tag:blogger.com,1999:blog-103510222024-03-17T06:06:08.609-04:00The PAAVO ProjectTHE "IN" Place for the Most Up-to-Date News about Conductor Paavo JärviPrimaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.comBlogger3066125tag:blogger.com,1999:blog-10351022.post-37441020541570261902024-03-17T06:05:00.003-04:002024-03-17T06:05:16.860-04:00постигая тайны вселенной малера<div class="page" title="Page 1"><table style="border-collapse: collapse;"><tbody><tr><td style="border-bottom-color: rgb(0, 0, 0); border-left-color: rgb(0, 0, 0); border-right-color: rgb(0, 0, 0); border-style: solid; border-width: 0pt;"><div class="layoutArea"><div class="column"><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 10pt; font-weight: 700;">14.03.2024 </span><span style="font-family: Roboto; font-size: 10pt;">Автор записи </span><span style="font-family: Roboto; font-size: 10pt; font-weight: 700;">Виктор Александров Оставить комментарий</span></span></span></p><p><span style="background-color: black; font-family: Roboto; font-size: 15pt;"><span style="color: white;">Знаменитый эстонский дирижер Пааво Ярви открыл запись цикла симфоний Густава Малера вместе с Цюрихским Тонхалле оркестром</span></span></p><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">Перед началом концерта состоялась творческая встреча международных журналистов и небольшая экскурсия по Тонхалле</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Цюрихский аудиториум</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">открытый в </span><span style="font-family: Roboto; font-size: 12pt;">1895 </span><span style="font-family: Roboto; font-size: 12pt;">году великим Иоганнесом Брамсом в качестве дирижера</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">снова распахнул свои двери публике в </span><span style="font-family: Roboto; font-size: 12pt;">2021 </span><span style="font-family: Roboto; font-size: 12pt;">году после четырех лет капитального ремонта</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Тонхалле по праву считается одним из старейших залов в Европе</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">наряду со знаменитым Музикферайном в Вене и Консертгебау в Амстердаме</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Здесь абсолютно ясная акустика</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">чему</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">несомненно</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">способствует декор деревянных элементов</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">в том числе колонн</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Компактное акустическое пространство зала имеет свои преимущества</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">характерные для записи масштабных симфоний Густава Малера и Антона Брукнера</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Именно эти проекты воплощает в жизнь музыкальный руководитель и главный дирижер оркестра Пааво Ярви</span><span style="font-family: Roboto; font-size: 12pt;">.</span></span></span></p><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">Старт записи задала Пятая симфония Малера</span><span style="font-family: Roboto; font-size: 12pt;">.</span></span></span></p><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">Специальная гостья вечера </span><span style="font-family: Roboto; font-size: 12pt;">— </span><span style="font-family: Roboto; font-size: 12pt;">Кристина Гомес Годой </span><span style="font-family: Roboto; font-size: 12pt;">— </span><span style="font-family: Roboto; font-size: 12pt;">испанская гобоистка</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">солистка оркестра Государственной капеллы Берлина</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Несколько лет назад она произвела фурор с коллективом </span><span style="font-family: Roboto; font-size: 12pt;">«</span><span style="font-family: Roboto; font-size: 12pt;">Западно</span><span style="font-family: Roboto; font-size: 12pt;">-</span><span style="font-family: Roboto; font-size: 12pt;">восточный диван</span><span style="font-family: Roboto; font-size: 12pt;">» — </span><span style="font-family: Roboto; font-size: 12pt;">оркестра Даниэля Баренбойма</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">среди прочих молодых виртуозов</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Кристина Гомес Годой дебютировала с Цюрихским оркестром Тонхалле в Концерте для гобоя до мажор</span><span style="font-family: Roboto; font-size: 12pt;">, KV 314 </span><span style="font-family: Roboto; font-size: 12pt;">Вольфганга Амадея Моцарта</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">к которому постоянно придумывает необычные сольные каденции</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Звук Кристины отличался естественной лёгкостью</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">прозрачностью и ювелирной отделкой нюансировки</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Её </span><span style="font-family: Roboto; font-size: 12pt;">«</span><span style="font-family: Roboto; font-size: 12pt;">вокализы</span><span style="font-family: Roboto; font-size: 12pt;">» </span><span style="font-family: Roboto; font-size: 12pt;">с оркестром под чутким управлением Пааво Ярви пленили созерцанием и нежной кантиленой</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Гармония концерта Моцарта увенчалась заслуженным бисом </span><span style="font-family: Roboto; font-size: 12pt;">— </span><span style="font-family: Roboto; font-size: 12pt;">чарующей транскрипцией знаменитого Танца духов из оперы Глюка </span><span style="font-family: Roboto; font-size: 12pt;">«</span><span style="font-family: Roboto; font-size: 12pt;">Орфей и Эвридика</span><span style="font-family: Roboto; font-size: 12pt;">».</span></span></span></p><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">Пятая симфония Густава Малера с ее траурным маршем воспринималась как скорбная эпитафия</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Интерпретация Пааво Ярви оказалась очищенной от штампов и стереотипов предыдущих концертных исполнений и записей этого великого оркестрового полотна</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Ярви неоднократно дирижировал эту симфонию</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">в том числе с оркестром Франкфуртского радио</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">с которым записал весь симфонический цикл Малера на </span><span style="font-family: Roboto; font-size: 12pt;">DVD. </span><span style="font-family: Roboto; font-size: 12pt;">Предлагая очередное собственное прочтение сочинения</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">Пааво Ярви неизменно следовал авторским ремаркам</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">точным темпам</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">но при этом как бы обнажал изнутри структурную и</span></span></span></p></div></div><span style="background-color: black;"><span style="color: white;"><img alt="page1image3310192" height="0.750000" src="blob:https://www.blogger.com/c820171b-ca2f-4740-8b00-940d1ced6fda" width="95.320309" /> <img alt="page1image3312896" height="0.750000" src="blob:https://www.blogger.com/45fb020e-9e0a-4971-8e83-1ebf0114a48d" width="107.156246" /> <img alt="page1image3313312" height="299.999987" src="blob:https://www.blogger.com/4661cc74-701b-4f5b-ba93-f5baea371a04" width="449.999981" /></span></span></td></tr></tbody></table><div class="layoutArea"><div class="column"><p><span style="background-color: black; font-family: Times; font-size: 8pt;"><span style="color: white;">file:///Users/nataliajugheli/Downloads/Постигая тайны Вселенной Малера - musicseasons.html</span></span></p></div><div class="column"><p><span style="background-color: black; font-family: Times; font-size: 8pt;"><span style="color: white;">1/3</span></span></p></div></div></div><div class="page" title="Page 2"><div class="layoutArea"><div class="column"><p><span style="background-color: black; font-family: Times; font-size: 8pt;"><span style="color: white;">17/03/2024, 10:02 Постигая тайны Вселенной Малера - musicseasons</span></span></p></div></div><div class="section"><div class="section"><div class="layoutArea"><div class="column"><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">жанровую основу симфонии</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Похоронные процессии</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">плачи</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">танцевальные ритмы</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">национальный фольклор </span><span style="font-family: Roboto; font-size: 12pt;">– </span><span style="font-family: Roboto; font-size: 12pt;">все это очерчено предельно ярко и выпукло и было вынесено дирижером на первый план</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Ярви интуитивно ощущает бьющийся пульс малеровской симфонии</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">властно ведя за собой оркестр и уделяя внимание природе звука</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Партитура симфонии Малера для него представляет собой единое целое</span></span></span></p><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">На уровне исполнения необходимо отметить великолепную игру солирующего валторниста Иво Гасса</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">поистине необыкновенное в третьей части симфонии </span><span style="font-family: Roboto; font-size: 12pt;">– </span><span style="font-family: Roboto; font-size: 12pt;">австрийском лендлере</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Не менее превосходным был трубач Филипп Литцлер</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">порадовавший отменным филигранным звучанием</span><span style="font-family: Roboto; font-size: 12pt;">. </span><span style="font-family: Roboto; font-size: 12pt;">Удивительно сбалансированная струнная группа оркестра Тонхалле резонировала ясностью и величием</span><span style="font-family: Roboto; font-size: 12pt;">.</span></span></span></p><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">Пааво Ярви убежден</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">что в материале Пятой симфонии Малера сокрыто множество идей и смыслов</span><span style="font-family: Roboto; font-size: 12pt;">: </span><span style="font-family: Roboto; font-size: 12pt;">Пааво Ярви</span><span style="font-family: Roboto; font-size: 12pt;">:</span></span></span></p></div></div><div class="section"><div class="layoutArea"><div class="column"><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 15pt;">«</span><span style="font-family: Roboto; font-size: 15pt;">Эта музыка о жизни</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">обо всем бренном на земле</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">Какая еще симфония начинается с Траурного марша</span><span style="font-family: Roboto; font-size: 15pt;">? </span><span style="font-family: Roboto; font-size: 15pt;">Это уже особый штрих в истории музыки</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">Для меня Пятая Малера </span><span style="font-family: Roboto; font-size: 15pt;">– </span><span style="font-family: Roboto; font-size: 15pt;">одна из самых важных симфоний его творчества</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">Марш иллюстрирует похороны солдат</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">это не траурное шествие</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">но музыка при этом внутренне трагическая</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">без изысков сентиментальности</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">Оттуда уже следует и еврейская музыка Малера</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">австрийские лендлеры</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">венский фольклор</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">Что скрывается за маской этой симфонии</span><span style="font-family: Roboto; font-size: 15pt;">? </span><span style="font-family: Roboto; font-size: 15pt;">Чувствуется</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">что Малер ищет и рассказывает очень интимное и персональное</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">Но</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">как всегда в музыке</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">очень трудно выразить чувства словами</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">По</span><span style="font-family: Roboto; font-size: 15pt;">-</span><span style="font-family: Roboto; font-size: 15pt;">моему</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">Малер необычайно ловко использует способ не объяснять нам</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">а точно сказать</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">где мы находимся</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">Музыка свадьбы</span><span style="font-family: Roboto; font-size: 15pt;">, </span><span style="font-family: Roboto; font-size: 15pt;">похорон или мотивы лендлера </span><span style="font-family: Roboto; font-size: 15pt;">– </span><span style="font-family: Roboto; font-size: 15pt;">нам это все понятно и мы сразу находим себя в этом мире</span><span style="font-family: Roboto; font-size: 15pt;">. </span><span style="font-family: Roboto; font-size: 15pt;">При этом в своей музыке Малер не боится оставаться очень гротескным</span><span style="font-family: Roboto; font-size: 15pt;">».</span></span></span></p></div></div></div><div class="layoutArea"><div class="column"><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">Записи цикла симфоний Густава Малера будут продолжаться в период с </span><span style="font-family: Roboto; font-size: 12pt;">2024 </span><span style="font-family: Roboto; font-size: 12pt;">по </span><span style="font-family: Roboto; font-size: 12pt;">2029 </span><span style="font-family: Roboto; font-size: 12pt;">год и выпущены затем на лейбле </span><span style="font-family: Roboto; font-size: 12pt;">Alpha. </span><span style="font-family: Roboto; font-size: 12pt;">Первая и Седьмая симфонии будут записаны в формате </span><span style="font-family: Roboto; font-size: 12pt;">live. </span><span style="font-family: Roboto; font-size: 12pt;">Ну а уже осуществленную аудиозапись Пятой симфонии можно будет услышать в </span><span style="font-family: Roboto; font-size: 12pt;">2025 </span><span style="font-family: Roboto; font-size: 12pt;">году</span><span style="font-family: Roboto; font-size: 12pt;">.</span></span></span></p></div></div><div class="layoutArea"><div class="column"><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p></div></div><div class="layoutArea"><div class="column"><p><span style="background-color: black;"><span style="color: white;"><span style="font-family: Roboto; font-size: 12pt;">Фото предоставлены пресс</span><span style="font-family: Roboto; font-size: 12pt;">-</span><span style="font-family: Roboto; font-size: 12pt;">службой оркестра Тонхалле </span><span style="font-family: Roboto; font-size: 12pt;">(</span><span style="font-family: Roboto; font-size: 12pt;">Цюрих</span><span style="font-family: Roboto; font-size: 12pt;">, </span><span style="font-family: Roboto; font-size: 12pt;">Швейцария</span><span style="font-family: Roboto; font-size: 12pt;">) </span><span style="font-family: Roboto; font-size: 12pt;">Авто фото </span><span style="font-family: Roboto; font-size: 12pt;">— Alberto-Venzago</span></span></span></p><p><a href="https://musicseasons.org/postigaya-tajny-vselennoj-malera/" style="background-color: black;"><span style="color: white;">https://musicseasons.org/postigaya-tajny-vselennoj-malera/</span></a></p></div></div></div></div></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-26828962704779561282024-03-02T15:29:00.000-05:002024-03-02T15:29:21.724-05:00Tonhalle-Orchester Zürich New Mahler Cycle with Paavo Järvi<div style="line-break: after-white-space; overflow-wrap: break-word;"><div><b style="background-color: black;"><span style="color: white;">Lorena Jimenez </span></b></div><div><b style="background-color: black;"><span style="color: white;">Encuentros Reportaje</span></b></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">Zürich, the capital of the Swiss canton that bears its name, is much more than the financial engine of the small Alpine country. It is the city that saw the birth of Dadaism in the famous and now defunct Cabaret Voltaire, and where Alban Berg's stunning Lulu and Paul Hindemith's revolutionary Mathis der Maler were premiered. The Swiss city where the river Limmat flows northwest into the lake (Zürichsee) is also the home of the iconic Tonhalle-Orchester, Switzerland's oldest symphony orchestra, which has been thrilling music lovers from all over the world since 1868 and is based in the Tonhalle on Lake Zürich.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">In the renovated Grosser Saal, the central concert hall internationally renowned for its acoustic excellence, the Estonian conductor Paavo Järvi, the eleventh chief conductor and current music director (who has renewed his contract until 2029), inaugurated the new cycle of Mahler's symphonies with the Tonhalle-Orchester Zürich (TOZ) this February.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">" In Mahler the subtext is very important, i.e. what happens between the notes, as well as the text, which needs to be carefully studied. Mahler was surely the best conductor of his time and he knew perfectly well how to indicate everything in the score from the conductor's perspective, so the first option is always to trust and follow his indications".</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">With these words Järvi describes some of his Mahlerian philosophy, a composer with whom he began his relationship by listening to the versions of Szell, Reiner, Karajan, Bernstein and Furtwängler on the vinyls his father brought home, before experiencing first-hand the live performance of his music when he was studying at the Curtis Institute of Music in the United States. "Ever since I first conducted a Mahler cycle in Frankfurt, I always have the feeling that I can go a step further and explore another level. And now, with the Tonhalle-Orchester Zürich, I have musicians at my side who can really take this step, because they understand this kind of depth and virtuosity, and they understand the aglogic to approach Mahler's inner world," adds Järvi, who will be immersed in this new symphonic project with the Swiss orchestra until 2029.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><div><b style="background-color: black;"><span style="color: white;">Tonhalle Zürich - Grosser Saal </span></b></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">Coinciding with the start of this new Mahler-Zyklus with Paavo Järvi, Ilona Schmiel, Intendantin since 2014 of the Tonhalle-Gesellschaft Zürich, also used the meeting with the invited international journalists to tell us about the sonic possibilities that the current Tonhalle offers the orchestra with its renewed acoustics:</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">"Two and a half years after the reopening of the hall, we can now really experience this increasingly transparent and open acoustics, which allows us to easily hear a piano or a pianissimo, as well as reaching a great sound level. And I believe that the orchestra is in a moment of partnership with Paavo to offer a new and personal interpretation of Mahler, in its own concert hall".</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">And the Intendantin is not without reason, because in the reading of Mahler's Fifth that Paavo Järvi presented on 2 February, even the Tonhalle musicians were arranged differently from the American-style arrangement used by David Zinman. Järvi opted for a more German approach to the Besetzung and was able to make the most of all the sonic possibilities offered by this European orchestra with a unique and extraordinary Klang, making all the sections shine, especially the brass in the Trauermarsch and the strings (truly excellent) in the Adagietto.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><div><span style="background-color: black;"><span style="color: white;">This evening's programme also included a performance of Mozart's Oboe Concerto, with a smaller orchestra and Cristina Gómez Godoy as soloist. The Spanish oboist, who has been principal oboe of the Staatskapelle Berlin since 2013, gave a brilliant performance, displaying great technical mastery, stylistic knowledge and expressiveness. And, at the audience's insistence, he returned to the stage to play an arrangement of Gluck's Orfeo ed Euridice as a tip.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">Mahler's Fifth with Järvi, much applauded by the audience, was recorded live by Alpha's technicians for a subsequent recording release in spring 2025, but, before then, further releases with Mendelssohn, Bruckner and Orff will follow. And last but not least: the Tonhalle-Orchester Zürich will be on tour in Spain next October, with concerts in Madrid, Barcelona, Zaragoza, Alicante... <a href="https://www.ritmo.es/encuentros/tonhalle-orchester-zurich">https://www.ritmo.es/encuentros/tonhalle-orchester-zurich</a></span></span></div></div></div></div></div><div class="adL" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; line-break: after-white-space; orphans: auto; overflow-wrap: break-word; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><div><div><div></div></div></div></div><div class="yj6qo" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-1542108694395608412024-03-02T15:26:00.004-05:002024-03-02T15:26:41.343-05:00Concert review: Alena Baeva (violin) New York Philharmonic/Paavo Järvi<div class="headerWrapper" style="box-sizing: border-box; padding-left: 0px; padding-right: 0px;"><div class="container titleByline" style="box-sizing: border-box; margin-bottom: 36px; margin-left: auto; margin-right: auto; max-width: 1220px;"><div class="inner-sleeve" style="box-sizing: border-box; margin-left: auto; margin-right: auto; max-width: 1220px; padding-left: 20px; padding-right: 20px;"><div class="story_title" style="box-sizing: border-box; float: left; margin-right: 27.8125px; width: 978.6875px;"><h1 style="border: none; box-sizing: border-box; color: #222222; font-family: "Playfair Display", serif; font-size: 2.8rem; line-height: 4rem; margin: 0px 0px 16px; padding: 0px;"><br /></h1></div><p class="byline meta" style="border: none; box-sizing: border-box; float: left; font-family: Lato, sans-serif; font-size: 0.889rem; line-height: 1rem; margin: 0px; padding: 0px; width: 978.6875px;"><span style="background-color: black;"><span style="color: white;"><span class="author" style="box-sizing: border-box;">By <a href="https://www.thestrad.com/leah-hollingsworth/1083.bio" rel="author" style="box-sizing: border-box; font-style: italic; font-weight: 700; text-decoration: none;">Leah Hollingsworth</a> </span><span class="date visible" data-date-timezone="{"publishdate": "2024-02-08T09:00:00","format": "D MMMM YYYY"}" style="box-sizing: border-box; font-size: 0.75rem; line-height: 1.3rem; text-transform: uppercase; visibility: visible; width: auto;">8 FEBRUARY 2024 The Strad</span></span></span></p></div></div></div><div class="container" id="columns" style="box-sizing: border-box;"><div class="inner-sleeve" id="colwrapper" style="box-sizing: border-box; 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clear: both; margin: 0px auto 32px; position: relative; width: 465.828125px;"><p class="picture" style="background-size: 100px; border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px; padding: 0px;"><img alt="Alena Baeva: an assured debut" class="lazyloaded" height="590" loading="eager" src="https://dnan0fzjxntrj.cloudfront.net/Pictures/480xAny/6/7/5/32675_baeva_121743.jpg" srcset="https://dnan0fzjxntrj.cloudfront.net/Pictures/480xAny/6/7/5/32675_baeva_121743.jpg 480w" style="border: none; box-sizing: border-box; contain: size; display: block; height: auto; margin: 0px auto; max-width: 100%; opacity: 1; padding: 0px; transition: opacity 0.3s ease 0s; width: 465.828125px;" width="890" /></p><div class="inline_meta" style="box-sizing: border-box; overflow-wrap: break-word; padding: 12px 12px 24px;"><p class="inline_caption" style="border: none; box-sizing: border-box; font-size: 0.889rem; line-height: 1.266rem; margin: 8px 0px 0px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">Alena Baeva: an assured debut. Photo: Chris Lee</span></span></p></div></div><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">The New York Philharmonic’s concert began in dramatic style with Estonian composer Veljo Tormis’s Overture no.2, with furious playing in the strings and energised percussion before the frenzy dissolved into a touching cello solo played by Patrick Jee.</span></span></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">Britten’s Violin Concerto followed, marking the New York Philharmonic debut of Alena Baeva, a violinist who fled Kyrgyzstan as a child and grew up in Kazakhstan. Immediately her sweetness of tone captured the ear and she proved herself to be an artist possessing both elegance and power. She addressed Britten’s virtuosic runs, double-stops, up-bow spiccato and all manner of technical challenges with precision and flair.</span></span></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">The second-movement Vivace began with confidence and, even in its most technically daunting moments, Baeva was completely in control of sound production, tone colour and phrasing, skilfully navigating Britten’s challenges with playing full of purpose and character. The way she pulled sound out of the violin was utterly captivating – whether in high position on the G string or the E string – and throughout the work, her poise and precision carried through. I was happy to see a standing ovation from many, and as an encore she played the first movement of Ysaÿe’s Solo Violin Sonata no.5, again displaying power and elegance in tandem.</span></span></p><div class="factfile" style="border-top-color: rgb(171, 145, 108); border-top-style: solid; border-top-width: 4px; box-sizing: border-box; clear: both; margin-bottom: 16px; overflow: hidden; padding: 24px 16px;"><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><strong style="background-color: black; box-sizing: border-box;"><span style="color: white;">Concert review: <a href="https://www.thestrad.com/reviews/concert-review-alena-baeva-violin-vadym-kholodenko-piano/16305.article" style="box-sizing: border-box; text-decoration: none;">Alena Baeva (violin) Vadym Kholodenko (piano)</a></span></strong></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><strong style="background-color: black; box-sizing: border-box;"><span style="color: white;">Read: <a href="https://www.thestrad.com/artists/alena-baeva-champions-karowiczs-brilliant-and-captivating-concerto/8225.article" style="box-sizing: border-box; text-decoration: none;">Alena Baeva champions Karłowicz’s ‘brilliant and captivating’ concerto</a></span></strong></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><strong style="background-color: black; box-sizing: border-box;"><span style="color: white;">Read: <a href="https://www.thestrad.com/news/20-year-old-violinist-wins-the-2022-wieniawski-violin-competition/15621.article" style="box-sizing: border-box; text-decoration: none;">20-year-old violinist wins the 2022 Wieniawski Violin Competition</a></span></strong></p></div><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">Prokofiev’s Symphony no.6 followed the interval, with poignant viola solos played by Rebecca Young and an interpretation that captured the pain of the cultural moment in which the symphony was written – mirroring the pain in our world now.