Stockholm, led by a great evening of Roussev including in said passage, visceral listening suggests that Insomnia far outweighs the spectacular nature of his naively formal draft.
I have nothing particularly intelligent to say about the second part of what you can (re) view and (re) listen above. Moment of grace, Sternstunde , Defining Moment in short, where we hoisted the same heights as the greatest achievements Salonen in Paris in recent years (the first concert of the complete Sibelius with Los Angeles, 2008 meeting with the Philharmonie ', only the indescribable Wozzeck last year with the Philharmonia remaining momentarily out of competition, perhaps, but because of the work too. Hannigan was Hannigan Räisäilen -Midth has managed the feat unlikely to stand up to him and even come in complete fusion with her from beginning to end - listen to the Tuba mirum! Bursar effects of edges, perhaps more than we expected, Salonen eve foremost the safety of the improbable chorus, even perhaps slightly biased with the strict prohibition and permanent portamentos comfort ( dare I say) enacted by Ligeti. His Lacrimosa is a continuation of an extraordinary climax to another even though he refuses to use easy highlighted the orchestra (like trumpets), to focus only on the consistency of flow rhythmic because if Ligeti's Requiem as an example is rarely explicit primacy of harmonic phenomenon in music, the worst difficulty once the thing is in place maybe to enhance the precision of rhythmic relations (in the broader sense, the small and large temporal) has Ligeti thought: this is again the master of organic spoke, without forcing anything, without trying to win by not dramatizing anything, seizing every minute to the terror of a strong hand, but peaceful.
Theo Belaud
The first performance of Dona Nobis Pacem for children's choir, the Master Radio-France, is a nice (half) surprise. It was the first time, as many people, I heard of Salonen struggling with minimal means (in theory at least) of writing, and the result appears very successful here, even flatter the image of music somewhat naive - but is not this part of By the way, with these children of our time asking forgiveness for sins they did not commit? The play is in any case a real interest in its major development, which uses the harmonic motion of departure in an ostinato moving under different treatment (reversal, alteration) from one group to another, without forcing the individualized voice than reason. What emerges is a touching expression transparency in its movement falsely calm and steady, the whole being, not surprisingly, defended brilliantly by Sofi Jeannin and toddlers.
 |
| NB. To win room, and because the passage makes sense only in its near completeness, violins 1 and 2 that never play together except the last two steps of the extract are reduced on a scope, and percussion, as an example. |
Insomnia is one of those works that have marked the comeback of composer Salonen discography on the scene, Deutsche Grammophon (his previous album for Sony being passed unnoticed when it contained more pages yet remarkable). I recall having discovered this record, in 2004, and have found as many people as the composer could not get in right ankle. Not only would I have changed radically over time, but I have changed my mind about the works in question (except for the most part, on Wing on Wing ). French for a first, at least Will have been a little been sorely lacking in the essence of the contemporary Parisian scene: the conflict and passion! The brief silence following the conclusion of Insomnia was broken by an eloquent "is preposterous," the cheers mingling then noisily the "scandalous!". Hope for the best start of the festival of ways: the music writing is not dead, and any given partition in creation is not doomed to be received by the critical success more or less polite and consensual. And indeed, this partition there, so it is certainly not the deepest of its author, is not consensual - the U.S., where we accept very well the coexistence of this music with the mainstream post serial-Germanic, perhaps, but on the Old Continent, certainly not. Because it exhibits a peculiar insolence that is common to all pages of orchestral Salonen since overhaul of Giro and more from THE Variations: a discursive progression clearly intelligible, organic in nature and mainly concerned with the specific time to listen, a harmonic framework for the primary catalyst formal (pedal shifting the tone of mi), and use of virtuosity turned to the highlighting of lines rather than burst.
The passage I show here, one of the most remarkable work is very representative of this much-welcome attention paid to the duration of intelligible expression of an idea: especially in the case, as here, where the idea is extremely simple, and emerges from a host of other. One understands better then listening to the reading of this passage (232-251 m) tension has been felt a contradiction between the young Salonen Sibelius dedicated to the cult, which he could not be solved by , and appetite natural jumping directly from Beethoven to the forefront of the twentieth. What was a contradiction here seems to have partially solved in the integration of an obsessive motivic treatment and overly simple to process complex, dense and, admittedly, a little chatty (always these overlays virtuoso solos strings in the first section). Evolution is still ongoing, I will get about Nyx, but in this performance clearly more accomplished than in the recording of Stockholm, led by a great evening of Roussev including in said passage, visceral listening suggests that Insomnia far outweighs the spectacular nature of his naively formal draft.
I have nothing particularly intelligent to say about the second part of what you can (re) view and (re) listen above. Moment of grace, Sternstunde , Defining Moment in short, where we hoisted the same heights as the greatest achievements Salonen in Paris in recent years (the first concert of the complete Sibelius with Los Angeles, 2008 meeting with the Philharmonie ', only the indescribable Wozzeck last year with the Philharmonia remaining momentarily out of competition, perhaps, but because of the work too. Hannigan was Hannigan Räisäilen -Midth has managed the feat unlikely to stand up to him and even come in complete fusion with her from beginning to end - listen to the Tuba mirum! Bursar effects of edges, perhaps more than we expected, Salonen eve foremost the safety of the improbable chorus, even perhaps slightly biased with the strict prohibition and permanent portamentos comfort ( dare I say) enacted by Ligeti. His Lacrimosa is a continuation of an extraordinary climax to another even though he refuses to use easy highlighted the orchestra (like trumpets), to focus only on the consistency of flow rhythmic because if Ligeti's Requiem as an example is rarely explicit primacy of harmonic phenomenon in music, the worst difficulty once the thing is in place maybe to enhance the precision of rhythmic relations (in the broader sense, the small and large temporal) has Ligeti thought: this is again the master of organic spoke, without forcing anything, without trying to win by not dramatizing anything, seizing every minute to the terror of a strong hand, but peaceful.
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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