</span></span></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">LEAH HOLLINGSWORTH</span></span></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></p></div></div></div></div></div></div></div></div></div><a href="https://www.thestrad.com/reviews/concert-review-alena-baeva-violin-new-york-philharmonic/paavo-j%C3%A4rvi/17431.article" style="background-color: black;"><span style="color: white;">https://www.thestrad.com/reviews/concert-review-alena-baeva-violin-new-york-philharmonic/paavo-j%C3%A4rvi/17431.article</span></a></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-53002895971637978862024-03-02T15:24:00.010-05:002024-03-02T15:24:57.549-05:00Double Concerto de Brahms, Viotti et Dvořák : In Memoriam Lars Vogt <div class="chapeau" style="border: 0px; margin: 15px 0px; min-height: 85px; padding: 10px 18px 0px; position: relative; vertical-align: baseline;"><h1 class="entry-title" style="border: 0px; clear: both; font-family: "Open Sans", sans-serif; font-stretch: normal; font-weight: 400; line-height: normal; margin: 0px; padding: 0px; text-align: center; vertical-align: baseline; width: 681px;"><span style="background-color: black; color: white; font-size: small;">Resmusica</span></h1><div class="entry-meta" style="border: 0px; font-family: "Open Sans", sans-serif; font-stretch: normal; font-weight: 600; line-height: normal; margin: 20px 0px 0px; padding: 0px; text-align: center; vertical-align: baseline;"><span class="meta-prep meta-prep-author" style="background-color: black; border: 0px; display: inline-block; font-stretch: normal; line-height: normal; margin: 0px; padding: 0px 10px; vertical-align: baseline; z-index: 2147483647;"><span style="color: white;">Le <a href="https://www.resmusica.com/2024/01/22/double-concerto-de-brahms-viotti-et-dvorak-in-memoriam-lars-vogt-ondine/" rel="bookmark" style="border: 0px; font-stretch: normal; line-height: normal; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="publié à 4h12">22 janvier 2024</a> <span class="meta-sep" style="border: 0px; font-stretch: normal; line-height: normal; margin: 0px; padding: 0px; vertical-align: baseline;">par</span> <span class="author vcard" style="border: 0px; font-stretch: normal; line-height: normal; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="author url fn" href="https://www.resmusica.com/author/pimbaud/" rel="author" style="border: 0px; font-stretch: normal; line-height: normal; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="Articles par Patrice Imbaud">Patrice Imbaud</a></span></span></span></div><div class="entry-text-size" style="border: 0px; left: 0px; margin: 0px; padding: 0px; position: absolute; top: 14px; vertical-align: baseline;"></div></div><p class="recompense-article" style="border: 0px; float: left; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin: 0px 10px 1px 0px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><a href="https://www.resmusica.com/recompenses/la-clef-resmusica" style="background-color: black; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Afficher tous les articles récompensés par Les Clefs ResMusica"><span style="color: white;"><img alt="Les Clefs ResMusica" src="https://www.resmusica.com/wp-content/themes/resmusica/images/recompenses/article-la-clef-resmusica.png" style="border: none; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" /></span></a></p><div class="addtoany_share_save_container addtoany_content addtoany_content_top" style="border: 0px; clear: both; margin: 16px auto; padding: 0px; position: absolute; right: 0px; top: 5px; vertical-align: baseline;"><div class="a2a_kit a2a_kit_size_24 addtoany_list" data-a2a-title="Double Concerto de Brahms, Viotti et Dvořák : In Memoriam Lars Vogt" data-a2a-url="https://www.resmusica.com/2024/01/22/double-concerto-de-brahms-viotti-et-dvorak-in-memoriam-lars-vogt-ondine/" style="border: 0px; display: inline; line-height: 16px; margin: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.instagram.com/" rel="nofollow" style="background-color: black; border: 0px; box-shadow: none; display: inline-block; font-size: 16px; height: 20px !important; margin: 0px; padding: 0px 4px; vertical-align: middle; width: 24px !important;" target="_blank" title="Instagram"><span style="color: white;"><img alt="Instagram" height="40" src="https://www.resmusica.com/wp-content/themes/resmusica/images/instagram-red.svg" style="border: 0px; display: inline-block; height: auto; margin: 0px; max-width: 100%; opacity: 1; overflow: hidden; padding: 0px; vertical-align: baseline; width: auto;" width="40" /></span></a></div></div><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: black;"><span style="color: white;"><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">Dédié à la mémoire du pianiste et chef d'orchestre Lars Vogt <a href="https://www.resmusica.com/2022/09/05/deces-du-pianiste-et-chef-dorchestre-lars-vogt/" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">disparu l'an dernier</a>, cet enregistrement réunit ses amis <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/paavo-jarvi/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Paavo Järvi">Paavo Järvi</a>, Christian et <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/tanja-tetzlaff/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Tanja Tetzlaff">Tanja Tetzlaff</a> dans un bel et émouvant hommage musical associant le <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Double Concerto</span> de Brahms, le <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Concerto pour violon n° 22</span> de Viotti et <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Silent Woods</span>de Dvo</strong><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">řák.</strong></span></span></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: black;"><span style="color: white;"><a href="https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine.jpg" rel="noopener" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Double Concerto de Brahms, Viotti et Dvořák : In Memoriam Lars Vogt"><img alt="" class="alignright wp-image-325015 size-medium" decoding="async" height="380" sizes="(max-width: 380px) 100vw, 380px" src="https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine-380x380.jpg" srcset="https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine-380x380.jpg 380w, https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine-728x728.jpg 728w, https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine-95x95.jpg 95w, https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine-150x150.jpg 150w, https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine-200x200.jpg 200w, https://www.resmusica.com/wp-content/uploads/2024/01/Christian-Tetzlaff_Tanja-Tetzlaff_Paavo-Jarvi_Ondine.jpg 1450w" style="border: none; display: inline; float: right; height: auto; margin: 4px 0px 12px 24px; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="380" /></a>S'appuyant sur un instrumentarium atypique et probablement inspiré de façon lointaine du <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Triple Concerto</span> de Beethoven, le <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Double Concerto pour violon et violoncelle</span> de <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/johannes-brahms/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Johannes Brahms">Johannes Brahms</a> fut composé en 1887 dans un souci non avoué de réconciliation du compositeur avec son ami le violoniste Joachim qui en assura d'ailleurs la création. <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/paavo-jarvi/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Paavo Järvi">Paavo Järvi</a> à la tête du <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/deutsches-symphonie-orchester-berlin/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Deutsches Symphonie-Orchester Berlin">Deutsches Symphonie-Orchester Berlin</a>, Christian et <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/tanja-tetzlaff/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Tanja Tetzlaff">Tanja Tetzlaff</a> nous en livrent, ici, une interprétation typiquement brahmsienne, passionnée, fougueuse, joliment nuancée et parfaitement équilibrée, empreinte de complicité.</span></span></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: black;"><span style="color: white;">L'<span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Allegro</span> initial, ouvert péremptoirement par quatre accords orchestraux, présente les protagonistes dans un affrontement, puis un dialogue serré entre violoncelle et violon, idéalement soutenu par une phalange berlinoise très engagée et affutée ; l'<span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Andante</span> ébauche puis confirme l'entente retrouvée sur une ample mélodie pleine de noblesse sollicitant particulièrement les vents aux cotés des solistes ornementant tour à tour, avant que le <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Finale</span> ne renoue avec la virtuosité solistique et orchestrale ébouriffante aux allures tziganes scellant l'amitié recouvrée.</span></span></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: black;"><span style="color: white;">On sait combien Brahms appréciait le <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Concerto pour violon n° 22</span> de <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/giovanni-battista-viotti/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Giovanni Battista Viotti">Giovanni Battista Viotti</a> (1755-1824) qu'il avait notamment entendu interprété par Joseph Joachim et dont <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/christian-tetzlaff/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Christian Tetzlaff">Christian Tetzlaff</a> nous donne une interprétation légère, élégante, presque galante, virtuose, cantabile et poétique transcendée par un accompagnement orchestral très coloré, ardent et d'une remarquable clarté.</span></span></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: black;"><span style="color: white;">Admiration réciproque et amitié caractérisaient le lien solide existant entre <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/johannes-brahms/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Johannes Brahms">Johannes Brahms</a> et Antonín Dvořák, on ne s'étonnera donc pas que ce programme construit autour de Brahms, de l'amitié et du souvenir s'achève sur le très nostalgique <span style="border: 0px; font-style: italic; margin: 0px; padding: 0px; vertical-align: baseline;">Silent Woods</span> pour violoncelle et orchestre. Une courte pièce initialement conçue pour piano à quatre mains, composée lors de la tournée d'adieu du compositeur avant son départ pour le Nouveau Monde, arrangée secondairement pour violoncelle et orchestre en 1893, toute imprégnée du lyrisme douloureux de l'exil dont <a class="st_tag internal_tag " href="https://www.resmusica.com/mot-clef/tanja-tetzlaff/" rel="tag" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;" title="Articles concernant Tanja Tetzlaff">Tanja Tetzlaff</a> offre une lecture vibrante en totale symbiose avec l'orchestre (vents). Magnifique point final à ce disque du souvenir !</span></span></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><a href="https://www.resmusica.com/2024/01/22/double-concerto-de-brahms-viotti-et-dvorak-in-memoriam-lars-vogt-ondine/" style="background-color: black;"><span style="color: white;">https://www.resmusica.com/2024/01/22/double-concerto-de-brahms-viotti-et-dvorak-in-memoriam-lars-vogt-ondine/</span></a></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><br /></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><br /></p><p style="border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: normal; line-height: 26px; margin-bottom: 24px; margin-left: 0px !important; margin-right: 0px !important; margin-top: 10px !important; padding: 0px; text-align: justify; vertical-align: baseline;"><br /></p><div class="plus-de-details plus-de-details-bottom" style="background-color: #ededef; border: 0px; margin: 40px 0px; padding: 20px 26px; vertical-align: baseline;"><div class="addtoany_share_save_container addtoany_content addtoany_content_top" style="border: 0px; clear: both; font-family: "Open Sans", sans-serif; font-size: 13px; margin: 16px auto; padding: 0px; position: absolute; right: 0px; top: 5px; vertical-align: baseline;"><div class="a2a_kit a2a_kit_size_24 addtoany_list" data-a2a-title="Double Concerto de Brahms, Viotti et Dvořák : In Memoriam Lars Vogt" data-a2a-url="https://www.resmusica.com/2024/01/22/double-concerto-de-brahms-viotti-et-dvorak-in-memoriam-lars-vogt-ondine/" style="border: 0px; display: inline; line-height: 16px; margin: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.instagram.com/" rel="nofollow" style="border: 0px; box-shadow: none; color: #87060a; display: inline-block; font-size: 16px; height: 20px !important; margin: 0px; padding: 0px 4px; vertical-align: middle; width: 24px !important;" target="_blank" title="Instagram"><img alt="Instagram" height="40" src="https://www.resmusica.com/wp-content/themes/resmusica/images/instagram-red.svg" style="border: 0px; display: inline-block; height: auto; margin: 0px; max-width: 100%; opacity: 1; overflow: hidden; padding: 0px; vertical-align: baseline; width: auto;" width="40" /></a></div></div><p></p><br class="Apple-interchange-newline" /></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-47674409841602342772024-03-02T13:37:00.004-05:002024-03-02T13:37:27.077-05:00Paavo Järvi and the Zurich Tonhalle in a rousing Bruckner Symphony No. 8<div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">25 February 2024 by Patrice Imbaud</span></span></div><div><span style="background-color: black;"><span style="color: white;">Resmusica</span></span></div><div><b style="background-color: black;"><span style="color: white;"><br /></span></b></div><div><span style="background-color: black;"><span style="color: white;">In contrast to the monumental devotion, albeit a little static and heavy, of Bernard Haitink with the Bavarian Radio, <b>Paavo Järvi presents a rousing vision in Zurich, more hedonistic than fervent, full of contrasts and life, that is sure to surprise.</b></span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">In this anniversary year celebrating the bicentenary of Anton Bruckner's birth, there is a plethora of recordings devoted to the symphonic corpus of the master of St Florian, especially those devoted to Symphony No 8, a grandiose, veritable cathedral of sound constantly verging on the divine. <b>After a fine Seventh, Estonian conductor Paavo Järvi makes a remarkable contribution to this commemoration with the Tonhalle-Orchester Zürich.</b></span></span></div></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">Paavo Järvi chose the Nowak version of 1890 (slightly shorter than the Haas version), the version in which the symphony was premiered in Vienna in 1892, dedicated to Emperor Franz Joseph I and conducted by Hans Richter.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">At a fairly moderate tempo, the Allegro moderato begins with a splendidly deep opening, imbued with an intense sense of expectation and mystery; The phrasing then unfolds, supple, full of nuances, with a sense of construction that is perhaps less marked than in some (notably Haitink) in a vision where fervour and verticality remain discreet in favour of an almost chamber music reading, lightened up, more immanent than transcendent, exalted by a luminous clarity and an invigorating transparency of texture that unleashes all the timbres and gives life to numerous counter-chords usually left in the shadows (harp). Attention to the score's details is constant, and the consistently tense progression alternates between lyrical episodes (strings) and powerful crescendos (brass and thundering timpani) like so many very human moments, of hope and defeat, devotion and doubt, exaltation and meditation, juxtaposed in abrupt contrasts without smoothing.</span></span></div></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><div><span style="background-color: black;"><span style="color: white;">At a brisk tempo, the Scherzo unfolds in a breathless, inexorable progression, imbued with an intense sense of urgency, punctuated by frightening timpani and brass instruments framing a highly lyrical trio of strings and small harmony.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">Shrouded in a beautiful twilight clarity, more melancholy than genuinely mournful, the Adagio, which begins in a whisper as if from another world, then struggles to maintain the tension and develop the necessary verticality, Paavo Järvi favouring a gentle sadness rather than the refined, acetic and oppressive painful lament of a Haitink. Very lyrical and horizontal, the discourse moves more than it transports, despite the magnificent and moving performances of the Wagnerian tubas, the sumptuous strings and a grandiose coda.</span></span></div><div><b style="background-color: black;"><span style="color: white;"><br /></span></b></div><div><b style="background-color: black;"><span style="color: white;">Taut, sharply contrasted, resplendent, recapitulatory, at times animated by a lyricism to make stones weep, at other times by suffocating violence, the Finale completes this new Brucknerian reference in power and plenitude, carried by all the forces of the splendid Zurich orchestra. Indispensable!</span></b></div><div><b style="background-color: black;"><span style="color: white;"><br /></span></b></div><div><a href="https://www.resmusica.com/2024/02/25/paavo-jarvi-et-la-tonhalle-de-zurich-dans-une-enthousiasmante-huitieme-de-bruckner-alpha/" style="background-color: black;"><span style="color: white;">https://www.resmusica.com/2024/02/25/paavo-jarvi-et-la-tonhalle-de-zurich-dans-une-enthousiasmante-huitieme-de-bruckner-alpha/</span></a></div></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-32638881039093275782024-03-02T13:35:00.008-05:002024-03-02T13:35:57.069-05:00 Roma - Accademia Nazionale di Santa Cecilia: Concerto diretto da Paavo Järvi con Augustin Hadelich<h3 class="sottotitolo" style="caret-color: rgb(85, 85, 85); cursor: default; font-family: Arial; text-align: left; text-transform: uppercase !important;"><span style="background-color: black; color: white; font-size: small;">AUTORI VARI</span></h3><h3 class="sottotitolo" style="caret-color: rgb(85, 85, 85); cursor: default; font-family: Arial; text-align: left; text-transform: uppercase !important;"><span style="background-color: black; font-size: medium;"><span style="color: white;">23.02.24</span></span></h3><h3 style="text-align: left;"><span style="color: white; font-size: small;"><b style="background-color: black; caret-color: rgb(85, 85, 85); cursor: default; font-family: Arial; text-align: justify;">Marco Peracchio</b></span></h3><div><span style="color: white; font-size: small;"><b style="background-color: black; caret-color: rgb(85, 85, 85); cursor: default; font-family: Arial; text-align: justify;">Operaclick</b></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div class="node clear-block" id="node-33215" style="caret-color: rgb(85, 85, 85); clear: both; cursor: default; font-family: Arial; font-size: 12px; padding: 0px;"><div class="content" style="cursor: default; overflow: hidden; padding: 0px;"><div id="node-right-sidebar" style="border: 1px solid rgb(221, 221, 221); cursor: default; float: right; margin: 0px 0px 10px 10px; padding: 0px !important; width: 340px;"><div id="node-gallery" style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default;"><div class="gallery-first-image" style="cursor: default; padding: 10px;"><a alt="ph. Musacchio, Pasqualini / MUSA" href="https://www.operaclick.com/sites/default/files/Paaco1_0.jpg" rel="prettyPhoto[node_gallery]" style="background-color: black; cursor: default; text-decoration: none;"><span style="color: white;"><img alt="ph. Musacchio, Pasqualini / MUSA" class="imagecache imagecache-node_gallery_image" data-pagespeed-url-hash="2005264394" height="240" src="https://www.operaclick.com/sites/default/files/imagecache/node_gallery_image/Paaco1_0.jpg" style="border: none; cursor: default; outline: none;" title="Sfoglia la gallery" width="320" /></span></a></div><div class="gallery-navigation" style="cursor: default; padding-bottom: 10px; padding-top: 0px !important; text-align: center;"><span style="background-color: black;"><span style="color: white;">1 di 6 </span></span></div></div><div id="locandina" style="cursor: default; padding: 10px;"><h3 style="cursor: default; margin: 10px 0px 0px; text-align: center;"><span style="background-color: black;"><span style="color: white;">La locandina</span></span></h3><table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse; border: 1px solid rgb(255, 255, 255); cursor: default; margin: 1em 0px; width: 500px;"><tbody style="border-top-color: rgb(204, 204, 204); border-top-style: solid; border-top-width: 1px; cursor: default;"><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><strong style="background-color: black; cursor: default;"><span style="color: white;">Violino</span></strong></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;">Augustin Hadelich</span></span></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><strong style="background-color: black; cursor: default;"><span style="color: white;">Direttore</span></strong></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;">Paavo Järvi</span></span></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td></tr><tr style="cursor: default;"><td colspan="2" style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; text-align: center; width: 308px;"><strong style="background-color: black; cursor: default;"><span style="color: white;">Orchestra Nazionale dell'Accademia di Santa Cecilia</span></strong></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td></tr><tr style="cursor: default;"><td colspan="2" style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; text-align: center; width: 308px;"><em style="cursor: default;"><strong style="background-color: black; cursor: default;"><span style="color: white;">Programma</span></strong></em></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;"> </span></span></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><strong style="background-color: black; cursor: default;"><span style="color: white;">Claude Debussy</span></strong></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;">Prelude à l’apres-midi d’un faune</span></span></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><strong style="background-color: black; cursor: default;"><span style="color: white;">Jean Sibelius</span></strong></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;">Concerto per violino</span></span></td></tr><tr style="cursor: default;"><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><strong style="background-color: black; cursor: default;"><span style="color: white;">Sergej Sergeevič Prokof'ev</span></strong></td><td style="border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; cursor: default; padding: 5px; width: 149px;"><span style="background-color: black;"><span style="color: white;">Sinfonia n.5</span></span></td></tr></tbody></table><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><span style="background-color: black;"><span style="color: white;"> </span></span></p><div class="banner-locandina" style="cursor: default; margin: 0px;"></div></div></div><span class="print-link" style="cursor: default; display: block; float: right; padding-bottom: 0.5em; text-align: right;"><span style="background-color: black;"><span style="color: white;"><span class="print_html" style="cursor: default; margin-left: 1em;"><a class="print-page" href="https://www.operaclick.com/print/recensioni/teatrale/roma-accademia-nazionale-di-santa-cecilia-concerto-diretto-da-paavo-j%C3%A4rvi-con-au" rel="nofollow" style="cursor: default; text-decoration: none;" title="Mostra una versione stampabile di questa pagina."><img alt="Versione stampabile" class="print-icon" data-pagespeed-url-hash="3574072730" height="16" src="https://www.operaclick.com/sites/all/modules/print/icons/print_icon.gif" style="border: none; cursor: default; outline: none; vertical-align: middle;" title="Versione stampabile" width="16" /></a></span><span class="print_mail" style="cursor: default; margin-left: 1em;"><a class="print-mail" href="https://www.operaclick.com/printmail/recensioni/teatrale/roma-accademia-nazionale-di-santa-cecilia-concerto-diretto-da-paavo-j%C3%A4rvi-con-au" rel="nofollow" style="cursor: default; text-decoration: none;" title="Manda questa pagina per e-mail"><img alt="Invia a un amico" class="print-icon" data-pagespeed-url-hash="2669841266" height="16" src="https://www.operaclick.com/sites/all/modules/print/icons/mail_icon.gif" style="border: none; cursor: default; outline: none; vertical-align: middle;" title="Invia a un amico" width="16" /></a></span></span></span></span><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><span style="background-color: black;"><span style="color: white;"> </span></span></p><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><span style="cursor: default;"><span style="background-color: black; cursor: default; font-family: arial, helvetica, sans-serif;"><span style="color: white;"><strong style="cursor: default; font-family: Arial;">Paavo Järvi</strong> torna a Santa Cecilia dopo più di un lustro, riconfermando la sua intesa felicissima con l’Orchestra in un programma di tre capolavori.<br style="cursor: default; font-family: Arial;" /><br style="cursor: default; font-family: Arial;" /><em style="cursor: default; font-family: Arial;">Prelude à l’apres-midi d’un faune</em> è eseguito per metterne in luce le strutture portanti, che Debussy ha dissimulato quasi completamente: siamo in un primo pomeriggio nordico, di luce viva ma fredda, che induce alla contemplazione anziché a un placido sonnecchiare del fauno dionisiaco. Superlativo il solo di <strong style="cursor: default; font-family: Arial;">Adriana Ferreira </strong>al flauto, di splendente immobilità nel vibrato e nel colore.<br style="cursor: default; font-family: Arial;" /><br style="cursor: default; font-family: Arial;" />Il trentanovenne italo-tedesco <strong style="cursor: default; font-family: Arial;">Augustin Hadelich</strong> ci regala il debutto solistico più bello degli ultimi decenni nel <em style="cursor: default; font-family: Arial;">Concerto per violino </em>di Sibelius. Una tecnica strabiliante e per nulla esibita - che fa sovente strabuzzare gli occhi dei violinisti dell’orchestra in un misto di incredula sorpresa e ammirazione - a servizio di un’espressività rara negli artisti non russi dal dopoguerra, pressoché unica in un giovane. Ha giocato un ruolo l’incidente nella fattoria paterna di Cecina, che da adolescente gli ha sfigurato il volto impedendogli di suonare per un anno. Il mirabile Guarineri del Gesù ‘Leduc, ex Szeryng’ viene squadernato in tutta la sua magia timbrica senza che gli estremi della gamma suonino mai artefatti o di cattivo gusto, assente ogni sforzo visibile. Tanta bellezza è a servizio dell’anima del musicista, che serve gli stati d’animo composti da Sibelius con umanità profonda e ritrosia da persona umile. Il suo fraseggiare è spedito e meravigliosamente antiretorico, con brevi soste di contemplazione che ne lasciano intuire la sensibilità prodigiosa. Una prestazione indimenticabile dall’inizio alla fine: basti riportare che durante il terzo movimento tutta la fila dei violini primi ondeggiava la testa e sorrideva beata, al termine anche gli orchestrali solitamente più compassati battevano i piedi e urlavano ‘bravo’ al punto da non voler più che smettesse coi bis. Sarebbe superfluo notare che proiezione del suono fin nei pianissimo, precisione, libertà, fusione con l’orchestra. intonazione e senso del ritmo sono superlativi. Järvi gli stende attorno un tappeto di suono vellutato, a tratti voluttuoso eppure mai in primo piano.<br style="cursor: default; font-family: Arial;" /><br style="cursor: default; font-family: Arial;" />Nella seconda parte un brano, la <em style="cursor: default; font-family: Arial;">Quinta sinfonia</em> di Prokofiev, che nel 2019 costituì un caposaldo nella storia del Parco della Musica: Yuri Temirkanov apparve per l’ultima volta con la sua Filarmonica di San Pietroburgo, in un’esecuzione che parve da subito un testamento della sua vita in musica e rappresentò per molti incluso chi scrive l’esecuzione sinfonica per antonomasia. Un esito così assoluto e recente avrebbe ingrigito qualsiasi ripresa del brano men che splendida. Järvi non l’ha fatta rimpiangere, benché la sua concezione sia agli antipodi rispetto a quella del compianto Maestro russo: se quest’ultimo la proponeva come un organismo industriale di granito e di acciaio, ineluttabile eppure che non impedisce la realizzazione di uno spirito sensibile e colto, per il direttore estone diventa una parodia beffarda delle componenti sardonica e iperburocratica di un regime, quasi una danza di pernacchie giovanili alle mummie che lo incarnano. Il tutto si traduce in resa orchestrale: se i pietroburghesi issavano pareti sonore marezzate e squarci solistici come ululati di disperazione, i ceciliani paiono segugi snelli prima in ricerca (i movimenti dispari) quindi all’inseguimento della preda (in quelli pari). In comune le due formazioni hanno suonato al meglio delle loro possibilità, in un brano niente affatto facile per l’intersecarsi di temi articolati. Splendida l’<strong style="cursor: default; font-family: Arial;">Orchestra di Santa Cecilia</strong> per compattezza rigorosa delle file di archi, autorevoli nei soli dei fiati, sicuri nelle percussioni. Come già nella prima parte del concerto, l’esecuzione è stata talmente coerente da rendere difficile citare pagine più riuscite di altre.</span></span></span></p><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><span style="background-color: black; cursor: default; font-family: arial, helvetica, sans-serif;"><span style="color: white;">Al termine un boato del pubblico ha tributato un successo meritato ai musicisti, con gli orchestrali plasticamente compiaciuti di se stessi e grati a un grande direttore. Loro e noi speriamo di accoglierlo a Roma con maggior assiduità.</span></span></p><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><span style="background-color: black;"><span style="color: white;"> </span></span></p><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><em style="cursor: default;"><span style="background-color: black; cursor: default; font-family: arial, helvetica, sans-serif;"><span style="color: white;">La recensione si riferisce al concerto del 23 febbraio 2024.</span></span></em></p><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><b style="background-color: black; cursor: default;"><span style="color: white;">Marco Peracchio</span></b></p><p style="cursor: default; line-height: 1.4; margin: 10px 0px; text-align: justify;"><a href="https://www.operaclick.com/recensioni/teatrale/roma-accademia-nazionale-di-santa-cecilia-concerto-diretto-da-paavo-j%C3%A4rvi-con-au" style="background-color: black;"><span style="color: white;">https://www.operaclick.com/recensioni/teatrale/roma-accademia-nazionale-di-santa-cecilia-concerto-diretto-da-paavo-j%C3%A4rvi-con-au</span></a></p></div></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-62677550774208851402024-02-23T03:37:00.003-05:002024-02-23T03:37:30.377-05:00Paavo Järvi Sul Podio della Tonhalle-Orchester Zürich con l'oboista spagnola Cristina Gómez Godoy<p><span style="background-color: black;"><span style="color: white;"> Amadeus</span></span></p><p><span style="background-color: black;"><span style="color: white;">Luisa Sclocchis</span></span></p><p><span style="background-color: black;"><span style="color: white;">18.02.24</span></span></p><p><span style="background-color: black; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;"><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">La splendida</span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><strong style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">Grosse Tonhalle</strong><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">– fiore all’occhiello dello storico e monumentale edificio vista lago recentemente rinnovato da cui prende il nome – ha accolto il 2 febbraio 2024, in replica il 3, un importante Concerto della</span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><strong style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">Tonhalle-Orchester Zürich</strong><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">che segna per</span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><strong style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">Paavo Järvi</strong><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">l’inizio del ciclo dedicato alle sinfonie di Gustav Mahler. In programma il</span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><em style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">Concerto in Do maggiore per oboe e orchestra KV 314</em><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">di Wolfgang Amadeus Mozart, solista</span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><strong style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">Cristina Gómez Godoy</strong><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">, e la</span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><em style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">Sinfonia n. 5 in Do diesis minore</em><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">di Gustav Mahler, sul podio, appunto, Paavo Järvi. Direttore musicale della compagine orchestrale svizzera dal 2019, il cui incarico è rinnovato fino al 2029. Il tempo di Mahler è arrivato. Anche per l’orchestra di Zurigo. Ma, ad aprire la serata, l’incredibile talento della stella dell’oboe, di origine spagnola, Cristina Gómez Godoy. Premiata al 60° Concorso Internazionale di Musica Ard di Monaco, dal 2013 oboe solista della Staatskapelle Berlin sotto la direzione di Daniel Barenboim e dal 2015 docente presso l’Universität der Künste Berlin (UdK), Gómez Godoy è oggi protagonista di una carriera in vertiginosa ascesa. La sua lettura del Concerto di Mozart, uno dei capisaldi del repertorio oboistico, evidenzia il carattere brillante e vivace della scrittura. Ma soprattutto rivela musicalità, espressività e assoluta padronanza dello strumento. Il suono è fluido, scuro, rotondo ed omogeneo in ogni registro. Muove con estrema naturalezza tra sfumature dinamiche da pianissimi mozzafiato a colori dalle tinte più accese. L’oboe tra le mani di Cristina Gómez Godoy, insomma, pare uno strumento “semplice”. Ma è la seconda parte del programma che vede protagonista la monumentale</span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><em style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">Sinfonia n. 5 in Do diesis minore</em><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;"> </span><span style="caret-color: rgb(102, 82, 95); font-family: "PT Serif"; font-size: 20px;">a suscitare nel pubblico maggiore entusiasmo. Opera monumentale composta da Mahler durante il periodo di villeggiatura di Meiernigg tra il 1901 e il 1902 e poi rielaborata più volte fino alle ultime varianti del 1911. La sua lettura desta qualche perplessità, probabilmente a ragione dell’acustica della sala ancora in fase di “scoperta” o la cui conoscenza è ancora in evoluzione, proprio come accade per gli strumenti. L’organico è denso e corposo. La bacchetta di Järvi forgia il suono dell’orchestra, il risultato è forse meno ricco di pathos e chiaroscuri di come la scrittura vorrebbe, nonostante le immagini evocate di stati d’animo e l’abbandono alla suggestione dei sensi emergano evidenti fin dalla tonalità d’impianto della sinfonia. «É fatta di musica appassionata, selvaggia, piena di pathos, briosa, solenne, delicata e piena di tutte le sensazioni dell’anima umana», parole dedicate da Bruno Walter a questa Quinta Sinfonia. La dilatazione dei tempi, la sempre maggiore densità dei contenuti sviluppati in forza della loro astrattezza raggiungono l’apice nel centro della sinfonia, il terzo movimento, lo Scherzo: un trasognato valzer viennese dal carattere selvaggiamente tracotante. Lo stesso Mahler descrive questo movimento come «estremamente difficile da portare a termine, per via della struttura e dell’enorme abilità artistica richiesta in ogni relazione e dettaglio. Come in un duomo gotico, l’apparente confusione deve tramutarsi in supremo ordine e armonia […]» Dalla sprizzante vitalità si passa al lacerante dolore dell’addio del celebre Adagietto, per concludere sull’ironica serenità del Finale. In qualche misura lontana rispetto alle aspettative la resa dal punto di vista espressivo. La lettura di queste pagine risulta partecipe anche se pare che le molteplici sfumature della vasta tavolozza di colori a cui si potrebbe attingere si riducano quasi ai colori primari, o meglio che – non è chiaro se a ragione dell’acustica particolare della sala – muovano tra le sonorità di mezzoforte e fortissimo tralasciando quelle più lievi. Così, per la medesima ragione difficoltoso è parso individuare di volta in volta l’emergere delle singole voci nella complessità architettonica della scrittura. La serata si è comunque conclusa con applausi scroscianti ed entusiasmo per l’inizio di questa nuova intrapresa mahleriana. © Riproduzione riservata.</span></span></span></p><div class="w-post-elm post_content us_custom_2fa412e0" itemprop="text" style="box-sizing: border-box; caret-color: rgb(102, 82, 95); font-family: "PT Serif" !important; font-size: 20px !important; line-height: 1.7 !important;"><figure class="wp-block-image size-large is-resized" style="box-sizing: border-box; margin: 0px;"><span style="height: auto; max-width: 100%; width: 1200px;"><span style="color: white;"><img alt="" class="wp-image-196474 lazyloaded" data-src="https://amadeusmagazine.it/wp-content/uploads/2024/02/A1460188_Cristina-Gomes_color-Presse-c-Alberto-Venzago-1024x684.jpg" decoding="async" src="https://amadeusmagazine.it/wp-content/uploads/2024/02/A1460188_Cristina-Gomes_color-Presse-c-Alberto-Venzago-1024x684.jpg" style="box-sizing: border-box; display: block; height: auto; max-width: 100%; width: 1200px;" /></span></span><figcaption class="wp-element-caption" style="box-sizing: border-box; font-size: 0.85rem;"><span style="background-color: black;"><span style="color: white;">Zurigo, 2 febbraio 2024, Paavo Järvi alla testa della Tonhalle-Orchester Zürich con l’oboista spagnola Cristina Gómez Godoy . © Alberto Venzago</span></span></figcaption><figcaption class="wp-element-caption" style="box-sizing: border-box; font-size: 0.85rem;"><a href="https://amadeusmagazine.it/rubrica-news/paavo-jarvi-sul-podio-della-tonhalle-orchester-zurich-con-loboista-spagnola-cristina-gomez-godoy/" style="background-color: black;"><span style="color: white;">https://amadeusmagazine.it/rubrica-news/paavo-jarvi-sul-podio-della-tonhalle-orchester-zurich-con-loboista-spagnola-cristina-gomez-godoy/</span></a></figcaption></figure></div><br class="Apple-interchange-newline" />Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-6523013985160193422024-02-23T03:30:00.005-05:002024-02-23T03:30:59.243-05:00Järvi makes a commanding CSO return as young cellist impresses in Elgar<h1 style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 1.95552em; line-height: 1.2141em; margin-bottom: 0.5em; margin-top: 0px; max-width: 100%;"><div style="font-family: Calibri, sans-serif; font-size: 11pt; font-weight: 400; margin: 0in;"><p style="font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black; caret-color: rgb(239, 252, 255); font-family: Cambria, georgia, serif; font-size: 16px;"><span style="color: white;"> Lawrence A. Johnson</span></span></p><p style="font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black; caret-color: rgb(239, 252, 255); font-family: Cambria, georgia, serif; font-size: 16px;"><span style="color: white;">16.02.24</span></span></p><p style="font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black; caret-color: rgb(239, 252, 255); font-family: Cambria, georgia, serif; font-size: 16px;"><span style="color: white;">Chicago Classical Review</span></span></p><p style="font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black; caret-color: rgb(255, 255, 255); font-family: Cambria, georgia, serif; font-size: 11px; text-align: center;"><span style="color: white;">Photo: Todd Rosenberg</span></span></p><p style="font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><b style="background-color: black;"><span style="color: white;">"The Estonian-American conductor has been a consistently excellent CSO podium guest and showed why once again, drawing fiery, committed and superb performances from the musicians throughout the evening’s program. Järvi is a conductor we need to hear more frequently in Chicago."</span></b></p></div><div style="font-family: Calibri, sans-serif; font-size: 11pt; font-weight: 400; margin: 0in;"><span style="background-color: black;"><span style="color: white;"><span style="font-family: -apple-system-font; font-size: 18px;">What a difference a week makes. Unlike the tired and rough-edged Chicago Symphony Orchestra concert heard </span><a data-saferedirecturl="https://www.google.com/url?q=https://chicagoclassicalreview.com/2024/02/cso-returns-from-european-tour-with-two-debuts-and-uneven-results/&source=gmail&ust=1708762805356000&usg=AOvVaw17clFbMmCHywt99T-FNF0s" href="https://chicagoclassicalreview.com/2024/02/cso-returns-from-european-tour-with-two-debuts-and-uneven-results/" style="font-family: -apple-system-font; font-size: 18px; max-width: 100%; text-decoration: none;" target="_blank">last week</a><span style="font-family: -apple-system-font; font-size: 18px;">, from the first notes of Beethoven’s</span><em style="font-family: -apple-system-font; font-size: 18px; max-width: 100%;"> Leonora </em><span style="font-family: -apple-system-font; font-size: 18px;">Overture No. 3 Thursday night, the orchestra sounded refreshed, energized and vital under the precise and inspiring baton of Paavo Järvi.</span></span></span></div></h1><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">The Estonian-American conductor has been a consistently excellent CSO podium guest and showed why once again, drawing fiery, committed and superb performances from the musicians throughout the evening’s program. Järvi is a conductor we need to hear more frequently in Chicago.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">“This opera will earn me a martyr’s crown,” said Beethoven of his sole work in the genre, <em style="max-width: 100%;">Fidelio</em>. He continually revised <em style="max-width: 100%;">Fidelio</em>—originally titled <em style="max-width: 100%;">Leonore</em>—throughout his life, including writing four overtures for the opera.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">Beethoven decided that the <em style="max-width: 100%;">Leonore</em> Overture No. 3 was too long and elaborate for a theatrical curtain-raiser but it makes a first-rate concert work as shown by Järvi and company Thursday night. For a piece as familiar as this, Järvi led a notably fresh, taut and crackling account that had a bristling immediacy and sense of theatrical greasepaint. The introduction, depicting Florestan in his prison cell, unfolded with atmospheric unease, and the main Allegro went with a fizzing, cut-and-thrust Beethovenian drama. Mark Ridenour lofted a noble offstage trumpet solo and the propulsive final section went with a fizzing exhilaration and galvanic sense of release. </span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">Edward Elgar’s Cello Concerto hasn’t been heard in a decade at CSO subscription concerts, and Thursday night’s performance proved worth the wait with the fast-rising Sheku Kanneh-Mason making an outstanding Orchestra Hall debut.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">As the young British cellist of the moment, one would expect a worthy showing of his country’s most celebrated concert work for his instrument. And indeed the engaging Kanneh-Mason delivered a notably youthful, fresh and dedicated performance of Elgar’s concerto.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">For all its popularity, Elgar’s Cello Concerto is a challenging work to pull off successfully. Many soloists go for an overtly bravura style, which tends to overshadow the subtle sadness that permeates this wartime score.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">Kanneh-Mason had both qualities dexterously balanced throughout in his impassioned and eloquent Elgar performance. Playing his magnificent 1700 Gofriller instrument, the soloist’s febrile, burnished sound was a consistent pleasure to the ears. While he handled the solo virtuosity fluently—a couple pitchy moments apart—Kanneh-Mason proved an impassioned advocate for Elgar’s nostalgic score. He imbued the Adagio with a hushed, elegiac feeling and brought spirited energy to the galumphing finale, ensuring the yearning reprise made its touching effect before the emphatic coda. Järvi supported the soloist with a sumptuous, full-blooded symphonic canvas befitting this Late Romantic score.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">The ovations recalled Kanneh-Mason to the stage. He favored the audience with an encore of his own composition, <em style="max-width: 100%;">Melody,</em> the gentle theme, given a plaintive, inward rendering.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">Carl Nielsen’s music often paints a world where order is continually upended by chaos and disorder. Nowhere is that more bracingly manifest than in the Danish composer’s Symphony No. 5, which concluded the evening. </span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">Even more than in Elgar’s concerto—which was written during the First World War—Nielsen’s Fifth (1920-22) seems to be haunted by the recent hostilities. The war’s violence and carnage is palpable in the first movement, where the uneasy landscape is fractured, dominated by a militaristic snare drum and martial percussion. A theme for strings—Nielsen’s richest lyrical outpouring—is undermined by a malign, increasingly violent snare drum, though the heartening theme eventually triumphs.Paavo Järvi is especially inspired in music of Northern and Eastern Europe and he directed a masterful, acutely concentrated account of Nielsen’s challenging score. The crucial wind writing was full and rounded, and the disparate elements and competing contrapuntal lines were scrupulously balanced with Nielsen’s most hectic passages emerging clearly and effectively.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">Jarvi gave the lyrical theme sumptuous treatment and the malevolent snare drum—played by Cynthia Yeh with daunting power in its forceful ad libitum attacks—was as jarring as it should be. </span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">After the dramatic first movement, the challenge in this score is ensuring that the second movement—made up of four shorter sections—doesn’t come off like an anticlimax. To his credit, Järvi maintained the intensity and anarchic energy to the coda. In his dramatic sweep through the concluding movement, he pointed the contrasts, underlined the fugal writing and built to a resounding and effective final peroration.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">The musicians clearly enjoyed playing this music under Järvi and there were smiles aplenty from the string first desks in the whirling craziness of the finale. All sections contributed to this imposing performance with special kudos deserved to Cynthia Yeh’s forceful snare drum playing and Stephen Williamson’s expressive clarinet work, especially his haunted, keening solo at the end of the first movement.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;">Cliff Colnot, longtime conductor of the Civic Orchestra and the CSO’s MusicNOW series died Monday, age 76, after a long illness. Colnot was a fine musician and a clarifying exponent of even the knottiest contemporary scores. </span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MVQx6MXbaISMM2Pe0syrYbNC2T4f-yA-VtJ25lux-6V_aNzaCFkF4ztZW6SviAMVuk6isXPyzktYtbVdeoix5m_ZuM5hHEoKVVbHXKmi6Ye9NlzetqV2CQ38KJ4SHuXqJidkRIh0rzMw9AVli9p2haXDGFATjOPKXQF96JTVjehGEUoSzPSf/s896/CSO20240215_182.jpeg" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="896" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MVQx6MXbaISMM2Pe0syrYbNC2T4f-yA-VtJ25lux-6V_aNzaCFkF4ztZW6SviAMVuk6isXPyzktYtbVdeoix5m_ZuM5hHEoKVVbHXKmi6Ye9NlzetqV2CQ38KJ4SHuXqJidkRIh0rzMw9AVli9p2haXDGFATjOPKXQF96JTVjehGEUoSzPSf/s320/CSO20240215_182.jpeg" width="179" /></span></a></div><span style="background-color: black;"><span style="color: white;"><br /></span></span><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: -apple-system-font; font-size: 18px; max-width: 100%;"><a data-saferedirecturl="https://www.google.com/url?q=https://chicagoclassicalreview.com/2024/02/paavo-jarvi-makes-a-commanding-cso-return-as-young-cellist-kanneh-mason-impresses-in-elgar/&source=gmail&ust=1708762805356000&usg=AOvVaw0JHULhQPYLkilQ7ESnx6fj" href="https://chicagoclassicalreview.com/2024/02/paavo-jarvi-makes-a-commanding-cso-return-as-young-cellist-kanneh-mason-impresses-in-elgar/" style="background-color: black; font-family: Calibri, sans-serif; font-size: 14.666667px;" target="_blank"><span style="color: white;">https://<wbr></wbr>chicagoclassicalreview.com/<wbr></wbr>2024/02/paavo-jarvi-makes-a-<wbr></wbr>commanding-cso-return-as-<wbr></wbr>young-cellist-kanneh-mason-<wbr></wbr>impresses-in-elgar/</span></a></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-61465498952317149592024-02-23T03:23:00.002-05:002024-02-23T03:23:15.718-05:00The Estonian conductor returns to Italy with Sibelius and a new interpretation of Prokofiev<p><span style="background-color: black;"><span style="color: white;">La Repubblica Roma</span></span></p><p><span style="background-color: black;"><span style="color: white;">Andrea Penna</span></span></p><p><span style="background-color: black;"><span style="color: white;">22.02.24</span></span></p><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><b style="background-color: black;"><span style="color: white;">Järvi 'I direct the drama of a story that repeats itself</span></b></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><b style="background-color: black;"><span style="color: white;"><br /></span></b></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">An international baton by vocation, career and above all personal history, Paavo Järvi is not seen too often in Italy, partly because he devotes himself more to the symphonic repertoire than to opera.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">His return to the podium at the Accademia di Santa Cecilia tonight coincides with the debut of violinist Augustin Hadelich. German-born but Italian by birth and for a fundamental part of his training, Hadelich is a virtuoso appreciated in a repertoire ranging from Paganini to Dutilleux. For his Cecilia debut he chose the Violin Concerto in D min by Jean Sibelius, at the centre of a programme opened by Debussy's Prelude à l'apre-midi d'un faune and closed with Prokofiev's Fifth Symphony.</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">"Sibelius continues to be unpopular in many countries, even in Italy," notes Paavo Järvi, "perhaps also because of some old critical stances that branded him as a musician lagging behind romantic models. His violin concerto is an exception, it is a splendid piece that brings the audience, performers and even the ticket office together'. </span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">Estonian by birth, Paavo Järvi now leads the Tonhalle Orchestra Zurich after having made a strong impression with the Orchestre de Pari. He is the son of Neeme Järvi, a celebrated interpreter of the Russian repertoire and also of Sibelius, who emigrated to the United States with his family in 1980. Paavo's brother Kristjan is himself a conductor and his sister Maarika an excellent flautist.</span></span></div></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">Two years after the Russian invasion of Ukraine, Järvi's life experience adds an especially dramatic trait to his reading of Prokofiev's Fifth Symphony, written in 1944 by a composer distressed by the propaganda diktats of Soviet power. "Music is often a mirror of the era in which it was written, and especially masterpieces stand the test of time long enough to see how history remains," the conductor points out, "as this symphony confronts themes of the Stalin era, the relationship with power, culture and war, which in many ways resemble those of today.”</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">Järvi, who grew up when his homeland was under Soviet occupation, has no illusions: "This is a dramatic and delicate moment, especially in my country which feels the Russian threat heavily also due to our strong support for Ukraine. It’s not the moment to abandon that country, even if the press and public opinion show some signs of tiredness because the entire Western democratic system is at stake and we could be next. Despite this - concludes Järvi - I continue to conduct Russian music because I think that a cultural clash doesn't help anyone."</span></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222; font-family: Arial, Helvetica, sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAH8qEVwBWSgCpVQS1E9z_JuqIXNAXCjhtgzy-B1Zzv4WCOSSIQRwHXL4BdFJT9Q9W8i2m3t8XidBi1Kt5hRwjzStMcdlHkOnPGflx8-GTMlNzglY034zVe8pIhv9UR4RJOZD4RK29ncWVzAZYNezwNzRqaUK3r2yeH_Vx3SV_3doEYTL-Tw9/s1132/Screenshot%202024-02-23%20at%2008.22.18.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1132" data-original-width="1060" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAH8qEVwBWSgCpVQS1E9z_JuqIXNAXCjhtgzy-B1Zzv4WCOSSIQRwHXL4BdFJT9Q9W8i2m3t8XidBi1Kt5hRwjzStMcdlHkOnPGflx8-GTMlNzglY034zVe8pIhv9UR4RJOZD4RK29ncWVzAZYNezwNzRqaUK3r2yeH_Vx3SV_3doEYTL-Tw9/s320/Screenshot%202024-02-23%20at%2008.22.18.png" width="300" /></a></div><br /><div style="caret-color: rgb(34, 34, 34); color: #222222; font-family: Arial, Helvetica, sans-serif;"><br /></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-71898850529178991972024-02-17T05:26:00.004-05:002024-02-17T05:26:35.723-05:00http://www.concertonet.com/scripts/cd.php?ID_cd=5068<p><span style="background-color: black; font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"><span style="color: white;">01/28/2024</span></span></p><p><span style="background-color: black; font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"><span style="color: white;">Sébastien Gauthier</span></span></p><p><span style="background-color: black; font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"><span style="color: white;">ConcertoNet</span></span></p><p><span style="background-color: black; font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;"><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 3 en ré mineur</i>, WAB 103 (version 1873)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">ORF Radio-Symphonieorchester Wien, Markus Poschner (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré au Radio Kulturhaus de Vienne (23‑24 janvier 2022) et au Konzerthaus de Vienne (25 janvier 2022) – 57’19</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Capriccio C 8086 – Notice (en allemand et en anglais) de Paul Hawkshaw, Norbert Trawöger et Markus Poschner</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img922/2631/u6oHF2.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonies n° 4 en mi bémol majeur « Romantische »</i>, WAB 104 (version 1878‑1880, éd. Nowak) [*], et <i>n° 5 en si bémol majeur</i>, WAB 105 (version 1978, éd. Nowak) [**]</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Münchner Philharmoniker, Rudolf Kempe (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré à Munich (24-27 mai 1975 [**], 14‑15 décembre 1975 et 20‑21 janvier 1976 [*]) – 140’26</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Album de deux disques Profil Hänssler PH 20038 – Notice (en allemand et en anglais) de Wolfgang Teubner</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img923/2084/lieKoG.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 4 en mi bémol majeur « Romantische »</i>, WAB 104 (version 1880, éd. Haas)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré en public à la Philharmonie im Gasteig, Munich (19‑20 janvier 2012) – 68’05</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">BRKlassik 900213 – Notice bilingue (allemand et anglais) de Christian Wildhagen</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="http://img4.imageshack.us/img4/2792/crocherduite.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> </span><img src="http://img4.imageshack.us/img4/2792/crocherduite.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> </span><img src="http://img4.imageshack.us/img4/2792/crocherduite.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> </span><img src="http://img4.imageshack.us/img4/2792/crocherduite.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> </span><span style="font-family: Forte; font-size: 14px; letter-spacing: 1px;"><i>Must de </i>ConcertoNet</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img923/4365/RiNZTA.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 4 en mi bémol majeur « Romantische »</i>, WAB 104 (version 1878‑1880) [*] – <i>Finale : « Volksfest »</i> (1878) [**]</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Bruckner Orchester Linz [*], ORF Radio-Symphonieorchester Wien [**], Markus Poschner (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré au Musiktheater de Linz (16 et 19 février 2021) [*] et au Radio Kulturhaus de Vienne (29 novembre 2021) [**] – 83’16</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Capriccio C 8083 – Notice (en allemand et en anglais) de Paul Hawkshaw, Norbert Trawöger et Markus Poschner</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img924/1299/2BNX4M.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 4 en mi bémol majeur « Romantische »</i>, WAB 104 (version 1874, éd. Schaller)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Philharmonie Festiva, Gerd Schaller (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré en public en l’abbaye cistercienne d’Ebrach (25 juillet 2021) – 73’24</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Profil Hänssler PH 22010 – Notice (en anglais et en allemand) de Gerd Schaller</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img924/4958/nOrHRw.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 4 en mi bémol majeur « Romantische »</i>, WAB 104 (version 1888, éd. Benjamin Korstvedt 2004)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Altomonte Orchester St. Florian, Rémy Ballot (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré en public en la Stiftsbasilika de Saint-Florian (21 août 2021) – 79’27</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Gramola 99261 – Notice (en allemand, anglais et français) de Klaus Laczika, Rémy Ballot et Benjamin M. Korstvedt</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img922/5683/dKcWOT.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 4 en mi bémol majeur « Romantische »</i>, WAB 104 (version 1874, éd. Nowak)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Gürzenich-Orchester Köln, François-Xavier Roth (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré en public à la Philharmonie de Cologne (19 et 21 septembre 2021) – 69’38</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Myrios Classics, MYR032 – Notice (en allemand, anglais et français) de Harald Hodeige</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img924/4668/tFT9wv.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 4 en mi bémol majeur « Romantische »</i>, WAB 104 (version 1876, éd. Benjamin Korstvedt 2004)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">ORF Radio-Symphonieorchester Wien, Markus Poschner (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré au Radio Kulturhaus de Vienne (25 et 27 novembre 2021) – 65’53</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Notice (en allemand et en anglais) de Paul Hawkshaw, Norbert Trawöger et Markus Poschner</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Capriccio C 8084</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img924/9210/045PK5.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 7 en mi majeur</i>, WAB 107 (version 1885, ed. Nowak)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Tonhalle-Orchester Zürich, Paavo Järvi (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré à la Tonhalle de Zurich (janvier 2022) – 64’54</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Alpha 932 (distribué par Outhere) – Notice (en allemand, anglais et français) de Franziska Gallusser</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img923/5366/dL7las.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 8 en ut mineur</i>, WAB 108 (version 1887)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Bruckner Orchester Linz, Markus Poschner (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré au Musiktheater de Linz (4‑6 juillet 2022) – 82’06</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Capriccio C 8087 – Notice (en allemand et en anglais) de Paul Hawkshaw, Norbert Trawöger et Markus Poschner</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img922/8683/FQ3Zvt.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 8 en ut mineur</i>, WAB 108 (version 1890, éd. Nowak)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Tonhalle-Orchester Zürich, Paavo Järvi (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré à la Tonhalle de Zurich (septembre 2022) – 81’36</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Alpha 987 (distribué par Outhere) – Notice (en allemand, anglais et français) de Franziska Gallusser</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img922/8580/O4oweg.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner : <i>Symphonie n° 9 en ré mineur</i>, WAB 109 (éd. Nowak)</b><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Wiener Philharmoniker, Christian Thielemann (direction)</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enregistré en public au Grosses Festspielhaus de Salzbourg (28‑30 juillet 2022) – 57’35</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Sony Classical 196589130112 – Notice (en anglais et en allemand) de Wolfgang Stähr</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="http://img4.imageshack.us/img4/2792/crocherduite.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> </span><img src="http://img4.imageshack.us/img4/2792/crocherduite.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> </span><img src="http://img4.imageshack.us/img4/2792/crocherduite.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> </span><span style="font-family: Forte; font-size: 14px; letter-spacing: 1px;"><i>Sélectionné par la rédaction</i></span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><img src="https://imagizer.imageshack.com/img923/6372/1mLNTO.jpg" style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">La véritable ferveur pour les symphonies d’Anton Bruckner ne se dément pas lorsqu’on voit la profusion des parutions discographiques ces derniers mois, cet engouement étant réactivé par la célébration, en 2024, du bicentenaire de la naissance du grand compositeur autrichien. Nul doute que les gravures devraient se multiplier dans l’année qui vient à peine de débuter ; regardons dès à présent ce premier florilège.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Et commençons donc par la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Troisième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> dirigée par </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Markus Poschner</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, dans l’édition originelle de 1873 qui a été récemment défendue au disque par </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=4893" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">Thomas Dausgaard</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> et en concert par </span><a href="http://www.concertonet.com/scripts/review.php?ID_review=12786" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">Herbert Blomstedt</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, édition qui est de loin la moins prisée au profit plus généralement de celle établie par Leopold Nowak sur la base du manuscrit de 1889. Le chef allemand, qui prendra les rênes de l’Orchestre symphonique de Bâle à compter de la saison 2025‑2026, nous donne une version très convaincante de cette symphonie même si le premier mouvement désarçonne quelque peu compte tenu de la vivacité générale du tempo. L’Orchestre symphonique de la Radio de Vienne, moins connu que d’autres phalanges de la capitale autrichienne, brille tout de même grâce à des cordes splendides (quelle cohésion !) et des cuivres rougeoyants : le passage à partir de 9’18 est magnifique, Poschner poussant son orchestre dans ses plus extrêmes limites, servi par ailleurs par une prise de son exemplaire. La capacité du chef à mener jusqu’à leur terme les longues phrases brucknériennes joue à plein dans le deuxième mouvement, </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Adagio, bewegt quasi andante</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, notamment à partir de 11’52, mais les exemples pourraient être multipliés. On regrettera tout de même un troisième mouvement à notre goût trop précipité (à peine six minutes), en dépit d’un </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> central bucolique à souhait. Même précipitation regrettable dans le dernier mouvement mais, avouons‑le, c’est également ce mouvement qui nous semble le plus « faible » dans cette symphonie, lequel peut facilement ennuyer ici ou là. L’orchestre, au hautbois viennois si reconnaissable, n’en reste pas moins pleinement impliqué et conclut avec tous les honneurs cette version originelle tout à fait recommandable.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Parmi les symphonies de Bruckner, la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Quatrième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, dite « Romantique », est sans nul doute la plus populaire, avec la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Septième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">. Ce n’est donc pas un hasard si nous bénéficions de plusieurs versions récentes qui ont l’intérêt de confronter les diverses versions de l’œuvre.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">On connaît </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Rudolf Kempe</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> (1910‑1976) le straussien ; on connaît moins le brucknérien… Une </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Huitième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> avec l’Orchestre de la Tonhalle de Zurich nous est certes parvenue, le site exhaustif </span><a href="http://www.concertonet.com/scripts/abruckner.com" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;" target="_blank">abruckner.com</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> recensant également des </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Deuxième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> et </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Septième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> mais dont la diffusion confidentielle n’a donc guère laissé de trace dans l’héritage discographique de ce chef de grande tradition, qui a porté le Philharmonique de Munich à des sommets depuis qu’il en avait pris la direction musicale en 1967. Les deux enregistrements ici présents ne constituent donc pas de réelles surprises puisque réédités à plusieurs reprises, la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Quatrième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> étant un témoignage particulièrement émouvant puisqu’enregistrée quelques semaines à peine avant la disparition de Kempe, le 12 mai 1976.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Cette </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Romantique</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est très belle, évidemment pourrait‑on ajouter... Le premier mouvement est conduit de façon implacable (notez la progression à partir de 8’20, sans lourdeur aucune) avec une emphase majestueuse (le choral de cuivres à 10’24 !). Pour autant, on regrette que ce sens évident de l’architecture soit parfois un peu sec (notamment lorsqu’intervient la petite harmonie). Sécheresse que l’on retrouve, et c’est bien plus dommage, dans l’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Andante, quasi allegretto</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, en dépit de cordes magnifiques ; pour autant, et c’est la magie de certains disques, plus le mouvement avance, plus on est convaincu, les dernières minutes vous prenant à la gorge à la limite de la suffocation. Moins convaincant, le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> (avec un </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> des plus banals) est conduit sans concession, de façon très raide. Idem pour le mouvement conclusif mais peut‑être est‑ce en partie dû au lieu d’enregistrement à l’acoustique particulièrement sèche, sans aucune once de réverbération ; dirigé de façon altière, bénéficiant de quelques éclairages étonnants (la clarinette à 16’13), il s’avère certes rigide mais donne tout de même à entendre un orchestre de très haut niveau, à l’évidence galvanisé par son chef.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">La </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Cinquième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est à notre sens peut-être la symphonie de Bruckner la plus complexe à comprendre, non pas tant en raison de sa durée que de sa construction, notamment dans les mouvements pairs. Le premier mouvement est parfait : l’introduction est prise très lentement mais la suite est abordée là encore sans concession, avec une vision des plus volontaires, les instrumentistes se donnant à fond (les cors bien entendu mais quelle flûte également !). Le soin apporté aux transitions, les contrastes entre notes liées et pizzicati, les interventions solistes des vents (cuivres ou bois) en font une totale réussite. Si le hautbois entre avec une légère brutalité dans cet </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Adagio. Sehr langsam</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, le dialogue qui se noue ensuite avec le basson et l’entrée des cordes avec archet nous séduisent assez rapidement ; Rudolf Kempe se sort des chausse‑trappes de la partition en bénéficiant de sonorités généreuses (la clarinette, les cordes), sachant parfaitement où il souhaite conduire ses comparses, la ligne droite ne l’empêchant pas d’exploiter les tréfonds de la partition pour quelque ralenti ou quelque effet de nuances. S’il nous manque ce supplément d’âme que</span><a href="http://www.concertonet.com/scripts/review.php?ID_review=7832" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">Claudio Abbado</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> par exemple savait y instiller, cette interprétation ne nous en émeut pas moins profondément. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est interprété de façon volontaire certes mais sans le déferlement de puissance que l’on peut entendre parfois ; Rudolf Kempe n’a donc aucun effort à faire pour maîtriser la machine munichoise qui déroule sa partition sans coup férir. Le Finale conclut le disque avec maestria, Kempe enchaînant les divers épisodes de la partition avec un naturel qui nous fait oublier les ruptures qui peuvent y exister ; fin sensationnelle qui, pour ce qui nous concerne, nous fait redécouvrir cette version de la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Cinquième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> avec un véritable bonheur.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Bernard Haitink</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> et Anton Bruckner : une vieille complicité qui aura duré tout au long de la carrière de l’immense chef néerlandais, Bruckner l’ayant particulièrement accompagné lors de ses dernières années de direction. L’édition de ce concert donné à Munich à la tête de l’Orchestre symphonique de la Radio bavaroise en janvier 2012 ne nous apprend pas grand‑chose sur les affinités entre le chef et cette </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Quatrième Symphonie</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, qu’il a gravée à de multiples reprises, souvent dans la même version que celle figurant dans le présent disque (version de 1880 dans l’édition Haas de 1936). Les tempi sont quasi identiques à ceux des autres versions laissées au disque par Haitink et, en fin de compte, on ne se pose guère de question en l’écoutant : tout bonnement parce que tout coule de source, tout est fait avec un naturel évident, tout est à sa place. Faudrait‑il pour autant en déduire que cette magnifique interprétation (on ne reviendra pas ici sur les mérites de l’orchestre, un des meilleurs du monde) est d’une grande neutralité, voire banalité ? Evidemment non ! Le premier mouvement, </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Bewegt. Nicht zu schnell</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, frappe par la beauté et la sérénité de son architecture, Haitink alliant puissance orchestrale et force tranquille, la coda arrivant là tout simplement parce que tout ce que nous avons entendu auparavant ne pouvait que la faire ainsi aboutir (la progression à partir de 7’30). Quelle maîtrise, si évidente ! Le deuxième mouvement est tout aussi somptueux, les cordes de l’orchestre imposant là encore une atmosphère si tranquille et si pleine que cuivres et vents ne peuvent intervenir qu’à bon escient, le chef imposant par ailleurs une gamme de nuances des plus subtiles. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, pris à une allure raisonnable, met bien entendu les cuivres de l’orchestre en valeur, les détachés étant d’un instrumentiste à l’autre d’une précision et d’une synchronisation parfaites. Mais c’est peut-être le dernier mouvement qui nous impressionne le plus. Haitink l’aborde en ayant d’emblée en vue la coda conclusive et ce ne sont pas les passages plus primesautiers qui l’en détournent, au point que le mouvement dans son ensemble se trouve nimbé d’une certaine gravité qui se voit couronnée dans les dernières minutes. Parfois, on se demande pourquoi un éditeur souhaite publier un concert, qui plus est lorsqu’il est vieux de plus de dix ans comme en l’espèce. Ici, on ne se pose pas de question : peut-être la plus belle </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Romantique</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> par Haitink que nous ayons à ce jour !</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Dans la version 1878‑1880, </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Markus Poschner</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> ne peut guère rivaliser avec les versions plus emblématiques de cette œuvre mais il n’en livre pas moins une interprétation du plus haut niveau. L’orchestre Bruckner de Linz est toujours excellent même si l’on aurait pu souhaiter, essentiellement dans le premier mouvement, cor solo plus altier. Le chef n’en dirige pas moins avec conviction ce mouvement (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Bewegt. Nicht zu schnell</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">), en privilégiant une vision allante qui tourne le dos à la pompe parfois intimidante de cette page si grandiose. A dire vrai, cette approche nous semble mieux fonctionner dans le dernier mouvement, où les cordes sont jubilatoires, les cuivres étant souvent relégués au second plan au point qu’on pourrait parfois les croire timides. Dans le Finale, il nous semble que, peut‑être pour se démarquer de ses devanciers et essayer d’apporter sa touche personnelle à cette symphonie, Poschner a trop tendance à mettre le projecteur sur tel phrasé ou à trop varier les nuances, ce qui nuit quelque peu à la cohérence globale du mouvement. Bénéficiant de cordes extrêmement soyeuses, le deuxième mouvement est conduit avec une grande maîtrise qui n’édulcore en rien la finesse de la partition ; quant au fameux </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, on pourrait de nouveau souhaiter cuivres plus brillants mais Poschner s’en empare avec une joie évidente, cravachant son orchestre pour un résultat des plus satisfaisants. En complément de cette version « habituelle » pourrait‑on dire, Poschner et les siens nous donnent à entendre le dernier mouvement de la symphonie, « Fête populaire » (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Volksfest</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">) dans sa version de 1878 (ici dans l’édition Korstvedt), avant que Bruckner ne lui substitue la version de 1880. On y retrouve en partie seulement les passages et même les sonorités de la version à laquelle nous sommes habitués mais certaines mesures laissent place à des plans plus travaillés sur les violoncelles ou sur le dialogue avec la petite harmonie, les passages le mieux « conservés » au fil du travail du compositeur étant certainement ceux de la coda. Bref, une curiosité...</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Auteur avec son orchestre Philharmonie Festiva de plusieurs belles réalisations brucknériennes (voir notamment </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=3339" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">ici</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=3926" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">ici</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=4024" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">ici</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> ou </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=4588" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">ici</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">), </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Gerd Schaller</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> s’attaque maintenant à la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Quatrième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">. Ce n’est pas la première fois mais il avait alors choisi </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=2585" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">l’édition Nowak</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> ; ici, il choisit la version de 1874 qui plus est... dans sa propre édition ! Comme l’indique à juste titre la notice d’accompagnement de Schaller (non traduite en français), cette version originelle (la symphonie fut achevée le 22 novembre 1874) met en évidence toute la modernité de l’œuvre, celle‑ci s’avérant assez expérimentale, là où la version plus connue de 1878/1880 apparaît au contraire comme le symbole même de la symphonie « parfaite » par ses proportions et son agencement interne. En l’espèce, les cordes sont magnifiques grâce notamment à des basses bien présentes mais sans lourdeur aucune ; la petite harmonie est étincelante et les cuivres (cor solo en tête) ne manquent pas à l’appel, les dernières minutes du mouvement nous emmenant sur des sommets sans jamais nous lâcher. Dans l’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Andante quasi allegretto</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, l’auditeur découvrira nombre de traits originaux (l’intervention du cor solo, des tutti ou pizzicati de cordes...) dont il n’a pas connaissance s’il est habitué à écouter la classique version révisée en 1880 ; pour autant, on retrouve ses petits et Gerd Schaller dirige ce mouvement avec conviction, même si ce dernier trahit certaines longueurs (d’ailleurs, cette version atteint presqu’une heure et quart quand la version habituelle dépasse tout juste l’heure). Il est surtout intéressant de constater que cette version s’avère beaucoup plus légère et indolente que celle de 1880, plus sombre et surtout plus altière dans son cheminement. Le mouvement le plus célèbre de la symphonie, le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, totalement remanié en 1878, est celui qui décontenance le plus ; les sonneries du cor solo sont bien faites mais, et là la responsabilité en incombe au compositeur lui‑même, on a du mal à suivre Bruckner dans cette page si convaincante en 1878 mais quelque peu décousue quatre ans plus tôt en raison des sonneries récurrentes du cor qui séquencent assez artificiellement le mouvement. La Philharmonie Festiva l’interprète avec allant, y compris dans un </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> finalement assez poétique, la direction de Schaller donnant tout son lustre à la partition. Quant à l’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Allegro moderato</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> conclusif, il le conduit de façon très fluide, presqu’enlevée, les fondements de la version 1878/1880 étant bien indentifiables même si certains passages se voient quelque peu noyés sous une décharge soudaine de cordes, excellentes au demeurant.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Autre version de la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Romantique</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> signée </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Markus Poschner</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">mais notée 1876. 1876 ? Oui, vous avez bien lu ! En vérité, loin d’être une véritable nouvelle version, il ne s’agit rien moins que de la version de 1874 avec quelques remaniements datant de 1876 mais ceux‑ci sont tellement infimes que ni Paul‑Gilbert Langevin (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Bruckner</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">L’Age d’homme</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, pp. 139 </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">sq</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">.), ni Max Auer (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Anton Bruckner, Sein Leben und Werk</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Musikwissenschaftlicher Verlag</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, 1934, pp. 189 </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">sq</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">.) n’en pipent mot ! De fait, l’auditeur aura bien souvent l’impression d’une redite avec la version de 1874 que Poschner, dans le cadre de son intégrale, ne manquera pas d’enregistrer prochainement... Le premier mouvement est bien fait mais trahit plusieurs imprécisions (décalage des premiers violons, attaques retardées des cors...), ajoutant à l’impression de désordre de cette mouture qui, pour reprendre Langevin, nous rapproche bien davantage de la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Troisième Symphonie</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> que de la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Quatrième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> dans sa forme définitive de 1878/1880. L’orchestre s’avère néanmoins prenant en plus d’une occasion, notamment sur le fond où la cavalcade des trompettes remplace la coda conduite par les cors dans la version de 1878. Les violoncelles s’imposent d’emblée dans l’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Andante, quasi allegretto</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> qui, ici, rappelle le deuxième mouvement de l’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Héroïque</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> de Beethoven, même si l’on retrouve pour une bonne part le matériau que Bruckner conserva dans sa version ultérieure de l’œuvre. En dépit de multiples changements et digressions dans le discours, ce mouvement nous emporte ici : puissant, très bien conduit, bénéficiant de magnifiques sonorités et parfois de singuliers détails (ici une phrase de la flûte, là des pizzicati...), on ne peut qu’être séduit. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, dont on sait qu’il a été totalement changé par Bruckner dans sa version de 1878, est moins convaincant dans sa facture originelle ; parfois un peu brusque dans ses effets (à 1’52 par exemple), Poschner n’en emporte pas moins l’auditeur grâce à un orchestre aux cuivres rutilants. Si la coda concluant le dernier mouvement ne possède en rien la grandeur hiératique de la version de 1878, elle ne disqualifie pas pour autant (en dépit d’une trompette solo un peu criarde dans les toutes dernières mesures) cette « version 1876» qui ravira tout amateur de l’exhaustivité brucknérienne.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Après une récente </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=4798" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;"><i>Deuxième Symphonie</i></a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> décevante, </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Rémy Ballot</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> n’en poursuit pas moins son périple brucknérien avec la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Quatrième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, dans l’édition établie par le musicologue américain Benjamin Korstvedt sur la base de la version de 1888. Rémy Ballot fait de nouveau montre de ses travers, que nous avons déjà soulignés lors de précédentes gravures : une tendance à être très emphatique dans le premier mouvement (notamment à partir de 4’28), des passages assez lourds (l’attaque quasi grotesque des cordes après le tutti de cuivres à 6’14), une tentation à forcer le trait (à 17’48 !)... C’est dommage car l’orchestre est très bon grâce notamment à des cuivres de première qualité, la coda ne manquant pas de souffle à ce titre même si l’on sent un orchestre un peu à la peine, peut‑être en raison d’une certaine fatigue. L’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Andante, quasi allegretto</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">est bien réalisé (superbe pupitre de violoncelles) et l’intérêt demeure tout au long de l’écoute en dépit d’un tempo très retenu et de quelques passages poussifs ou raides. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est sans doute le mouvement le moins réussi, sa facture étant très différente de l’édition Haas de 1880 à laquelle on est plus habitué ; tout cela est très poussif et souvent lourd, le passage à partir de 2’30 s’avérant à ce titre des plus rédhibitoires. Le dernier mouvement est beaucoup plus réussi ; l’orchestre semble recouvrer une certaine énergie, les cors sont de toute beauté mais on regrettera tout de même que Rémy Ballot privilégie l’effet masse sur les détails de la partition, peut‑être guère aidé par ailleurs par la réverbération de la basilique de Saint‑Florian. L’accueil poli du public, en dépit de quelques bravo lancés ici ou là, témoigne soit du fait qu’il aura été quelque peu décontenancé par cette nouvelle édition, soit que le concert lui aura paru bien long (près d’une heure vingt) ; une réussite en demi‑teinte donc qui, à notre sens, n’a pour seul véritable intérêt que de nous présenter la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Romantique</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> sous une nouvelle édition – (comme s’il n’y en avait pas assez, pourrait-on ajouter...</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Pour sa part, le chef français </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">François-Xavier Roth</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> opte pour la version originelle de 1874, défendue au disque notamment par Simone Young (chez </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Oehms Classics</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">) et Eliahu Inbal (chez </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Teldec</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">) et, comme on vient de le voir, par Gerd Schaller. Si l’on a à l’oreille la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Romantique</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> dans l’édition 1878‑1880, on aura droit ici à des changements nombreux, et d’envergure : certes, le fameux appel de cor du premier mouvement demeure mais les changements sont d’importance à partir notamment de 3’25 (quel passage étonnant que celui inauguré par les clarinettes à 5’13 avant cet impressionnant tutti de cuivres !). Quant au célèbre </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, on n’y retrouvera nullement les interventions des cors dans cette scène de chasse maintes fois entendue, le mouvement souffrant à notre sens de ruptures intempestives qui conduisent à avoir une appréhension assez grossière de cette partition, laquelle ne bénéficie nullement du souffle de l’édition de 1878. Une fois exprimé notre parti pris quant au choix de l’édition, écoutons tout de même ce que Roth a à nous dire, à la tête de son Orchestre du Gürzenich, enregistré ici en concert. Les pupitres sont là aussi du plus haut niveau ; le chef a un geste sûr (conduite des phrases sur toute leur longueur, arrêts nets, chorals pleins et jamais criards) et l’orchestre le suit sans anicroche. Peut-être en raison de ses affinités avec la musique française, Roth nous livre un premier mouvement assez léger, la symphonie apparaissant ici moins romantique que véritablement conquérante, la partition s’avérant en effet plus agitée qu’à l’accoutumée ; plus en phase avec l’œuvre nous semble‑t‑il, Gerd Schaller nous convainc davantage dans ce mouvement. La déception vient ici surtout de l’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Andante, quasi allegretto</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> qui suscite un profond ennui, le chef nous semblant tout d’un coup ne plus avoir grand‑chose à dire (contrairement à Inbal par exemple, qui maintenait une tension toujours sous‑jacente). Roth conduit certes avec une certaine conviction ce troisième mouvement décousu auquel nous avons fait référence, avant de retrouver une réelle maîtrise dans le Finale ; trop juste à notre sens pour que cela rattrape un ensemble bien fait mais sans convaincre.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">On l’oublie assez souvent mais </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Paavo Järvi</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> a laissé une intégrale des symphonies de Bruckner à la tête de l’Orchestre de la Radio de Francfort (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">RCA</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">). Durant son mandat à la tête de l’Orchestre de Paris, on ne l’a guère entendu diriger ces symphonies, hormis une </span><a href="http://www.concertonet.com/scripts/review.php?ID_review=11269" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;"><i>Cinquième</i></a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> qui ne nous a personnellement guère laissé de souvenir. Le voici qui se lance visiblement dans un nouveau cycle à la tête de son Orchestre de la Tonhalle de Zurich, avec ici la plus célèbre des symphonies de Bruckner, à savoir la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Septième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">. L’orchestre est excellent – évidemment pourrait‑on ajouter. Le premier mouvement frappe à la fois par sa finesse et sa légèreté (un leitmotiv tout au long de cet enregistrement) ; adoptant un tempo très retenu, Järvi dirige avec une maîtrise évidente, jouant sur la finesse des bois (à partir de 10’32) et sur une palette de nuances assez époustouflante (quels pianissimi vers 19’10 !). Avec une telle entrée en matière, l’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Adagio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> déçoit. Si l’approche de Järvi peut séduire par son caractère léger, voire primesautier (notamment à partir de 2’40), on constate tout au long du mouvement une certaine raideur et une lecture qui ne nous emmène pas dans les sommets que l’on peut connaître sous d’autres baguettes. On n’en soulignera pas moins certains passages extrêmement bien faits comme cette montée progressive à partir de 14’47 jusqu’au coup de cymbales et au triangle attendus. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est en revanche une franche réussite : dirigé à une allure assez vive mais sans excès (la partition indiquant pourtant « Sehr schnell »), l’orchestre nous entraîne dans un mouvement irrésistible (au sens premier du mot) mais sans lourdeur, qui avance constamment, le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> central étant également bien fait, celui‑ci sachant savamment jouer sur les contrastes avec le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> qui l’encadre. Le dernier mouvement est là encore très bien rendu (quel orchestre !), sans emphase, sans lourdeur là non plus, mais on peut regretter une vision qui ne va pas au-delà de la partition et qui ne nous ouvre guère de perspectives comme ont su le faire Wand, Giulini, Karajan ou quelques autres.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Markus Poschner</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> nous avait déjà délivré une très belle version de la </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=4893" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;"><i>Huitième</i></a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, dans l’édition Nowak de 1890 ; le voici qui nous revient mais cette fois‑ci avec l’édition originale datant de 1887 qui, à bien des égards, nous semble moins aboutie que la précédente, encore plus si on la compare à la version Haas de 1890 également. Pour qui a cette dernière version en tête (et nous en sommes), le début du premier mouvement étonne : pas de clarinette à 0’09, un tutti de cuivres abrupt à 0’55, pas de timbales non plus, des envolées de cordes qui diffèrent totalement de la version Haas à partir de 4’23, de très gros changements notamment de 12’50 à la fin du mouvement... Bref, n’en jetez plus et oubliez donc, cher auditeur, tout ce à quoi vous pouvez être habitué ! Si l’on joue donc pleinement la carte de cette version, avouons que le résultat est plastiquement convaincant. L’orchestre est de nouveau très bon, ainsi que nous l’avions déjà souligné dans de précédents comptes rendus, notamment la petite harmonie. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est également bien conduit en dépit d’une structure assez maladroite, Bruckner ayant eu raison de revoir sa partition tant la présente version nous semble assez brute de décoffrage avec des cuivres à foison jusqu’au </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, sans les pauses et les subtilités que l’on peut entendre dans l’édition Haas. Les vents, fortement sollicités, brillent d’ailleurs tout spécialement dans ce </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">où l’on remarquera d’excellents hautbois, clarinette, flûte et cor. Dans le redoutable </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Adagio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> (Bruckner a‑t‑il jamais rien composé de plus beau ?), on retrouve ses petits ; s’il existe toujours de grosses différences dans les éditions (à partir de 11’30 ou de 19’32 par exemple), on retrouve là l’essentiel du matériau des éditions plus communément adoptées. Poschner dirige le mouvement avec une poigne indéniable, les pupitres de cordes pouvant donner là le meilleur d’eux‑mêmes, le mouvement ne souffrant d’aucune baisse de tension alors que la conduite de cette immense arche en a fait chuter plus d’un. Le dernier mouvement est assez bien fait, bénéficiant de nouveau d’un excellent orchestre ; on regrettera tout de même la précipitation du chef de temps à autre qui conduit à nous livrer un Finale manquant trop souvent de cette respiration qui, à notre sens, fait partie intégrante des symphonies de Bruckner.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Dans la monumentale </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Huitième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> (édition Nowak de 1890), </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Paavo Järvi</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> déploie de nouveau un magnifique orchestre que l’on connaissait déjà dans cette œuvre au disque, ne serait-ce que sous la baguette hautement inspirée de Böhm, en concert qui plus est (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Testament</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">). On se régale en écoutant la finesse des bois dans le premier mouvement (les contrechants du basson !), celle des cordes dans le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> au sein du deuxième ou ces cuivres imposants dans le dernier ... Pour autant, comme pour la </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Septième</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, on reste sur sa faim puisque le chef estonien nous semble en rester à la seule surface de l’œuvre sans distiller de vision d’ensemble, encore moins délivrer de message alors que c’est peut‑être, en tout cas à notre sens, la symphonie de Bruckner qui invite le plus à la réflexion et à la méditation. Dans le premier mouvement, Järvi use d’un rubato assez important qui amoindrit considérablement le côté implacable de la progression ; à ce titre, les sonneries des trompettes juste avant les murmures conclusifs de l’orchestre manquent ici totalement leur but. On ne frémit nullement comme lorsqu’on écoute Karajan avec Vienne (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Deutsche Grammophon</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">), </span><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=1540" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; letter-spacing: 1px; line-height: 18px;">Haitink</a><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> avec Dresde (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Profil Hänssler</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">) ou Giulini avec Berlin (</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Testament</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">). Dans le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, l’impression est assez ambivalente. On est indéniablement pris mais tout cela est interprété très rapidement (13’33 pourtant...) et laisse en fin de compte une impression globale de désordre et d’empressement un peu vain. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Trio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est néanmoins superbe : pris à une bonne allure pour le coup, il séduit immédiatement par la finesse des cordes et le sens du détail (les notes liées ou détachées...). L’</span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Adagio</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> permet à l’orchestre de briller de nouveau (les cors à partir de 10’25 notamment) mais cette page passe presque sans accroc, au sens où elle ne nous émeut pas mais ne nous énerve pas non plus ; distiller de l’eau tiède dans cette partie de la symphonie est peut‑être le plus grand reproche que l’on puisse faire à un chef mais telle est bien l’impression qui en ressort. Le dernier mouvement, même s’il n’a pas le côté implacable de certaines interprétations concurrentes, est brillant et couronne un disque finalement moyen qui, en dépit d’indéniables qualités, n’ébranlera guère les références existantes.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Enfin, dans l’ultime opus symphonique de Bruckner, voici venu le tour de </span><b style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Christian Thielemann</b><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> à la tête du Philharmonique de Vienne, orchestre avec lequel il vient d’enregistrer le cycle complet des symphonies pour </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Sony</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">. Autant dire que sur le papier en tout cas, nous avons là l’équipe la plus authentiquement solide dans ce répertoire. Et le fait est que l’interprétation ici donnée, qui plus est en concert (dans la grande salle du Festspielhaus de Salzbourg), est magnifique. Dans le premier mouvement, </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Feierlich misterioso</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">, et malgré quelques lourdeurs (le passage à 2’05), on admire tour à tour les cuivres puissants, l’assise des basses, les cordes qui vrombissent comme jamais, l’orchestre ressemblant en plus d’une occasion à un rouleau compresseur que rien ne peut stopper comme lors de cette irrésistible montée à partir de 12’40. Le </span><i style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;">Scherzo</i><span style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;"> est le mouvement le plus réussi grâce à un martellement de timbales hypnotisant, l’ensemble de l’orchestre étant conduit d’une main de fer par un Thielemann à l’évidence au sommet de ses moyens. On est donc d’autant plus déçu par le troisième mouvement (contrairement à quelques chefs, et nous l’approuvons à titre personnel, le grand chef berlinois n’a jamais voulu diriger le quatrième mouvement reconstitué), qui, s’il séduit évidemment par le jeu de l’orchestre (Vienne dans ce répertoire...), manque à notre sens de profondeur et de cet « au‑delà » que Karajan, Giulini ou, dans une autre optique, Bernstein (avec Vienne également) savaient conférer à cette page si émouvante. Si l’élévation spirituelle cède donc le pas à une plastique irréprochable (quel sens des détails avec ce pupitre de cors à 2’52 ou l’intervention pour une fois parfaitement audible de la clarinette à 4’16), Christian Thielemann n’en signe pas moins là une version de tout premier ordre.</span><br style="font-family: "Times New Roman", Times, serif; font-size: 14px; letter-spacing: 1px;" /></span></span></p><p><a href="http://www.concertonet.com/scripts/cd.php?ID_cd=5068" style="background-color: black;"><span style="color: white;">http://www.concertonet.com/scripts/cd.php?ID_cd=5068</span></a></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-38147280878371251302024-02-17T05:23:00.004-05:002024-02-17T05:23:30.903-05:00Zürich, Tonhalle: BEETHOVEN | BARTÓK | NIELSEN;<h4 style="text-align: left;"><span style="background-color: black;"><span style="color: white;">Oper Aktuell</span></span></h4><div class="extra mb-3" style="box-sizing: border-box; caret-color: rgb(33, 33, 33); flex-shrink: 0; font-family: "Open Sans", sans-serif; font-size: 16px; margin-bottom: 1rem !important; margin-top: var(--bs-gutter-y); max-width: 100%; padding-left: calc(var(--bs-gutter-x) * 0.5); padding-right: calc(var(--bs-gutter-x) * 0.5); width: 1140px;"><span style="background-color: black;"><span style="color: white;"><span class="fas fa-calendar-alt me-1" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; display: var(--fa-display,inline-block); font-family: "Font Awesome 6 Free"; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 900; line-height: 1; margin-right: 0.25rem !important; text-rendering: auto;"></span> <time datetime="2024-02-07" itemprop="datePublished" style="box-sizing: border-box;">07.02.2024 </time>| <span class="fas fa-folder-open me-1" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; display: var(--fa-display,inline-block); font-family: "Font Awesome 6 Free"; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 900; line-height: 1; margin-right: 0.25rem !important; text-rendering: auto;"></span> <span class="label label-info" style="box-sizing: border-box;">Bartók, Violinkonzert</span></span></span></div><div class="col py-3" style="box-sizing: border-box; caret-color: rgb(33, 33, 33); flex: 1 0 0%; font-family: "Open Sans", sans-serif; font-size: 16px; margin-top: var(--bs-gutter-y); max-width: 100%; padding-bottom: 1rem !important; padding-left: calc(var(--bs-gutter-x) * 0.5); padding-right: calc(var(--bs-gutter-x) * 0.5); padding-top: 1rem !important; width: 1140px;"><div class="clearfix" style="box-sizing: border-box;"><div class="col-md-4 mb-3 ms-md-3 float-sm-end" style="box-sizing: border-box; flex: 0 0 auto; float: right !important; margin-bottom: 1rem !important; margin-left: 1rem !important; width: 366.65625px;"><div class="news-img-isFirst-wrap mb-4" style="box-sizing: border-box; margin-bottom: 1.5rem !important;"><div class="mediaelement mediaelement-image" style="box-sizing: border-box;"><a class="lightbox" data-lightbox-alt="" data-lightbox-caption="Applausbilder, 7.2.2024: K. Sannemann" data-lightbox-height="654" data-lightbox-title="" data-lightbox-width="988" href="https://www.oper-aktuell.info/fileadmin/oper-aktuell/redakteur/news-kritiken/2024/J%C3%A4rviFrang1.jpg" rel="lightbox-group" style="box-sizing: border-box; cursor: zoom-in;"><span style="background-color: black; color: white;"><img alt="" class="img-fluid" height="654" src="https://www.oper-aktuell.info/fileadmin/oper-aktuell/redakteur/news-kritiken/2024/J%C3%A4rviFrang1.jpg" style="box-sizing: border-box; height: auto; max-width: 100%; vertical-align: middle;" width="988" /></span></a></div><p class="news-img-caption text-muted fs-6 fst-italic mt-1" style="--bs-text-opacity: 1; box-sizing: border-box; font-size: 0.85rem !important; font-style: italic !important; margin-bottom: 1rem; margin-top: 0.25rem !important;"><span style="background-color: black;"><span style="color: white;">Applausbilder, 7.2.2024: K. Sannemann</span></span></p></div></div><div class="lead" itemprop="description" style="box-sizing: border-box; font-size: 1.25rem; margin-top: 0.5rem;"><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Vilde Frang spielt Bartóks 2. Violinkonzert, Paavo Järvi dirigiert das Tonhalle-Orchester Zürich. Zu entdecken gibt es auch die aufregende fünfte Sinfonie des Dänen Carl Nielsen!</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Werke:</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Ludwig van Beethoven: Ouvertüre «Leonore» Nr. 3 C-Dur op. 72a | Uraufführung: 29. März 1806, anlässlich der Erstaufführung der 2. Fassung von Beethovens Oper FIDELIO | Béla Bartók: Violinkonzert Nr. 2, Sz112 | Uraufführung: 23. März 1939 in Amsterdam | Carl Nielsen: Sinfonie Nr. 5 op. 50 | Uraufführung: 24. Januar 1922 in Kopenhagen | Dieses Konzert in Zürich: 7., 8. und 9.2.2024</span></span></p></div><div class="news-text-wrap" itemprop="articleBody" style="box-sizing: border-box; margin-bottom: 10px;"><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black; box-sizing: border-box;"><span style="color: white;">Kritik:</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">ELEKTRISIERENDER SPANNUNGSAUBAU - ERRUPTIVE ENTLADUNGEN</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Sowohl Béla Bartók in seinem zweiten Violinkonzert als auch Carl Nielsen in seiner fünften Sinfonie haben in frappierender Weise mit stellenweise fast nicht auszuhaltendem Aufbau von spannungsgeladener Stimmung komponiert. Die frei schwebende Tonalität und die Polytonalität, welche diese beiden Komponisten angewandt hatten (beide Werke entstanden in den Zwischenkriegsjahren im Abstand von 15 Jahren), begünstigen diese Atmosphäre des Unheimlichen, des Geheimnisvollen - mit diesem Klang in der Schwebe sind sie (gleich wie Alfred Hitchcock im Filmgenre) "Masters of suspense".</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Bartóks zweites Violinkonzert eröffnet mit einer ungewohnt zarten Phrase, einem Dialog der Harfe mit der Solovioline. <span style="box-sizing: border-box;">Vilde Frang</span> intoniert das mit berückender Schönheit, führt ihr kostbares Instrument (eine Violine von 1734 von Guarneri del Gesù) in lichte, zart gespielte Höhen und abgündige, diabolische Tiefen. Gerade im ersten Satz gibt's ganz viele Passagen, in denen sie mit zartem Bogenstrich die Kantilenen weich singend ausbreitet, die von fragiler Schönheit geprägt sind. Oftmals mündet diese schon fast verklärte "Schönheit" in irrwitzige Läufe, schräg klingende Glissandi oder auch in fahle, motorisch brummende Klänge, aus denen die atemberaubende Kadenz mit ihren Vierteltonschritten aufsteigt. Das Andante tranquillo des zweiten Satzes ist wohl etwas vom Schönsten, das Bartók komponiert hatte. Wie das liedhafte Hauptthema der Violine variiert wird, mit spannenden Klangkombinationen - wie dem zauberhaften Klang der Celesta - kontrastiert, ist schlicht meisterhaft. Das <span style="box-sizing: border-box;">Tonhalle-Orchester Zürich </span>unter der Leitung von <span style="box-sizing: border-box;">Paavo Järvi </span>evoziert diese stimmungsvolle, von Zartheit erfüllte Atmosphäre, mit überwältigender Klangschönheit. Man schwebt regelrecht in einer klanglichen Traumlandschaft, aus der man mit den rasanten Tanzrhythmen des dritten Satzes gerissen wird. Aufgewühlte Wildheit, in die sich nur wenige vertäumte Passagen einschleichen, leiten unter der Führung der von Vilde Frang virtuos gespielten Solovioline zum rasend flirrenden Orchestertutti. Grosser, begeisterter und verdienter Applaus für die Musiker*innen des Tonhalle-Orchesters Zürich, seinen Chefdirigenten Paavo Järvi und natürlich für die Geigerin Vilde Frang!</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Nach der Pause folgte dann die fünfte Sinfonie des hierzulande immer noch unterschätzten dänischen Komponisten Carl Nielsen, der einer in seiner Modernität - gerade in seinen Sinfonien - wegweisenden Komponisten im ersten Viertel des 20. Jahrhunderts war. Davon konnte man sich gestern Abend beim Anhören seiner unglaublich wirkungsvollen fünften Sinfonie überzeugen. Was für ein spannungsgeladenes Werk, das im ersten Satz mit dem ausgedehnten Einbezug des Schlagwerks überraschte und mitriss. Nur schon der Beginn mit seinem langen Bratschentremolo, aus dem sich die Kantilene der Fagotte erhob, liess aufhorchen. Man war gefangen in einer elektrisierenden Spannung und spürte (eben wie bei Hitchcock), dass etwas Aufrüttelndes geschehen wird. Und es kam dann in Form von markanten ostinatohaften Einwürfen des Holzes und des Schlagwerks (Pauke, Kleine Trommel, Tambourin), steigerte sich in einem unfassbaren Crescendo zu einer umwerfenden Klangballung und verklang mit der sich entfernenden Trommel ganz zart. Während dieses Crescendos, dieses Klangbads sondergleichen, fühlte man sich an Ravels BOLÉRO erinnert, der jedoch erst sechs Jahre nach der Sinfonie Nielsens entstanden war! Der zweite Satz war dann von einer pulsierenden Unruhe geprägt: Rasante Passagen der Streicher, unterbrochen von destruktiv dreinfahrende Pauken, verbreiteten eine unheimliche Stimmung. Fugierte Formen und liedhafte Kantilenen der Celli wurden unterbrochen von Orchestereinwürfen, die wie Peitschenhiebe klangen. Die gewaltige Sinfonie schloss mit einer strahlenden Coda. Paavo Järvi und das so unglaublich intensiv und klanglich austarierte spielende Tonhalle-Orchester Zürich liessen diese Sinfonie zum Erlebnis werden. Hoffentlich werden wir in Zukunft vermehrt Werke dieses aussergewöhnlichen Komponisten in Zürich erleben dürfen!</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">FREMDKÖRPER</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Das Konzert wurde mit Beethovens Leonoren-Ouvertüre Nr. 3 eröffnet. Irgenwie passte sie nicht zu den beiden anderen Werken. Im Gegensatz zu Bartóks Violinkonzert und Nielsens Sinfonie, die beide der absoluten Musik verpflichtet sind, weist Beethovens Ouvertüre ein genau auf die Handlung der Oper FIDELIO fixiertes Programm auf. In der Grossbesetzung des Tonhalle-Orchesters wirkte sie für mich zu wuchtig, erreichte im Jubelschluss am Ende fast die Ausmasse einer brucknerschen Apotheose. Effektvoll, klar. Aber persönlich hätte ich mir ein weiteres Werk aus der hochinteressanten Musikszene der Zwischenkriegszeit gewünscht, eben jenseits der ausgetretenen Pfade: Korngold, Schreker, Krenek u.v.a.m. böten sich an.</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Nichtsdestotrotz durfte man einen spannungsgeladenen Konzertabend erleben, mit zwei wichtigen Kompositionen, denen man - leider - nicht allzu oft in den Konzertsälen begegnet.</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black; box-sizing: border-box;"><span style="color: white;">Werke:</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;"><span style="box-sizing: border-box;">Ludwig van Beethoven </span>(1770-1827) hatte nur eine Oper geschrieben und diese war eine ziemliche Zangengeburt, bis sie so dastand, wie wir sie heute meist zu hören bekommen. Nicht weniger als vier Ouvertüren gibt es für diese Oper, welche zuerst unter dem Titel LEONORE ODER DER TRIUMPH DER EHELICHEN LIEBE aufgeführt wurde und erst in der letzten Fassung FIDELIO genannt wurde. Die sogenannte Leonoren Ouvertüre Nr. 3 war die Ouvertüre zur zweiten Fassung. Sie erklingt oftmals als sinfonisches Intermezzo in heutigen Aufführungen nach der Befreiung Florestans aus seinem Kerker durch seine in Männerkleidern inkognito im Gefängnis arbeitende Gattin Leonore, bevor dann das Finale mit der Huldigung der Gattenliebe einsetzt.</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Nachdem die Noten von <span style="box-sizing: border-box;">Béla Bartóks </span>(1881-1945) erstem Violinkonzert lange Zeit verschollen blieben und das Werk erst 13 Jahre nach Bartóks Tod uraufgeführt wurde, konnte der Komponist die Uraufführung (1939 in Amsterdam, mit Zoltán Székely als Solisten, Leitung Willem Mengelberg) seines zweiten Violinkonzerts ebenfalls nicht miterleben, da er sich bereits im amerikanischen Exil befand. Er hörte dieses 1937/38 entstandene Konzert nur ein einziges Mal, nämlich 1943 in der Carnegie Hall in New York. Bartók hätte eigentlich gerne eine reine Variation für Violine und Orchester komponiert, doch der Interpret und Widmungsträger der Uraufführung, Székely, beharrte auf der traditionellen dreisätzigen Form. Der erste Satz in einem (wenn auch verhaltenen) Marschtempo lebt von der Spannung des Tritonus-Abstandes H-F. In der Solokadenz verlangt Bartók gar Vierteltonschritte. Im zweiten Satz dann verwirklichte Bartók die Variationenidee. Der Finalsatz ist eine Rondo-Form mit dem umgekehrten Hauptthema des ersten Satzes.</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Die Werke des dänischen “Nationalkomponisten” <span style="box-sizing: border-box;">Carl Nielsen</span> (1865-1931) werden leider im Rest Europas nur sehr spärlich aufgeführt. Der Komponist schuf zwei grossartige Opern (MASKERADE und SAUL UND DAVID), sechs Sinfonien, ein Violin-, ein Flöten- und ein Klarinettenkonzert. Ouvertüren, Orchesterstücke, Klavier- und Orgelmusik, Lieder und Kammermusik. Nielsen stammte aus ganz ärmlichen Verhältnissen und konnte im Alter von 18 Jahren nur dank der Förderung eines linken Abgeordneten ins Kopenhagener Konservatorium eintreten. Unter Musikwissenschaftlern gilt Nielsen als einer der bedeutendsten und am weitesten musikalischen Entwicklungen vorgreifender Komponist nach der Jahrhundertwende zum 20. Jahrhundert. Er besticht mit einer rhythmisch stark akzentuierten, polyphon-linearen und auch polytonalen Schreibweise. Für Nielsen stand jedoch nicht die Kompositionstechnik im Vordergrund, sondern deren Integration in die Kernaussage des jeweiligen Werks. Daneben schenkte er den Dänen aber auch eine Vielzahl neuer Volkslieder, die einen unverfälschten Volksliedton aufgreifen.</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><span style="background-color: black;"><span style="color: white;">Seine fünfte Sinfonie, entstanden 1920-1922, ist nur zweisätzig gehalten, obwohl man bei genauerer Betrachtung darin auch vier Sätze erkennen könnte. Die beiden Sätze sind ungefähr gleich lang, der erste geprägt von eindringlichen, markanten, ja geradezu militanten Rhythmen. Dazwischen drängen sich Melismen der Holzbläser, zum Teil in extremen Lagen. Es entsteht ein chaotisch anmutender Kampf zwischen wilder Üppigkeit und ordnender Macht der Kultur. Im zweiten Satz lässt eine irrlichternde Fuge im Presto-Teil aufhorchen, die sich nach heftigem Dreinfahren der Pauken in grellem Kreischen der Klarinetten entlädt. Der Kampf zwischen “Gut und Böse” geht weiter, bis die Sinfonie in einer Coda, in der nochmals Melismen aus dem ersten Satz zitiert werden, in strahlendem E-Dur schliesst.</span></span></p><p style="box-sizing: border-box; margin-bottom: 1rem; margin-top: 0px;"><a href="http://www.tonhalle-orchester.ch/" rel="noreferrer" style="box-sizing: border-box;" target="_blank"><span style="background-color: black; color: white;">Karten</span></a></p></div><div class="gallery-row news-img-wrap-detail-list my-4" style="box-sizing: border-box; display: flex; flex-wrap: wrap; gap: var(--gallery-gap); margin-bottom: 1.5rem !important; margin-top: 1.5rem !important;"><div class="mediaelement mediaelement-image gallery-item gallery-item-size-4" style="--gallery-columns: 4; box-sizing: border-box; width: calc((100% / var(--gallery-columns)) - (var(--gallery-gap) * (var(--gallery-columns) - 1)) / var(--gallery-columns));"><span style="background-color: black; color: white;"><a class="lightbox" data-lightbox-alt="" data-lightbox-caption="" data-lightbox-height="748" data-lightbox-title="" data-lightbox-width="1000" href="https://www.oper-aktuell.info/fileadmin/oper-aktuell/redakteur/news-kritiken/2024/J%C3%A4rviFrang2.jpg" rel="lightbox-group" style="box-sizing: border-box; cursor: zoom-in;"><img alt="" class="img-fluid" height="300" src="https://www.oper-aktuell.info/fileadmin/_processed_/2/e/csm_J%C3%A4rviFrang2_46f753a72c.jpg" style="box-sizing: border-box; height: auto; max-width: 100%; vertical-align: middle; width: 269px;" width="300" /></a><a href="https://www.oper-aktuell.info/kritiken/details/zuerich-tonhalle-beethoven-bartok-nielsen-07022024.html" style="display: inline !important;">https://www.oper-aktuell.info/kritiken/details/zuerich-tonhalle-beethoven-bartok-nielsen-07022024.html</a></span></div><div class="mediaelement mediaelement-image gallery-item gallery-item-size-4" style="--gallery-columns: 4; box-sizing: border-box; width: calc((100% / var(--gallery-columns)) - (var(--gallery-gap) * (var(--gallery-columns) - 1)) / var(--gallery-columns));"><a class="lightbox" data-lightbox-alt="" data-lightbox-caption="" data-lightbox-height="632" data-lightbox-title="" data-lightbox-width="992" href="https://www.oper-aktuell.info/fileadmin/oper-aktuell/redakteur/news-kritiken/2024/J%C3%A4rviFrang3.jpg" rel="lightbox-group" style="box-sizing: border-box; cursor: zoom-in;"><span style="background-color: black; color: white;"><img alt="" class="img-fluid" height="300" src="https://www.oper-aktuell.info/fileadmin/_processed_/b/7/csm_J%C3%A4rviFrang3_5475b4e3f2.jpg" style="box-sizing: border-box; height: auto; max-width: 100%; vertical-align: middle; width: 269px;" width="300" /></span></a></div><div class="mediaelement mediaelement-image gallery-item gallery-item-size-4" style="--gallery-columns: 4; box-sizing: border-box; color: #212121; width: calc((100% / var(--gallery-columns)) - (var(--gallery-gap) * (var(--gallery-columns) - 1)) / var(--gallery-columns));"><br /></div></div></div></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-73442345026786167232024-02-12T15:14:00.001-05:002024-02-12T15:14:06.338-05:00Paavo Järvi conducts Mahler's Fifth at the head of the Tonhalle-Orchester Zurich<div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><b style="background-color: black;"><span style="color: white;">10.02.24</span></b></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">Alejandro Martínez</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><b style="background-color: black;"><span style="color: white;">Tormented and vehement</span></b></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">Had it not been for its inclusion in Luchino Visconti's famous Death in Venice, Gustav Mahler's music would surely not have enjoyed the relative popularity that it has managed to achieve in certain intellectual circles. But the truth is that Visconti's approach is full of melancholy and uneasiness, preserved even with a somewhat sweetened aftertaste. And I say this because Mahler's Fifth is not only the well-known Adagietto, and even this does not necessarily have to be such a placid and complacent page. This seemed to be precisely Paavo Järvi's message with a truly bitter and tormented reading of the score, virulent at times, as I will comment below.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">Since the 2019/2020 season, the Tonhalle-Orchester Zürich has been led by Estonian Paavo Järvi as musical director. The group has since consolidated itself on the path towards its own sound, embracing ambitious symphonic projects, particularly around the works of Bruckner and Mahler. Not in vain, years ago, the Swiss orchestra forged its international reputation under the direction of New Yorker David Zinman, who was its chief conductor between 1995 and 2014, when he handed over the baton to Lionel Bringuier, the previous leader of the group before the arrival of Järvi.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">Until Zinman's arrival, the orchestra had been concatenating short periods with headlines of the renown of Hans Rosbaud, Rudolf Kempe, Gerd Albrecht or Christoph Eschenbach, figures of great media attention although generally ephemeral in their contributions to the development of this particular orchestra. . But it was Zinman precisely who delved into the shape of the ensemble, seeking its limits and confronting on record, among others, the symphonic cycles of Gustav Mahler and Ludwig van Beethoven, acclaimed in their day by critics. Paavo Järvi's ownership seems determined to continue down that same path, with a project as solid as it is ambitious.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">As I noted earlier, the Mahler we heard was quite <b>visceral, decidedly expressive, a touch virulent, as if spoken from the gut, with all one's soul. </b>This was particularly so in the second movement, which not for nothing is marked <i>Stürmisch bewegt Mit grösster Vehemenz</i>, which we might translate as 'tormented and vehement'. And so it was. Rarely do I remember hearing a Mahler so decidedly dark and tormented, with no concessions towards beauty, a little dry at times, at times with an angry phrasing, sometimes with contrasting dynamics, very expressive, in short. The Adagietto, very measured and concise, without softness, showed Järvi's meticulous work, capable of delving into great dynamism and intensity, while at the same time being incisive in tempi. The Estonian mesmerised with the Rondo-Finale, hardly pausing for breath, breathless, overwhelming at times. <b>A highly personal and outstanding interpretation.</b></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">At the level of execution it is necessary to highlight the excellent performance of the ensemble's solo horn, Ivo Gass, truly extraordinary in the third movement. On a very high level, though just a notch below, was the principal trumpet Philippe Litzler, capable of an extraordinary sound although with a couple of minor stumbles in his playing. The strings of the ensemble are really strong, lending undoubted support to Järvi's bold approach, with whom they showed a close rapport.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">In the first half, the concert had featured Mozart's Concerto for Oboe and Orchestra in C major, with the Spanish Cristina Gómez-Godoy as soloist. Principal oboe of the Berlin Staatskapelle, the virtuosity of the Granada performer was evident throughout the piece, exhibiting an extremely warm and flexible sound, capable of silky and agile phrasing at the same time. The tip they offered was beautiful, with the 'Dance of the Blessed Spirits' from Gluck's Orfeo.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">The Tonhalle itself, which reopened in 2021 after five years of painstaking renovation, deserves a special mention. Built in 1895, it is one of the oldest halls in Europe, along with the famous Musikverein in Vienna and Concertgebouw in Amsterdam. It certainly has an excellent acoustic, warm and precise, probably favoured by the remarkable inclusion of wooden elements, including columns that look like marble but are actually made of wood. Having said that, the dimensions of the rather recessed space seemed to be somewhat challenged by the sonic grandiloquence of Mahler's score, with the stage occupying at least a generous third of the lower level of the hall. An extremely interesting space, in any case, also for recordings, as the project with the late Bruckner symphonies that Järvi and his orchestra are tackling just now makes clear.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhB0Huj08uorTYMrJUHCADHJ2Zu79UURKKEHQslt5ySwl9_nI4xraA63_Mz3MxCRPSgQ321OAeIz9kNW7XsdSiJfYakxT6qfdcOM6fgG3mTzjiu2gUg_NsU3P9rOMHrGnDrIfMMtakFd2Cka5ZMzRoQp9Aru8aCPVBNE-XDWd7113XCUZrnhEr9" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img alt="" data-original-height="1100" data-original-width="1570" height="224" src="https://blogger.googleusercontent.com/img/a/AVvXsEhB0Huj08uorTYMrJUHCADHJ2Zu79UURKKEHQslt5ySwl9_nI4xraA63_Mz3MxCRPSgQ321OAeIz9kNW7XsdSiJfYakxT6qfdcOM6fgG3mTzjiu2gUg_NsU3P9rOMHrGnDrIfMMtakFd2Cka5ZMzRoQp9Aru8aCPVBNE-XDWd7113XCUZrnhEr9" width="320" /></span></a></div><span style="background-color: black;"><span style="color: white;"><br /><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><a href="https://www.plateamagazine.com/criticas/16375-paavo-jaervi-dirige-la-quinta-de-mahler-al-frente-de-la-tonhalle-orchester-de-zurich" style="background-color: black;"><span style="color: white;">16375-paavo-jaervi-dirige-la-quinta-de-mahler-al-frente-de-la-tonhalle-orchester-de-zurich</span></a></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-27748993591342112402024-02-06T23:51:00.000-05:002024-02-06T23:51:00.856-05:00Promising launch of the Mahler cycle in Zürich with Paavo Järvi<div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><div><br /></div><div><b style="background-color: black;"><span style="color: white;">Thimothée Grandjean, February 5, 2024</span></b></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">On Saturday 3 February, the Tonhalle Orchestra Zürich gave a concert under the baton of its Music Director, Paavo Järvi. The soloist was Spanish oboist Cristina Gómez Godoy. After recordings featuring Tchaikovsky and Bruckner (ICMA for best symphonic recording of the year 2023 for Bruckner's Symphony No. 8), Paavo Järvi and the Tonhalle Orchestra Zürich tackle one of the leading composers of the repertoire: Gustav Mahler and his symphonies. Paavo Järvi considers him to be one of the greatest composers of German symphonic music. Mahler alone sums up all the music that preceded him. So it was with a sense of continuity that Mahler was chosen for the new cycle. This concert, the last in a series of three, marks the start of this cycle, further cementing the fruitful collaboration between the Estonian conductor and the Zurich orchestra. The programme includes Mozart's Oboe Concerto in C major, KV 314, and Gustav Mahler's Symphony No. 5 in C sharp minor.</span></span></div></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">First, Mozart's Concerto for oboe in C major, KV 314. This work was composed in 1777 for his oboist friend Giuseppe Ferlendis, also a member of the Salzburg Royal Chapel. This three-movement piece is considered to be the benchmark classical symphonic work for the oboe. This evening's soloist, Cristina Gómez Godoy, offers us her version of this concerto. Her interpretation is convincing. She displays musicality and beautiful contrasts. Her sound is round and warm, almost clarinet-like. Paavo Järvi and the orchestra (obviously in a reduced formation compared to what awaits us next) pay close attention to the soloist in order to follow her musical ideas. This concerto, a brilliant success, is an excellent introduction to the rest of the programme. As an encore, we are treated to a sublime extract from Glück's opera Orpheus and Eurydice. Cristina Gómez Godoy manages to conjure up breathtaking pianissimos, especially on the oboe where the task is more difficult than on the clarinet, for example. The audience applauded warmly at the end of this first half.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;">Time for the masterly Symphony No. 5 in C sharp minor! Musically, Paavo Järvi and the Tonhalle Orchestra Zürich delivered a performance of the highest quality. However, it was not until the second movement that the orchestra was completely free and at ease, as there were a few inaccuracies in the first movement. From the second movement onwards, however, the Estonian conductor takes matters into his own hands and delivers a dazzling performance, both in terms of sound, nuance and musicality. The climax in the second movement is nothing short of magisterial in its power. After so much power, which is also to be found in the third movement, it's time for the Adagietto. What a moment of musical fulfilment. This movement demonstrates all the musicality and sensitivity displayed by the musicians. They are guided by Paavo Järvi, whose reading is clear and committed. The final movement is an explosion of contrasts, with darker moments and then some truly grandiose ones, such as the finale, which leaves the audience in awe. It was to experience such emotions that the audience turned out in such numbers for these three evenings. In fact, the audience made no mistake, cheering the artists for a long time. </span></span></div></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black;"><span style="color: white;">Paavo Järvi and the Zurich Philharmonic gave a committed, intense and musical performance. The maestro gives meaning to this landmark work in the repertoire with a clear reading of the piece. He knows his score intimately and knows what he wants to achieve. He shows which motivic elements should stand out, while maintaining coherence throughout the symphony.</span></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><span style="background-color: black; color: white;"><a href="https://www.crescendo-magazine.be/debut-prometteur-du-cycle-mahler-a-zurich-avec-paavo-jarvi/" style="background-color: black;">https://www.crescendo-magazine.be/debut-prometteur-du-cycle-mahler-a-zurich-avec-paavo-jarvi/</a></span></div><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdhBb1VGOT3I0s3WrEC2T33GriEDMRx8ehZsfY33K197lFz_I_f2jSdZU0sXofOWBxY6Ly1pPPhWK_EdO2ycxw1sGipijxyqE76PoGP1DLv08TLl9eqB5TvSHzgte093OvuLUICu67KEcYJbz8fwB_6XjtGDqZQd2kof1VUXEzvLO-Xy_6yZP5/s1024/thumbnail_TOZ-Mahler-5-Schlussapplaus-A1460244-c-Alberto-Venzago-1024x683.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdhBb1VGOT3I0s3WrEC2T33GriEDMRx8ehZsfY33K197lFz_I_f2jSdZU0sXofOWBxY6Ly1pPPhWK_EdO2ycxw1sGipijxyqE76PoGP1DLv08TLl9eqB5TvSHzgte093OvuLUICu67KEcYJbz8fwB_6XjtGDqZQd2kof1VUXEzvLO-Xy_6yZP5/s320/thumbnail_TOZ-Mahler-5-Schlussapplaus-A1460244-c-Alberto-Venzago-1024x683.jpg" width="320" /></a></div><br /><div style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;"><br /></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-12198644306033595062024-01-28T00:29:00.002-05:002024-01-28T00:29:10.918-05:00Kultuurivedur PAAVO JÄRVI<div class="page" title="Page 1"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Xk5RHrNscX-SFXombE1QHEuUQ5MMnnfpaEE8bTyeN6X1lrciDbtCvu2x-4tuuzt6xzMvVkqWdpbsMzrodnwbDYfmgsXSFAs5KXde6FzqwsacvyurUfRzRYyj5U-sMOgnixeAtBU_9wL8uQV5zFFVpPx53Dqhrf5HF4NUsac_dZ8UmErEIPiX/s1514/Screenshot%202024-01-28%20at%2009.26.36.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1514" data-original-width="1118" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Xk5RHrNscX-SFXombE1QHEuUQ5MMnnfpaEE8bTyeN6X1lrciDbtCvu2x-4tuuzt6xzMvVkqWdpbsMzrodnwbDYfmgsXSFAs5KXde6FzqwsacvyurUfRzRYyj5U-sMOgnixeAtBU_9wL8uQV5zFFVpPx53Dqhrf5HF4NUsac_dZ8UmErEIPiX/s320/Screenshot%202024-01-28%20at%2009.26.36.png" width="236" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="background-color: black;"><span style="color: white;">Kultuurivedur</span></span></div><div class="separator" style="clear: both;"><span style="background-color: black;"><span style="color: white;">PAAVO JÄRVI: Kui inimene on väga rahul oma tegemistega, näiteks kui mina olen,</span></span></div><div class="separator" style="clear: both;"><span style="background-color: black;"><span style="color: white;">siis tean, et midagi on tegelikult korrast ära. Pead tundma natukene konkurentsi. Kui enam ei püüa, siis tavaliselt on latt alla lastud.</span></span></div></div></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-86117275091508621152024-01-28T00:23:00.002-05:002024-01-28T00:23:11.067-05:00⟩ Kultuurivedur Paavo Järvi: pead tundma alati natukene<p><span style="background-color: black;"><span style="color: white;">Heili Sibrits, Postimees Nädal peatoimetaja</span></span></p><p><span style="background-color: black;"><span style="color: white;">19. jaanuar 2024, 19:15</span></span></p><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><p><span style="background-color: black;"><span style="color: white;">AK FOOKUS</span></span></p><p><span style="background-color: black;"><span style="color: white;">konkurentsi</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Dirigent Paavo Järvi tunnetas Postimehe Kultuuriveduri gabariite orkestriproovis, kui ta</span></span></p><p><span style="background-color: black;"><span style="color: white;">valmistus 17. jaanuaril Eesti Festivaliorkestriga antavaks kontserdiks. Foto: Mihkel Maripuu</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Kuula</span></span></p><p><span style="background-color: black;"><span style="color: white;">28:30</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;"> Paavo Järvi teab iga dirigeerimist ja oma reisilogistikat</span></span></p><p><span style="background-color: black;"><span style="color: white;">sageli viis aastat ette.</span></span></p><p><span style="background-color: black;"><span style="color: white;"> Eesti Festivaliorkestri juhatamine ja sellega harjutamine</span></span></p><p><span style="background-color: black;"><span style="color: white;">on rahvusvahelise mehe jaoks auasi.</span></span></p><p><span style="background-color: black;"><span style="color: white;"> Eelmisel aastal maailma hõivatuselt kolmas dirigent sai</span></span></p><p><span style="background-color: black;"><span style="color: white;">turnee ajal kodumaal Kultuuriveduri auhinna.</span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo4eZJQC1M9wh1vMFoW86tygE5le-9-hEULkQjlN0oOSILiCyDAwm77mf8x-JbMgjHxSABumUE7LcDZ2eJuXyt_TQyA5XeG1d6Q358Sm9pElLEzmRFe8ABrsk4A4cSnjfhScDzTcPZ6IxGNnam6qDhUbWl2idyKHgao_6zHdfT1Pfx9K2SSnxR/s1210/Screenshot%202024-01-28%20at%2009.22.17.png" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="1210" data-original-width="802" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo4eZJQC1M9wh1vMFoW86tygE5le-9-hEULkQjlN0oOSILiCyDAwm77mf8x-JbMgjHxSABumUE7LcDZ2eJuXyt_TQyA5XeG1d6Q358Sm9pElLEzmRFe8ABrsk4A4cSnjfhScDzTcPZ6IxGNnam6qDhUbWl2idyKHgao_6zHdfT1Pfx9K2SSnxR/s320/Screenshot%202024-01-28%20at%2009.22.17.png" width="212" /></span></a></div><span style="background-color: black;"><span style="color: white;"><br /></span></span><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Postimehe 2023. aasta Kultuurivedur, dirigent Paavo Järvi. Foto: Mihkel Maripuu</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Ühel õhtul piiksus mul Messengeris sõnum: «Tere, Heili! Head</span></span></p><p><span style="background-color: black;"><span style="color: white;">uut aastat! Rõõm sinust kuulda! Teeme kas või kohe! Olen</span></span></p><p><span style="background-color: black;"><span style="color: white;">USAs praegu. Kas tunni aja pärast sobib?»</span></span></p><p><span style="background-color: black;"><span style="color: white;">Olin seda sõnumit oodanud mitu nädalat, sest… Dirigent Paavo</span></span></p><p><span style="background-color: black;"><span style="color: white;">Järvi kalendrisse on kirjutatud, mis kell tuleb ärgata, mis kell tuleb</span></span></p><p><span style="background-color: black;"><span style="color: white;">auto järele, mis kell algab proov, millal ja kellega lõunat süüa,</span></span></p><p><span style="background-color: black;"><span style="color: white;">kellele anda intervjuu või mingil muul põhjusel kohtuda. «See on</span></span></p><p><span style="background-color: black;"><span style="color: white;">absoluutselt iga jumala päev niimoodi,» tunnistab ta.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Mehe hääles pole uhkust, veel vähem kõrkust, ta lihtsalt nendib</span></span></p><p><span style="background-color: black;"><span style="color: white;">fakte. «Ma tean, mida ma teen viie aasta pärast, mida ja kus ma</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängin, millised kohustused mul seoses sellega on.»</span></span></p><p><span style="background-color: black;"><span style="color: white;">Sellisest elugraafikust kuuldes mõistsin, miks oli Järvit nii keeruline</span></span></p><p><span style="background-color: black;"><span style="color: white;">eelmise aasta lõpus tabada ja leppida kokku tema (või tema</span></span></p><p><span style="background-color: black;"><span style="color: white;">assistendiga), millal ja kuidas Postimees saaks üle anda</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kultuuriveduri auhinna. Kui pole vähemalt aasta varem aega</span></span></p><p><span style="background-color: black;"><span style="color: white;">broneerinud, veelgi parem, viis aastat varem, siis kahte tundi või ka</span></span></p><p><span style="background-color: black;"><span style="color: white;">vaid 60 minutit vaba aega oli pea võimatu leida!</span></span></p><p><span style="background-color: black;"><span style="color: white;">Et Järvil olid 2023. aasta viimastel kuudel kontserdid Lõuna-Koreas,</span></span></p><p><span style="background-color: black;"><span style="color: white;">Jaapanis, Londonis, Bremenis, Zürichis, New Yorgis, seda saab</span></span></p><p><span style="background-color: black;"><span style="color: white;">näha ta sotsiaalmeediaski, kuid kui tihe graafik on nende</span></span></p><p><span style="background-color: black;"><span style="color: white;">kontsertide ümber, seda on tegelikult võimatu hoomata.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eesti meedias jääb mulje, et Järvide muusikaperekond on väga</span></span></p><p><span style="background-color: black;"><span style="color: white;">avatud meediasuhtlejad – eks nad ongi, aga nad on ka</span></span></p><p><span style="background-color: black;"><span style="color: white;">megastaarid, seda maailma mastaabis. Mis omakorda tähendab, et</span></span></p><p><span style="background-color: black;"><span style="color: white;">Paavo Järvi ümber on mitmesugused abimehed/naised, kes kõik</span></span></p><p><span style="background-color: black;"><span style="color: white;">korraldavad tema elu. Vähetähtis pole ka fakt, et ta oli maailma</span></span></p><p><span style="background-color: black;"><span style="color: white;">klassikalise muusika veebiajakirja Bachtrack andmetel eelmisel</span></span></p><p><span style="background-color: black;"><span style="color: white;">aastal maailmas hõivatuselt kolmas dirigent.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Järvi on vägagi populaarne. Näiteks Jaapanis seisti tema</span></span></p><p><span style="background-color: black;"><span style="color: white;">kontsertide järel kümnete meetrite pikkuses fännisabas, dirigendini</span></span></p><p><span style="background-color: black;"><span style="color: white;">jõudes võib õnneseen saada autogrammi, aga pildistamine oli</span></span></p><p><span style="background-color: black;"><span style="color: white;">keelatud, sest muidu ei lõppeks see niigi pikk allkirjade andmine</span></span></p><p><span style="background-color: black;"><span style="color: white;">enne hommikut ära. Olen näinud, kuidas tema ümber Zürichis on</span></span></p><p><span style="background-color: black;"><span style="color: white;">inimesed, kes kõik tahaksid temaga paar sõna vahetada… Nii et</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">täiesti loomulik, et ta lihtsalt ei jõuagi kõigiga tegeleda, ka nendega,</span></span></p><p><span style="background-color: black;"><span style="color: white;">kes tahavad talle midagi öelda, anda, tänada.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Postimehe 2023. aasta Kultuurivedur, dirigent Paavo Järvi. Foto: Mihkel Maripuu</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ma tegelikult ei tea, kas ja kui palju Messengeri- või meilisõnumeid</span></span></p><p><span style="background-color: black;"><span style="color: white;">loeb assistent enne Paavo Järvile edastamist läbi ja kui palju ta ise</span></span></p><p><span style="background-color: black;"><span style="color: white;">jõuab kõige sellega tegeleda, ei jõudnud lihtsalt meie viimsel</span></span></p><p><span style="background-color: black;"><span style="color: white;">vestlusel küsida, oli olulisematki, millest rääkida. Kusjuures</span></span></p><p><span style="background-color: black;"><span style="color: white;">sotsiaalmeedias levib ka mitu libakontot, mis kõik näivad üsna päris</span></span></p><p><span style="background-color: black;"><span style="color: white;">välja, jagavad Järvi kohta kõiksugu aktuaalset infot, aga ennekõike</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">õngitsevad raha. Õigel kontol on tema taustapildiks Estonia teater</span></span></p><p><span style="background-color: black;"><span style="color: white;">(natuke ootamatu nurga alt, aga just nii seda maja võib Tallinnas</span></span></p><p><span style="background-color: black;"><span style="color: white;">ühest aknast näha), profiilipilti ääristab punane ring kirjadega XI</span></span></p><p><span style="background-color: black;"><span style="color: white;">Pärnu Music Festival ja loomulikult lehvib seal ka Ukraina lipp.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ka minul õnnestus üks vestlus libakontoga maha pidada, just siis,</span></span></p><p><span style="background-color: black;"><span style="color: white;">kui ootasin natuke murelikult intervjuu kohta vastust, siis kirjutas</span></span></p><p><span style="background-color: black;"><span style="color: white;">mulle vale Paavo Järvi. Aga kui küsisin tema algatatud vestlusel</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kultuurivedurit puutuvaid küsimusi, siis otsustas õngitsusrobot</span></span></p><p><span style="background-color: black;"><span style="color: white;">vaikida.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Olen Järviga teinud mitmeid intervjuusid, ta on alati väga sõbralik,</span></span></p><p><span style="background-color: black;"><span style="color: white;">loomulik, hästi avatud ja väga vahetu, on tunda, et ta tahab oma</span></span></p><p><span style="background-color: black;"><span style="color: white;">asjadest rääkida, eriti Eesti Festivaliorkestri tegemisest. Seega ei</span></span></p><p><span style="background-color: black;"><span style="color: white;">osanud ma arvata, et tema tabamine Postimehe kultuuriauhinna</span></span></p><p><span style="background-color: black;"><span style="color: white;">üleandmiseks võib olla sedavõrd keeruline, sest Järvi on kõike</span></span></p><p><span style="background-color: black;"><span style="color: white;">muud kui nina püstiajaja, vähemalt kõikidel kokkupuudetel on ta</span></span></p><p><span style="background-color: black;"><span style="color: white;">jätnud sellise mulje, ja vahet pole, kas oleme kohtunud Pärnus,</span></span></p><p><span style="background-color: black;"><span style="color: white;">Tokyos, Londonis või Tallinnas.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kuid kui ma neid vestlusi meenutan, siis ainult üks on toimunud nn</span></span></p><p><span style="background-color: black;"><span style="color: white;">normaalsel ajal – ikka on ta näpistanud intervjuu andmiseks aega</span></span></p><p><span style="background-color: black;"><span style="color: white;">kas varavalgest või hilisööst, kas enne kontserte-proove või siis</span></span></p><p><span style="background-color: black;"><span style="color: white;">pärast festivali lõppu, kui orkester ja dirigent on saanud esinemisi</span></span></p><p><span style="background-color: black;"><span style="color: white;">tähistada. Järvi peab oma inimestega õnnestunud esinemise</span></span></p><p><span style="background-color: black;"><span style="color: white;">pühitsemist oluliseks, sest Eesti Festivaliorkester pole tavaline</span></span></p><p><span style="background-color: black;"><span style="color: white;">orkester, vaid eriline, ning erilisi kohtumisi ja koostegemisi tuleb</span></span></p><p><span style="background-color: black;"><span style="color: white;">tähistada, omavahel rääkida, võtta aega, et klaasegi kokku lüüa,</span></span></p><p><span style="background-color: black;"><span style="color: white;">aga ennekõike vestelda ja muljetada, plaane pidada. Kusjuures</span></span></p><p><span style="background-color: black;"><span style="color: white;">maailmas hõivatusel kolmandal dirigendil pole mingit probleemi</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">anda intervjuu näiteks trepikojas või mõnes muus nurgataguses, et</span></span></p><p><span style="background-color: black;"><span style="color: white;">diktofonile jääks võimalikult vähe segavat müra.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Intervjuuks on Järvi alati võtnud aega iseenda arvelt, ka nüüd, selle</span></span></p><p><span style="background-color: black;"><span style="color: white;">vestluse tegemiseks. Jõulupühadest jaanuari esimese-teise</span></span></p><p><span style="background-color: black;"><span style="color: white;">nädalani püüab ta alati aja maha võtta ja olla perekonnaga, puhata,</span></span></p><p><span style="background-color: black;"><span style="color: white;">sest see aeg ja kaks nädalat augustis on tal ainus vaba aeg aastas.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kultuuriveduri intervjuu sai tehtud Messengeris videokõnena, sest</span></span></p><p><span style="background-color: black;"><span style="color: white;">vahetult enne Eestisse tulekut veetis ta aega Floridas.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Selles mereäärses paigas on Järvid puhanud üle 30 aasta,</span></span></p><p><span style="background-color: black;"><span style="color: white;">kõigepealt isa-ema Neeme ja Liilia koos lastega, nüüd on ka Paavol</span></span></p><p><span style="background-color: black;"><span style="color: white;">seal oma kodu, nagu ka ta vanematel. «Siin on väga mõnus,»</span></span></p><p><span style="background-color: black;"><span style="color: white;">nendib dirigent ja lisab, et varem oli jaanuari algus seal siiski</span></span></p><p><span style="background-color: black;"><span style="color: white;">soojem.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Järvi tunnistab, et puhkuse esimesel nädalal ta tavaliselt ei oska nii</span></span></p><p><span style="background-color: black;"><span style="color: white;">olla. «Püüan end veenda, et mitte midagi teha on täiesti okei, sest</span></span></p><p><span style="background-color: black;"><span style="color: white;">elan ju ettekirjutatud graafikute järgi. Ma olen sellega ära nii ära</span></span></p><p><span style="background-color: black;"><span style="color: white;">harjunud, et kui seda ei ole, siis tuleb paanikatunne peale. Mis nüüd</span></span></p><p><span style="background-color: black;"><span style="color: white;">siis saab?»</span></span></p><p><span style="background-color: black;"><span style="color: white;">Järvi on tähele pannud, et esimese nädalaga see ärevus hajub,</span></span></p><p><span style="background-color: black;"><span style="color: white;">mingi hetk tabab ta end mõttelt, et ei mõtlegi enam sellele, mis kõik</span></span></p><p><span style="background-color: black;"><span style="color: white;">peaks ära tegema ja siis algab see tegelik puhkus. «Ma ei tea, kui</span></span></p><p><span style="background-color: black;"><span style="color: white;">rahulik siin on,» naerab ta vastuseks, kui küsin vaikuse ja rahu</span></span></p><p><span style="background-color: black;"><span style="color: white;">kohta, sest sel aastal oli Floridas koos pea kõik Järvid ning nende</span></span></p><p><span style="background-color: black;"><span style="color: white;">väiksemad ja suuremad lapsed. «Kõigil on omad soovid, keegi kogu</span></span></p><p><span style="background-color: black;"><span style="color: white;">aeg tahab midagi, aga see ongi äge ja see aeg on minu jaoks hästi-</span></span></p><p><span style="background-color: black;"><span style="color: white;">hästi vajalik.»</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Järvi kõige südamelähedasem projekt on Pärnu Muusikafestival ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eesti Festivaliorkester. Nagu ta ise ütleb, on see kontrahita</span></span></p><p><span style="background-color: black;"><span style="color: white;">koostöö, loodetavasti kõige pikaajalisem ja mõnes mõttes ka kõige</span></span></p><p><span style="background-color: black;"><span style="color: white;">tähtsam. «Meil on suured plaanid, edaspidi on plaanis mitmed</span></span></p><p><span style="background-color: black;"><span style="color: white;">turneed, aga ma ei saa sellest kõigest veel rääkida.»</span></span></p><p><span style="background-color: black;"><span style="color: white;">Dirigent usub, et kui ühel päeval teda enam pole, kestab Eesti</span></span></p><p><span style="background-color: black;"><span style="color: white;">Festivaliorkester ja festival ise Pärnus edasi. «Ma loodan, et oleme</span></span></p><p><span style="background-color: black;"><span style="color: white;">eesti kultuurile kasulikud, nii saame Eestit ja eesti kultuuri</span></span></p><p><span style="background-color: black;"><span style="color: white;">tutvustada. Just seepärast pole orkestri nimes minu nime või</span></span></p><p><span style="background-color: black;"><span style="color: white;">Pärnut, vaid just Eesti. Ma tahan, et Eesti nimi kõlaks igal pool ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">just positiivsena!»</span></span></p><p><span style="background-color: black;"><span style="color: white;">Järvi on võtnud oma südameasjaks eesti muusika maailma viimise;</span></span></p><p><span style="background-color: black;"><span style="color: white;">kui teda kutsutakse maailma tipplavadele, siis teeb ta ettepaneku</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängida eesti heliloojate teoseid. Näiteks Zürichi Tonhalle orkestri</span></span></p><p><span style="background-color: black;"><span style="color: white;">– mille peadirigent ta on – juures oli Erkki-Sven Tüür resideeriv</span></span></p><p><span style="background-color: black;"><span style="color: white;">helilooja, mis aga tähendas, et see väga mainekas saal pööras</span></span></p><p><span style="background-color: black;"><span style="color: white;">erilist tähelepanu Hiiumaa mehe muusikale.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Erkki-Sven Tüür Foto: Eero Vabamägi</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eesti Festivaliorkester on tõeline Eesti edulugu, sest väga napi aja</span></span></p><p><span style="background-color: black;"><span style="color: white;">jooksul on nad end tõestanud kui tugeva tasemega orkester, kes on</span></span></p><p><span style="background-color: black;"><span style="color: white;">oodatud suurtesse kontserdisaalidesse üle maailma. Orkestri</span></span></p><p><span style="background-color: black;"><span style="color: white;">veduriks on Paavo Järvi ja just Eesti Festivaliorkestri tegemiste, aga</span></span></p><p><span style="background-color: black;"><span style="color: white;">ka kirgliku suhtumise eest eesti kultuuri, eesti loojatesse ja Eestisse</span></span></p><p><span style="background-color: black;"><span style="color: white;">väärib ta Postimehe Kultuuriveduri auhinda. Uhke puidust vedur sai</span></span></p><p><span style="background-color: black;"><span style="color: white;">talle üle antud kolmapäeval, vahetult enne Eesti Festivaliorkestri</span></span></p><p><span style="background-color: black;"><span style="color: white;">Tallinna kontserti Estonia kontserdisaalis, kus publik tänas esinejaid</span></span></p><p><span style="background-color: black;"><span style="color: white;">muinasjutulise kontserdi eest loomulikult püsti seistes.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kusjuures, et mitte lõpetada kontserti vene helilooja Tšaikovski</span></span></p><p><span style="background-color: black;"><span style="color: white;">imelise sümfooniaga nr 1, kõlas lisaloona eriliselt hõrk teos</span></span></p><p><span style="background-color: black;"><span style="color: white;">«Õhtuserenaad» tsüklist «Vaikne muusika» Ukraina</span></span></p><p><span style="background-color: black;"><span style="color: white;">nüüdisheliloojalt Valentõn Sõlvestrovilt. «Minu jaoks on oluline</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängida ka Ukraina heliloojaid, eriti kui nad on suurepärased,»</span></span></p><p><span style="background-color: black;"><span style="color: white;">tunnistab Järvi. Sama teos kõlab Eesti Festivaliorkestri</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">jaanuarikuisel Euroopa-tuuril ning ka näiteks selle nädala alguses</span></span></p><p><span style="background-color: black;"><span style="color: white;">avakontserdil Pärnus.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Täna, laupäevaks on Paavo Järvi ja Eesti Festivaliorkester jõudnud</span></span></p><p><span style="background-color: black;"><span style="color: white;">Stuttgarti, et õhtul sealsele publikule elamusi pakkuda, pühapäeval</span></span></p><p><span style="background-color: black;"><span style="color: white;">jõutakse Zürichisse, edasi suundutakse Viini ja Münchenisse, selja</span></span></p><p><span style="background-color: black;"><span style="color: white;">taga on lisaks esinemine Dortmundis.</span></span></p><p><span style="background-color: black;"><span style="color: white;">***</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kõnelesime viimati pikemalt 2021. aastal, pärast suuremate</span></span></p><p><span style="background-color: black;"><span style="color: white;">koroonapiirangute lõppemist. Siis tunnistasid, et tahad võtta</span></span></p><p><span style="background-color: black;"><span style="color: white;">rohkem vaba aega.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Tegin otsuse, et kui elu uuesti peale hakkab, siis võtan natukene</span></span></p><p><span style="background-color: black;"><span style="color: white;">vaiksemalt. Kahjuks pole üheski sellisest otsusest kinni pidanud.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kõik jätkub sama hooga või isegi kiiremalt. Ma ei ole selle üle eriti</span></span></p><p><span style="background-color: black;"><span style="color: white;">õnnelik, sest koroona ajal sain maitsta rahulikumat elu ja see</span></span></p><p><span style="background-color: black;"><span style="color: white;">hakkas meeldima.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Miks siis kõik jätkub?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Sest on kohustused, mis kõik olen varem võtnud. Ma tegelikult ei</span></span></p><p><span style="background-color: black;"><span style="color: white;">teegi lühikese lepinguga töid, mulle need ei meeldi. Tonhallega</span></span></p><p><span style="background-color: black;"><span style="color: white;">(Zürichi samanimelises kontserdimajas tegutsev mainekas orkester</span></span></p><p><span style="background-color: black;"><span style="color: white;">– H. S.) olen nüüd viies aasta ja just pikendasime veel viieks</span></span></p><p><span style="background-color: black;"><span style="color: white;">aastaks lepingut. Järgmised viis aastat on mul nüüd täpselt täis</span></span></p><p><span style="background-color: black;"><span style="color: white;">kirjutatud, ma tean isegi, milliseid kavu ma järgmisel viiel aastal</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängin ja kus on turneed ja mis kohustused on nendega seotud,</span></span></p><p><span style="background-color: black;"><span style="color: white;">millal pean olema Pariisis, Baden-Badenis või Viinis neid</span></span></p><p><span style="background-color: black;"><span style="color: white;">tutvustamas, millal neid ette valmistan, millal on ärilõunad ja millal</span></span></p><p><span style="background-color: black;"><span style="color: white;">mingid teised kohtumised. See kõik on täpselt kirjas.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Kui oled kellelegi jah öelnud, siis midagi ära jätta ei saa. Palju</span></span></p><p><span style="background-color: black;"><span style="color: white;">sellest, mis ma praegu teen, oleme kokku leppinud viis aastat</span></span></p><p><span style="background-color: black;"><span style="color: white;">tagasi.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Lisaks Zürichile on mul pikaajalised muusikalised suhted ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">kohustused seotud orkestritega, kus olen olnud peadirigent, näiteks</span></span></p><p><span style="background-color: black;"><span style="color: white;">Pariisi Orchestre de Paris’ga, Jaapani NHK sümfooniaorkestriga või</span></span></p><p><span style="background-color: black;"><span style="color: white;">Berliini filharmoonikutega. Neil on nüüd omad uued peadirigendid,</span></span></p><p><span style="background-color: black;"><span style="color: white;">aga nad tahavad, et käiksin teatava regulaarsusega juhatamas.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Igas orkestris käin iga kahe aasta tagant kaks nädalat, see aga</span></span></p><p><span style="background-color: black;"><span style="color: white;">tähendabki, et tegelikult on mul hooajad kõik täis.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Mind aga huvitaks ka midagi natuke uuemat, mõni uus orkester,</span></span></p><p><span style="background-color: black;"><span style="color: white;">näiteks tänavu käin rohkem New Yorgis ja Los Angeleses,</span></span></p><p><span style="background-color: black;"><span style="color: white;">Chicagos ja Philadelphias. Viimased kaheksa aastat olen Ameerikat</span></span></p><p><span style="background-color: black;"><span style="color: white;">vältinud, mulle pole nende poliitika istunud, aga nüüd olen</span></span></p><p><span style="background-color: black;"><span style="color: white;">otsustanud, et võiks uuesti Ameerika poole vaadata, sest natuke</span></span></p><p><span style="background-color: black;"><span style="color: white;">vaheldust on ka vaja.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Koroonapausi järel vesteldes möönsid, et Euroopa orkestri- ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">klassikalise muusika kultuur on rammusamal pinnasel</span></span></p><p><span style="background-color: black;"><span style="color: white;">kasvanud, paus ei mõju nii valusalt kui Ameerikas, kus</span></span></p><p><span style="background-color: black;"><span style="color: white;">kihistus on õhem ja seega kõik palju haavatum. Kuidas on seal</span></span></p><p><span style="background-color: black;"><span style="color: white;">koroonast taastumine toimunud?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kõik on vaikselt hakanud tagasi tulema, ent kõike püütakse nüüd</span></span></p><p><span style="background-color: black;"><span style="color: white;">teha võimalikult populaarses, natuke nagu meelelahutuslikumas</span></span></p><p><span style="background-color: black;"><span style="color: white;">võtmes. Piletite müük on igal pool tähtis, aga kui Euroopas</span></span></p><p><span style="background-color: black;"><span style="color: white;">otsitakse võimalust teha kunsti, siis Ameerikas on</span></span></p><p><span style="background-color: black;"><span style="color: white;">repertuaarivalikus tunda kalduvust kergemale ja lihtsamalt</span></span></p><p><span style="background-color: black;"><span style="color: white;">arusaadavale muusikale. Tehakse seda, mis rahvale meeldib.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Keda publik armastab?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Maailma tippklassika ikka, näiteks Šostakovitš, Tšaikovski,</span></span></p><p><span style="background-color: black;"><span style="color: white;">Beethoven, Mahler. Väga raske on teha uuema muusika kava, võib</span></span></p><p><span style="background-color: black;"><span style="color: white;">ju proovida ära peita uue helilooja teose väga-väga hea rasvase</span></span></p><p><span style="background-color: black;"><span style="color: white;">tüki vahele, nii et seda nagu eriti näha ei ole.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Lisaks on ookeani taga küllaltki populaarsed mõned Ameerika enda</span></span></p><p><span style="background-color: black;"><span style="color: white;">heliloojad, näiteks John Adams, keda väga propageeritakse, ta ongi</span></span></p><p><span style="background-color: black;"><span style="color: white;">väga hea helilooja. Aga minul kui Eesti dirigendil pole mõtet minna</span></span></p><p><span style="background-color: black;"><span style="color: white;">New Yorgi filharmoonikutesse ameeriklast mängima, ma tahan ikka,</span></span></p><p><span style="background-color: black;"><span style="color: white;">et kavas oleks kirjas Eesti. Eesti muusika tutvustamine on minu</span></span></p><p><span style="background-color: black;"><span style="color: white;">missioon.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kas Arvo Pärti peab peitma või tema teoseid oodatakse?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Teda ei pea peitma, teda palutakse kavasse võtta, sest ta müüb.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Arvo Pärt on klassikalise muusika laest läbi läinud, teda tunnevad</span></span></p><p><span style="background-color: black;"><span style="color: white;">ka need, kes tavaliselt klassikalist muusikat eriti ei kuula, näiteks</span></span></p><p><span style="background-color: black;"><span style="color: white;">uue muusika spetsialistid, filmi- ja kunstiinimesed, sest teda</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängitakse ka filmides ja ta on ka popkultuuri esindaja. Tal on oma</span></span></p><p><span style="background-color: black;"><span style="color: white;">publik, fännid. Ehk siis Pärti armastatakse ja selles mõttes on</span></span></p><p><span style="background-color: black;"><span style="color: white;">muidugi väga uhke tunne.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Aga kui veel rääkida trendidest, siis Ameerikas on väga tugevalt</span></span></p><p><span style="background-color: black;"><span style="color: white;">tunda woke-liikumist, ja minu jaoks on see natuke problemaatiline,</span></span></p><p><span style="background-color: black;"><span style="color: white;">sest seda surutakse praegu hästi palju peale. Näiteks tahan</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängida Mahleri sümfooniat, siis öeldakse, et okei, aga mängi selle</span></span></p><p><span style="background-color: black;"><span style="color: white;">kõrvale mõnda naisheliloojat, veel parem, kui see naine ei oleks</span></span></p><p><span style="background-color: black;"><span style="color: white;">valge rassi esindaja.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Mul ei ole otseselt selle vastu midagi, saan aru, miks see kõik nii</span></span></p><p><span style="background-color: black;"><span style="color: white;">on, aga samas selline suhtumine iseenesest on natuke imelik, sest</span></span></p><p><span style="background-color: black;"><span style="color: white;">üldse ei vaadata, kas see stiililiselt kavaga sobiks, kuidas see</span></span></p><p><span style="background-color: black;"><span style="color: white;">mõjutab tervikut – aitab lihtsalt sellest, et ta on naine ja et ta poleks</span></span></p><p><span style="background-color: black;"><span style="color: white;">valge. See tuletab natuke meelde Nõukogude Liitu, kus pidi</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängima alati ühte nõukogude helilooja teost, soovitavalt vene</span></span></p><p><span style="background-color: black;"><span style="color: white;">heliloojalt, kuigi siin on teistsugused nüansid. Samas saan</span></span></p><p><span style="background-color: black;"><span style="color: white;">põhjendustest väga hästi aru.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Olen mõelnud ja mul on plaan: kavatsen hakata tellima Eesti</span></span></p><p><span style="background-color: black;"><span style="color: white;">naisheliloojatelt teoseid. Teen Pärnu festivalile selleks uue</span></span></p><p><span style="background-color: black;"><span style="color: white;">programmi, sest ma ei taha hakata mängima lihtsalt naisheliloojate</span></span></p><p><span style="background-color: black;"><span style="color: white;">teoseid.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Paavo Järvi ja Arvo Pärt 2018. aastal Pärnu festivalil. Foto: Kaupo Kikkas</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Kas eesti naishelilooja sobib sinna kategooriasse?</span></span></p><p><span style="background-color: black;"><span style="color: white;">No vähemalt oleks siis minule ka mingi muu põhjendus, läheks</span></span></p><p><span style="background-color: black;"><span style="color: white;">minu missiooniga kokku. Olen iseenesest väga selle poolt, et</span></span></p><p><span style="background-color: black;"><span style="color: white;">naisheliloojaid tuleb mängida, toetan seda ideed. Eestis on meil</span></span></p><p><span style="background-color: black;"><span style="color: white;">väga palju tugevaid heliloojaid naisi, nii et ma tahan hakata neilt</span></span></p><p><span style="background-color: black;"><span style="color: white;">tellima teoseid, et saaksin neid mängida ka väljaspool Eestit.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Väga äge! Sinu kavades on palju vene heliloojaid. Milline on</span></span></p><p><span style="background-color: black;"><span style="color: white;">praegu maailma kontserdisaalides suhtumine neisse?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Mida lähemale Venemaale, seda teravam on Venemaa heliloojate</span></span></p><p><span style="background-color: black;"><span style="color: white;">küsimus ja saan väga hästi aru, miks Eestis, Poolas, Lätis või</span></span></p><p><span style="background-color: black;"><span style="color: white;">Leedus ei soovita vene muusikat mängida või kuulata. Aga mida</span></span></p><p><span style="background-color: black;"><span style="color: white;">kaugemale Venemaa piirist, näiteks Viinis, Pariisis või Londonis,</span></span></p><p><span style="background-color: black;"><span style="color: white;">seda vähem see teema päevakorras on olnud.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Teine asi on muusikud, solistid, kes on avaldanud Vladimir Putinile</span></span></p><p><span style="background-color: black;"><span style="color: white;">toetust, nendesse on suhtumine teine, siin pole sallivust või</span></span></p><p><span style="background-color: black;"><span style="color: white;">mõistmist, neid ei kutsuta kuhugi. Aga kaks eri asja on praegune</span></span></p><p><span style="background-color: black;"><span style="color: white;">Putini toetaja ja näiteks 50 aastat enne Putini sündi Venemaal</span></span></p><p><span style="background-color: black;"><span style="color: white;">elanud ja surnud helilooja teos. See on suur vahe minu jaoks.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Olen hästi palju sellele mõelnud ja tulnud järeldusele, et mina</span></span></p><p><span style="background-color: black;"><span style="color: white;">isiklikult ei saa minna kaasa poliitikaga, et me ühtegi vene heliloojat</span></span></p><p><span style="background-color: black;"><span style="color: white;">ei mängi. Saan aru neist, kes ütlevad, et võimsaid teoseid</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängides tuuakse esile parim osa Venemaast, see aga aitab</span></span></p><p><span style="background-color: black;"><span style="color: white;">natukene summutada jubedust, vägivalda ja terrorit, mida</span></span></p><p><span style="background-color: black;"><span style="color: white;">venelased praegu Ukrainas toime panevad. Ma saan aru, miks</span></span></p><p><span style="background-color: black;"><span style="color: white;">inimesed nii mõtlevad, aga ma ei arva nii. Loomulikult ei võta ma</span></span></p><p><span style="background-color: black;"><span style="color: white;">praegu kavasse ühtegi prosovetlikku heliloojat.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Kui Vene heliloojate või kultuuritegijate elulugusid uurida, siis paljud</span></span></p><p><span style="background-color: black;"><span style="color: white;">on ise olnud oma kodumaal taga kiusatud, nad on venelastelt peksa</span></span></p><p><span style="background-color: black;"><span style="color: white;">saanud isiksused, elanud eksiilis või kannatanud terrorit.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eesti Festivaliorkestri Euroopa-tuuril mängime näiteks Pärdi</span></span></p><p><span style="background-color: black;"><span style="color: white;">esimest sümfooniat ja Šostakovitši esimest sümfooniat. Šostakovitš</span></span></p><p><span style="background-color: black;"><span style="color: white;">käis Pärnus, kirjutas muusikat Pärnus, need mõlemad lood on kahe</span></span></p><p><span style="background-color: black;"><span style="color: white;">geniaalse helilooja noorpõlve geniaalsed heliteosed ja nad</span></span></p><p><span style="background-color: black;"><span style="color: white;">mõlemad on Eestiga seotud, see on mulle oluline. Ma saa neid</span></span></p><p><span style="background-color: black;"><span style="color: white;">siduda Ukrainas toimuvaga.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Leian, et Tšaikovski või Šostakovitši teosed, mis on lendu läinud, on</span></span></p><p><span style="background-color: black;"><span style="color: white;">suuremad kui Venemaa, nad on maailma kultuuri osa, nii nagu</span></span></p><p><span style="background-color: black;"><span style="color: white;">Beethoven pole sakslaste oma, nii ka nemad pole venelaste omad.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Neid teoseid ei ole õige siduda ühegi poliitikaga.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Venemaa Ukrainasse tungimise kolmandal päeval dirigeerisid</span></span></p><p><span style="background-color: black;"><span style="color: white;">Moskvas Venemaa noorteorkestrit. Kuidas sa praegu hindad</span></span></p><p><span style="background-color: black;"><span style="color: white;">oma toonast otsust?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Toona ma tundsin, et pole õige, et ma sinna noorte ette ei lähe, et</span></span></p><p><span style="background-color: black;"><span style="color: white;">ma keeran neile selja. Praegu, mil me teame seda, mida me teame,</span></span></p><p><span style="background-color: black;"><span style="color: white;">pole ma kindel, et ajas tagasi minnes ma otsustaks samamoodi. Ma</span></span></p><p><span style="background-color: black;"><span style="color: white;">ju ei tea. Tagantjärele on kõike lihtsam vaadata. Toona ma ei</span></span></p><p><span style="background-color: black;"><span style="color: white;">saanud aru selle konflikti suurusest, nagu paljud teised. Arvasin, et</span></span></p><p><span style="background-color: black;"><span style="color: white;">see rünnak kohe peatatakse. Tahtsin siis näidata, et oleme</span></span></p><p><span style="background-color: black;"><span style="color: white;">muusikud ja muusikud hoiavad kokku.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Paljud, kellega ma seal siis kohtusin, on nüüdseks Venemaalt</span></span></p><p><span style="background-color: black;"><span style="color: white;">põgenenud, need on muusikud, kes on selle jõleda sõja vastu ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">nad on öelnud, et nad hindavad seda sammu, näevad selles</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">inimlikku solidaarsust. Ma arvan, et muusikud ja kunstnikud peaksid</span></span></p><p><span style="background-color: black;"><span style="color: white;">kokku hoidma, eriti need, kes tegelevad noortega.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eesti Festivaliorkestris on varem mänginud Venemaalt pärit</span></span></p><p><span style="background-color: black;"><span style="color: white;">muusikud. On praegu uks nende ees kinni?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Vene juurtega inimesi mängib praegu ja tulevikuski, aga oleme</span></span></p><p><span style="background-color: black;"><span style="color: white;">otsustanud, et kõik inimesed, kes elavad ja töötavad Venemaal, ei</span></span></p><p><span style="background-color: black;"><span style="color: white;">saa meie juures mängida. Isegi kui nad on geniaalsed muusikud,</span></span></p><p><span style="background-color: black;"><span style="color: white;">siis nii kaua, kui sõda kestab, ei tee ma nendega koostööd.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kõik, kes on teadliku otsuse teinud ja Venemaalt lahkunud, kas</span></span></p><p><span style="background-color: black;"><span style="color: white;">nüüd viimasel aastal Putini poliitika pärast, või ka varem, need, kes</span></span></p><p><span style="background-color: black;"><span style="color: white;">kolinud läände ja kel on tööload, kes mängivad Viini või Berliini või</span></span></p><p><span style="background-color: black;"><span style="color: white;">mõnes muus Euroopa orkestris, siis nendega koostöö on võimalik.</span></span></p><p><span style="background-color: black;"><span style="color: white;">See on printsipiaalne otsus. Välistatud on loomulikult koostöö Putini</span></span></p><p><span style="background-color: black;"><span style="color: white;">toetajatega.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eesti Festivaliorkester tegutseb 2011. aastast. Tõsi, siis oli</span></span></p><p><span style="background-color: black;"><span style="color: white;">selle nimi Pärnu Festivaliorkester. Kuidas sa nüüd, 2024. aasta</span></span></p><p><span style="background-color: black;"><span style="color: white;">alguses hindad – kas sinu unistus orkestrist on täitunud?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kuidas nüüd niimoodi diplomaatiliselt öelda… Unistused on järk-</span></span></p><p><span style="background-color: black;"><span style="color: white;">järgult ja vaikselt täitumas, aga veel on palju teha. Oluline on, et</span></span></p><p><span style="background-color: black;"><span style="color: white;">oleme olemas, meid toetatakse, meie saalid on välja müüdud nii</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eestis kui ka mujal, meid tuntakse ja see on geniaalne.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Minu unistus oli ja on kokku kutsuda üks tipporkester, mida üle</span></span></p><p><span style="background-color: black;"><span style="color: white;">maailma teatakse ja mis mängib maailma kõige olulisemates</span></span></p><p><span style="background-color: black;"><span style="color: white;">saalides ja festivalidel. Ma tahaks, et oleksime näiteks Salzburgi</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">festivalil, et meil oleks Carnegie Hallis kontserdid, et esineksime</span></span></p><p><span style="background-color: black;"><span style="color: white;">BBC Promsil (maailma suurimal klassikafestivalil – toim).</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Helena Tulve Foto: Marco Giugliarelli</span></span></p><p><span style="background-color: black;"><span style="color: white;">Minu unistus on, et Pärnu Muusikafestival oleks maailma</span></span></p><p><span style="background-color: black;"><span style="color: white;">tippfestival. Kõik liigub selles suunas. Võrreldes kümme aastat</span></span></p><p><span style="background-color: black;"><span style="color: white;">tagasi olnuga on hästi suur samm edasi tehtud. Saan öelda, et on</span></span></p><p><span style="background-color: black;"><span style="color: white;">palju tehtud, aga palju on sellist, mida me veel ei ole teinud.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Tähtis on näiteks see, et meil ilmuvad plaadid. Viimane on näiteks</span></span></p><p><span style="background-color: black;"><span style="color: white;">Alpha Classicsi juures välja antud «Kratt», plaat, kus kõlab Eduard</span></span></p><p><span style="background-color: black;"><span style="color: white;">Tubina muusika koos [poola heliloojate] Grażyna Bacewiczi ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">Witold Lutosławski teostega. Aga meil on ilmunud Erkki-Sven Tüüri</span></span></p><p><span style="background-color: black;"><span style="color: white;">muusikaga «Mythos», mis on võitnud auhindu. Kohe varsti</span></span></p><p><span style="background-color: black;"><span style="color: white;">ilmub Jüri Reinvere muusikaga plaat, lisaks oleme salvestanud</span></span></p><p><span style="background-color: black;"><span style="color: white;">Tõnu Kõrvitsa, Ülo Kriguli, Helena Tulve, Tauno Aintsi ja Lepo</span></span></p><p><span style="background-color: black;"><span style="color: white;">Sumera muusikat.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Minu eesmärk ongi Eesti heliloojate teoseid tutvustada, neid</span></span></p><p><span style="background-color: black;"><span style="color: white;">mängida ja plaadistada.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Kas see kõik võiks veel suurem olla, veel suurema kella küljes, siis</span></span></p><p><span style="background-color: black;"><span style="color: white;">loomulikult võib!</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Mullusel Pärnu Muusikafestivali lõppkontserdil suvepealinnas kontserdimajas seisis</span></span></p><p><span style="background-color: black;"><span style="color: white;">festivaliorkestri ees dirigent Paavo Järvi ja klaveril musitseeris Fazıl Say. FOTO:</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kaupo Kikkas. Foto: Kaupo Kikkas</span></span></p><p><span style="background-color: black;"><span style="color: white;">Mis sa arvad, kas Eesti Festivaliorkester oleks ka siis edukas</span></span></p><p><span style="background-color: black;"><span style="color: white;">olnud, kui see poleks rahvusvaheline, vaid oleks koosnenud</span></span></p><p><span style="background-color: black;"><span style="color: white;">ainult Eesti muusikutest?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Arvan, et üsna pea koosnemegi suuresti Eesti muusikutest, sest kui</span></span></p><p><span style="background-color: black;"><span style="color: white;">vaatan, kui palju noori on praegu orkestris, kui paljud noored õpivad</span></span></p><p><span style="background-color: black;"><span style="color: white;">väljaspool Eestit, siis andekaid muusikuid on väga palju juurde</span></span></p><p><span style="background-color: black;"><span style="color: white;">tulnud. Mõned aastad tagasi ei osanuks lootagi, et meil võiks olla</span></span></p><p><span style="background-color: black;"><span style="color: white;">eestlasest tuuba- ja timpanimängija.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Aga mulle tegelikult meeldib, et koos on rahvusvaheline kamp ja ma</span></span></p><p><span style="background-color: black;"><span style="color: white;">ei tahaks seda ära kaotada. Väikeses ühiskonnas on vaja vahel</span></span></p><p><span style="background-color: black;"><span style="color: white;">tõuget, väljastpoolt tulevat energiat. See pole ainult eestlastel nii,</span></span></p><p><span style="background-color: black;"><span style="color: white;">vaid igal pool. Vahel on vaja näha teist lähenemist, see ei tee mitte</span></span></p><p><span style="background-color: black;"><span style="color: white;">ainult elu huvitavamaks, vaid annab võimaluse õppida. Kuidas nüüd</span></span></p><p><span style="background-color: black;"><span style="color: white;">öelda, aga ma ei taha, et keegi oleks rahul oma tööga.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Et keegi ei saaks olla kindel, et ta ka järgmine kord</span></span></p><p><span style="background-color: black;"><span style="color: white;">kutsutakse?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ei, mitte nii. Paljud ikka kutsutakse tagasi.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Lihtsalt ma mõtlen, et kui inimene – näiteks ka mina – on oma</span></span></p><p><span style="background-color: black;"><span style="color: white;">tegemistega väga rahul, siis tean, et midagi on tegelikult korrast</span></span></p><p><span style="background-color: black;"><span style="color: white;">ära. Pead tundma natukene konkurentsi. Kui enam ei püüa, siis on</span></span></p><p><span style="background-color: black;"><span style="color: white;">tavaliselt latt alla lastud.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Aga kui noore muusiku kõrval istub keegi, kes muidu mängib iga</span></span></p><p><span style="background-color: black;"><span style="color: white;">päev Viini filharmoonikutes, siis sa ei saa ju mängida niimoodi</span></span></p><p><span style="background-color: black;"><span style="color: white;">rahulikult, nagu tavaliselt, vaid püüad ikka natuke paremini kõlada,</span></span></p><p><span style="background-color: black;"><span style="color: white;">et suurmeistri kõrvale sobida. Nii on see meil kõigil, ükskõik kui hea</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">sa oled, sa pead ikkagi olema veelgi parem. Öeldakse, et kui oled</span></span></p><p><span style="background-color: black;"><span style="color: white;">kõige targem inimene ruumis, siis oled vales ruumis.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Mis on Eesti Festivaliorkestri idee sinu jaoks?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Neid on kaks. Eestile juurde kasvatada maailmatasemega</span></span></p><p><span style="background-color: black;"><span style="color: white;">muusikuid, kes hakkaksid Eestis muusikalist elu juhtima, juhtima</span></span></p><p><span style="background-color: black;"><span style="color: white;">ses mõttes, et mängida maailma tasemel. Seda on võimalik siis</span></span></p><p><span style="background-color: black;"><span style="color: white;">saavutada, kui kujutad ette, mida kujutab endast maailmatasemel</span></span></p><p><span style="background-color: black;"><span style="color: white;">orkestris mängimine, kui sa oled istunud orkestris, kus pooled,</span></span></p><p><span style="background-color: black;"><span style="color: white;">vähemalt pooled on maailma tipud. See tõstab sind.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Teine on see, et Eesti Festivaliorkester peab maailmaturul</span></span></p><p><span style="background-color: black;"><span style="color: white;">saavutama sellise positsiooni, et oleme kogu aeg suurte oluliste</span></span></p><p><span style="background-color: black;"><span style="color: white;">orkestrite nimekirjas, meid kutsutaks mõjukatele festivalidele ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">suurtesse kontserdisaalidesse. Et sõna EESTI figureeriks kogu aeg</span></span></p><p><span style="background-color: black;"><span style="color: white;">suurtes saalides, ja mitte ainult siis, kui on mingid spetsiifilised</span></span></p><p><span style="background-color: black;"><span style="color: white;">festivalid, vaid oleksime kogu aeg igal pool olemas.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ma tahan, et meil oleks tõeliselt rahvusvahelise tasemega orkester,</span></span></p><p><span style="background-color: black;"><span style="color: white;">mida kutsutaks igale poole lihtsalt oma headuse pärast. Olen suur</span></span></p><p><span style="background-color: black;"><span style="color: white;">ERSO patrioot, ERSO on väga hea, aga ERSO põhiline töö on</span></span></p><p><span style="background-color: black;"><span style="color: white;">siiski Eestis kontsertide andmine, festivaliorkester oleks maailma</span></span></p><p><span style="background-color: black;"><span style="color: white;">orkester.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Arvan ka seda, et kui muusikud, kes mängivad Eesti</span></span></p><p><span style="background-color: black;"><span style="color: white;">Festivaliorkestris, mängivad ka ERSOs või mõnes teises kohalikus</span></span></p><p><span style="background-color: black;"><span style="color: white;">orkestris, siis kõigi tase tõuseb, lõppkokkuvõttes võidavad kõik. See</span></span></p><p><span style="background-color: black;"><span style="color: white;">ongi tegelikult see mõte.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Triin Ruubel Foto: Krööt Tarkmeel</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ka ERSO saalid on viimasel ajal täis, ERSO on väga heas</span></span></p><p><span style="background-color: black;"><span style="color: white;">hoos. Meil on palju ägedaid noori muusikuid, aga keda sina</span></span></p><p><span style="background-color: black;"><span style="color: white;">esile tõstad?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Meil on esimest korda ajaloos väga tugevad rahvusvahelised</span></span></p><p><span style="background-color: black;"><span style="color: white;">keelpillimängijad. Näiteks Triin Ruubel, Marcel Johannes Kits, Hans</span></span></p><p><span style="background-color: black;"><span style="color: white;">Christian Aavik on geniaalne oma viiuliga, muidugi Theodor Sink.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Lisaks veel näiteks Mari Poll, Kalev Kuljus. Neid on veel, aga</span></span></p><p><span style="background-color: black;"><span style="color: white;">nimetatud tulevad kohe meelde ja nad on väga tugev kamp</span></span></p><p><span style="background-color: black;"><span style="color: white;">tippmuusikuid. Seega on, kelle üle uhkust tunda, aga noori</span></span></p><p><span style="background-color: black;"><span style="color: white;">muusikuid peab kogu aeg juurde kasvatama. Aga neid meil tulebki</span></span></p><p><span style="background-color: black;"><span style="color: white;">juurde!</span></span></p><p><span style="background-color: black;"><span style="color: white;">Pärast Eesti kontserte lähete kohe Euroopa-tuurile, annate</span></span></p><p><span style="background-color: black;"><span style="color: white;">kontserte Dortmundis, Stuttgardis, Zürichi Tonhalles, Viini</span></span></p><p><span style="background-color: black;"><span style="color: white;">Konzerthausis ja Müncheni Isarphilharmonies. Mis kontserdid</span></span></p><p><span style="background-color: black;"><span style="color: white;">on need kõige olulisemad?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Viin on võib-olla kõige tähtsam koht, sest seal käib iga päev niivõrd</span></span></p><p><span style="background-color: black;"><span style="color: white;">häid orkestreid, seal on väga suur ja kriitiline publik. München on</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">üks tähtis koht, sest see on vana ja väga tuntud muusikapealinn</span></span></p><p><span style="background-color: black;"><span style="color: white;">Saksamaal, seal tegutseb kolm väga head orkestrit ja seal on kõik</span></span></p><p><span style="background-color: black;"><span style="color: white;">suured ja tähtsad dirigendid.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Loomulikult ka Zürich, kus käivad olulised orkestrid mängimas ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">asub minu Tonhalle orkestri kodu.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Aga kui rääkida üldse, mis saalid on olnud meil tähtsad, siis BBC</span></span></p><p><span style="background-color: black;"><span style="color: white;">Proms, Elbphilharmonie Hamburgis ja Suntory Hall Tokyos, need</span></span></p><p><span style="background-color: black;"><span style="color: white;">on olnud kõik verstapostid.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Paavo Järvi viimasel koroonaeelsel sügisel Tonhalle orkestri ees. Foto: Gaëtan Bally</span></span></p><p><span style="background-color: black;"><span style="color: white;">Suvel tuleb taas Pärnu festival ja mängite Eestis. Aga mis</span></span></p><p><span style="background-color: black;"><span style="color: white;">edasi saab?</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Vot seda ei saa veel avalikustada, aga meil on suuri plaane.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Esinemised Eestis on meile väga tähtsad! Tänavusel festivalil tuleb</span></span></p><p><span style="background-color: black;"><span style="color: white;">ettekandele Tõnu Kõrvitsa uudisteos Eesti Festivaliorkestrile ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ksenija Sidorovale valminud akordionikontsert. Algab ka</span></span></p><p><span style="background-color: black;"><span style="color: white;">naisheliloojate uudisteoste sari – Eesti Festivaliorkestri esituses</span></span></p><p><span style="background-color: black;"><span style="color: white;">kõlab Helena Tulve uudisteos ning kammermuusikat on kavas</span></span></p><p><span style="background-color: black;"><span style="color: white;">tellida Maria Kõrvitsalt.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Maria Kõrvits Foto: Eero Vabamägi</span></span></p><p><span style="background-color: black;"><span style="color: white;">Soovid, et eesti keel igal pool kõlaks. Avastasingi, et Šveitsis</span></span></p><p><span style="background-color: black;"><span style="color: white;">reklaamitakse sinu nime ja näoga nahast kotte, portfellimõõtu</span></span></p><p><span style="background-color: black;"><span style="color: white;">suure koti nimeks on Kooskõla, väiksem on Kaja ja üks kott on</span></span></p><p><span style="background-color: black;"><span style="color: white;">Keeltepaun. Kuidas see juhtus?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Zürichis võttis minuga ühendust üks väga šarmantne eesti naine ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">tutvustas ideed, et võiks teha nahast kotte. Šveits on suur</span></span></p><p><span style="background-color: black;"><span style="color: white;">jahindusemaa, aga mingi osa nahka jääb kasutamata ja nemad siis</span></span></p><p><span style="background-color: black;"><span style="color: white;">teevad sellest nahast kotte ning muid tooteid, küsisid, kas mul oleks</span></span></p><p><span style="background-color: black;"><span style="color: white;">midagi nahast vaja. No mul tõesti on vaja kotti, kuhu mahuks ära</span></span></p><p><span style="background-color: black;"><span style="color: white;">suured partituurid, näiteks Erkki-Sven Tüüri noodid.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Mulle meeldib nende ökoloogiline lähenemine, nad ei kasuta</span></span></p><p><span style="background-color: black;"><span style="color: white;">kemikaale ja nahk on käe all mõnusalt krobeline.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Aga eestikeelsed nimed, nende puhul kotimeistritel kõhklusi</span></span></p><p><span style="background-color: black;"><span style="color: white;">polnud?</span></span></p><p><span style="background-color: black;"><span style="color: white;">See on ju äge! Näiteks nagu IKEA, kõik me ei suuda neid hääldada,</span></span></p><p><span style="background-color: black;"><span style="color: white;">aga ütleme ikka. Nii et miks mitte, kui nii saab Eestit ja eesti keelt</span></span></p><p><span style="background-color: black;"><span style="color: white;">promoda, siis ju miks mitte!</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eesti Festivaliorkestri tuur lõppeb Münchenis uue nädala</span></span></p><p><span style="background-color: black;"><span style="color: white;">neljapäeval. Mis sind siis ees ootab?</span></span></p><p><span style="background-color: black;"><span style="color: white;">Lähen Zürichisse, kus alustan üht väga-väga suurt uut tsüklit. Kui</span></span></p><p><span style="background-color: black;"><span style="color: white;">mulle tehti ettepanek olla veel viis aastat sealse orkestri</span></span></p><p><span style="background-color: black;"><span style="color: white;">peadirigent, siis minu tingimuseks oli salvestada Mahleri</span></span></p><p><span style="background-color: black;"><span style="color: white;">sümfooniate plaadistamine, alustame siis seal sellega.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ülinõutud dirigent tegevuses</span></span></p><p><span style="background-color: black;"><span style="color: white;"> Grammy auhinna saanud dirigent Paavo Järvi (61) on</span></span></p><p><span style="background-color: black;"><span style="color: white;">laialdaselt tunnustatud kui üks tänapäeva silmapaistvamaid</span></span></p><p><span style="background-color: black;"><span style="color: white;">dirigente, kellel on tihe koostöö maailma parimate</span></span></p><p><span style="background-color: black;"><span style="color: white;">orkestritega. Ta on Tonhalle Orchester-Zürichi peadirigent,</span></span></p><p><span style="background-color: black;"><span style="color: white;">alates 2004. aastast Deutsche Kammerphilharmonie Bremeni</span></span></p><p><span style="background-color: black;"><span style="color: white;">kauaaegne kunstiline juht ning Eesti Festivaliorkestri asutaja</span></span></p><p><span style="background-color: black;"><span style="color: white;">ja kunstiline juht.</span></span></p><p><span style="background-color: black;"><span style="color: white;"> Lisaks alalistele ametikohtadele on Järvi nõutud</span></span></p><p><span style="background-color: black;"><span style="color: white;">külalisdirigendina, esinedes regulaarselt Berliini</span></span></p><p><span style="background-color: black;"><span style="color: white;">filharmoonikute, Royal Concertgebouw Orchestra ja New</span></span></p><p><span style="background-color: black;"><span style="color: white;">Yorgi filharmoonikutega. Sel hooajal juhatab Järvi Chicago</span></span></p><p><span style="background-color: black;"><span style="color: white;">sümfooniaorkestrit, Philadelphia orkestrit, Londoni</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">filharmooniaorkestrit, Orchestra dell’Accademia Nazionale di</span></span></p><p><span style="background-color: black;"><span style="color: white;">Santa Ceciliat, Budapesti festivaliorkestrit, Müncheni</span></span></p><p><span style="background-color: black;"><span style="color: white;">filharmoonikuid ja Hongkongi filharmoonikuid. Samuti on tal</span></span></p><p><span style="background-color: black;"><span style="color: white;">tihedad suhted paljude orkestritega, mille muusikajuht ta</span></span></p><p><span style="background-color: black;"><span style="color: white;">varem oli, sealhulgas Orchestre de Paris’, Frankfurdi Raadio</span></span></p><p><span style="background-color: black;"><span style="color: white;">sümfooniaorkestri ja NHK sümfooniaorkestriga Tokyos.</span></span></p><p><span style="background-color: black;"><span style="color: white;"> Paavo Järvi iga hooaeg lõpeb nädal aega esinemistega ja</span></span></p><p><span style="background-color: black;"><span style="color: white;">dirigeerimise meistrikursustega 2011. aastast peetaval Pärnu</span></span></p><p><span style="background-color: black;"><span style="color: white;">muusikafestivalil (selle residentkoosseis ongi Eesti</span></span></p><p><span style="background-color: black;"><span style="color: white;">Festivaliorkester).</span></span></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-11361420607525731212024-01-27T13:59:00.005-05:002024-01-27T13:59:49.130-05:00 Russian winter dreams from Estonia in the concert hall<p><span style="background-color: black;"><span style="color: white;"><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">DIE PRESSE</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">Walter Weidringer</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">26.01.24</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">Russian winter dreams from Estonia in the concert hall</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">Paavo Järvi and his Estonian Festival Orchestra played Tchaikovsky's First and Dvořák's Cello Concertos.</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">Tchaikovsky, the symphonist: People here think that the performance statistics confirm it, especially the final three large “Fate Symphonies” with numbers 4 to 6. Paavo Järvi, on the other hand, is a conductor who not only has a soft spot for the composer's first work, but also through his youth and early musical training in the then “Estonian Soviet Socialist Republic” a sensitivity to what one could call the original musical accent. Järvi believes that Tchaikovsky, who is considered the epitome of Russian music, developed into a comparatively cosmopolitan, Western-influenced composer. In Symphony No. 1, entitled “Winter Dreams”, one can still hear a more Russian tongue.</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">When Järvi performs it with his Estonian Festival Orchestra, as he did in Grafenegg in the summer, you immediately understand what he means. And can once again enjoy the lively, gestural, springy musical style, the rhetorical power of this well-thought-out, yet extremely spontaneous interpretation. Mood paintings, melodic charm, youthful exuberance - and finally an orchestral festive atmosphere that doesn't have to mask any existential problems like in the late symphonies: this also provoked smiles in the concert hall, then storms of applause.</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">Lyrical soloist: Sol Gabetta</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">There had already been a rhapsodic, swinging reading of Dvořák's Cello Concerto, with Sol Gabetta as soloist. She is particularly skilled at lyrical cantilenas, which she performs intensively. What her tone may lack in a pithy attack, she makes up for with confident rhythmic freedom in her delivery. This complemented the singing solos in the EFO: The name refers to the traditional Estonian seaside resort of Pärnu, where Järvi has been leading a festival since 2011 and founded this orchestra as a famous collaboration between top international musicians and hand-picked Estonian young talent.</span><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><br style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" /><span style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif; font-size: small;">Both Gabetta and Järvi thanked for the cheers with their favorite encores: in the case of the cellist, this was “El cant dels ocells” in the version of her great predecessor Pau Casals, performed in a dream-tender and wistful manner in conjunction with the first cello desks of the EFO. Actually a Catalan Christmas and lullaby, Casals, the ardent Franco opponent, played it in exile as a kind of “ceterum censeo” at all his performances, as a constant note of protest against the dictatorship in Spain. And Järvi, as usual, brought the Estonian strings to golden, red and white embers in Jean Sibelius’ fervently driven “Andanto festivo”. The final surprise of the evening was that they were then dimmed to an intimate elegant and finally fade away: in “Evening Serenade”, the expressive middle movement from Valentin Silvestrov‘s “Stiller Musik”.</span></span></span></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-39108995402595333122024-01-27T13:58:00.006-05:002024-01-27T13:58:58.859-05:00Spark and blaze on Isarphilharmonie: Paavo Järvi conducts, Sol Gabetta plays Antonín Dvorák<blockquote style="caret-color: rgb(34, 34, 34); font-family: Arial, Helvetica, sans-serif;" type="cite"><div dir="ltr"><header style="background-image: none; border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;"><div><b style="background-color: black;"><span style="color: white;">Abendzeitung</span></b></div><div><span style="background-color: black; font-size: small;"><span style="color: white;">27 January 2024</span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;">Michael Bastian Weiß</span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black;"><span style="color: white;"><span style="font-size: small;">Fantastic, living objects of all possible shapes and colours float through the space, dancing, chasing each other, flashing up in the most diverse places. They are invisible, only audible, and yet so vividly tangible that you feel you can touch them. </span><span style="font-size: small;">New music? No: the Symphony No. 1 in G minor by Peter Tchaikovsky, nicknamed "Winter Dreams" - when the Estonian Festival Orchestra plays it. And Paavo Järvi conducts.</span></span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;">Founded by Järvi in 2011, the young orchestra brings together the best Estonians as well as musicians from other countries. From the phenomenally clean, contoured strings alone, you realise in the first few seconds that this is not just a good performance, but one that has been carefully rehearsed. Järvi does not rely solely on precision, but also fans out an infinite palette of different types of strokes, lively, sweeping, powerfully compact. He extracts the maximum effect from the interplay between the opposing 1st and 2nd violins through hearty accents. The woodwinds stand out from each other, the brass with its proud horn section appears à point, the percussion dosed with the gold scale, as is rarely heard.</span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;">Because everyone pulls together, Paavo Järvi is able to push the extremes incredibly far apart, mystical murmurs in slow motion are cut hard against passages at ludicrous speed, in between which the music breaks off again and again in a mysterious way.</span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;">The Isarphilharmonie's otherwise irritating sound absorption is quite out of place here. Paavo Järvi, who also conducts at the highest technical level, discovers the modernity of an alleged Romantic; the Estonians give a breakneck encore with the "Vallflickans Dans" from the ballet pantomime "Bergakungen" by Swedish composer Hugo Alfvén. Against such stringency, Antonín Dvorák's Violoncello Concerto in B minor is even less focussed and more episodic than usual. It's a good thing that Sol Gabetta grabs the solo part by the scruff of the neck from the very first second of her entry and energetically drives the digressions forward with her spicy cello tone.</span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;"><br /></span></span></div><div><span style="background-color: black; font-size: small;"><span style="color: white;">She can ignite a melody line with her bow like no other and keep it glowing like a fuse. Sol Gabetta should definitely make the stage floor vibrate again soon with the Estonian Festival Orchestra. There are some marvellous works by Tchaikovsky, for example, for precisely this instrumentation.</span></span></div></header></div></blockquote>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-87589502277889240202024-01-26T00:22:00.000-05:002024-01-26T00:22:13.607-05:00Concert review: James Ehnes (violin) Philharmonia Orchestra/Paavo Järvi<div class="headerWrapper" style="box-sizing: border-box; caret-color: rgb(34, 34, 34); font-family: Lato, sans-serif; font-size: 16px; padding-left: 0px; padding-right: 0px;"><div class="container titleByline" style="box-sizing: border-box; margin-bottom: 36px; margin-left: auto; margin-right: auto; max-width: 1220px;"><div class="inner-sleeve" style="box-sizing: border-box; margin-left: auto; margin-right: auto; max-width: 1220px; padding-left: 20px; padding-right: 20px;"><p class="byline meta" style="border: none; box-sizing: border-box; float: left; font-size: 0.889rem; line-height: 1rem; margin: 0px; padding: 0px; width: 978.6875px;"><span class="author" style="background-color: black; box-sizing: border-box;"><span style="color: white;">The Strap</span></span></p><p class="byline meta" style="border: none; box-sizing: border-box; float: left; font-size: 0.889rem; line-height: 1rem; margin: 0px; padding: 0px; width: 978.6875px;"><span style="background-color: black;"><span style="color: white;"><span class="author" style="box-sizing: border-box;">By <a href="https://www.thestrad.com/tim-homfray/1066.bio" rel="author" style="box-sizing: border-box; font-style: italic; font-weight: 700; text-decoration: none;">Tim Homfray</a> </span><span class="date visible" data-date-timezone="{"publishdate": "2024-01-24T10:05:15.827","format": "D MMMM YYYY"}" style="box-sizing: border-box; font-size: 0.75rem; line-height: 1.3rem; text-transform: uppercase; visibility: visible; width: auto;">24 JANUARY 2024</span></span></span></p></div></div></div><div class="container" id="columns" style="box-sizing: border-box; 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background-repeat: no-repeat no-repeat; box-sizing: border-box; display: inline-block; height: 10.707px; position: relative; width: 10.707px;"></span></a></span></div></li></ul></div><div class="articleWrapper" style="box-sizing: border-box;"><div class="articleContent" style="box-sizing: border-box;"><div class="standfirst" style="box-sizing: border-box;"><p style="border: none; box-sizing: border-box; font-size: 1.266rem; font-weight: 700; line-height: 2.027rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">Tim Homfray visits London’s Royal Festival Hall for the performance of Tchaikovsky’s Violin Concerto and Prokofiev’s Sixth Symphony on 26 November 2023 </span></span></p></div><div class="storytext" style="box-sizing: border-box;"><div class="inline_image image_size_med" data-attachment="32681" data-sequence="1" style="box-sizing: border-box; clear: both; margin: 0px auto 32px; position: relative; width: 465.828125px;"><p class="picture" style="background-size: 100px; border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px; padding: 0px;"><img alt="James Ehnes. Photo: Ben Ealovega" class="lazyloaded" height="560" loading="eager" src="https://dnan0fzjxntrj.cloudfront.net/Pictures/480xAny/6/8/1/32681_ehnes_651268.jpg" srcset="https://dnan0fzjxntrj.cloudfront.net/Pictures/480xAny/6/8/1/32681_ehnes_651268.jpg 480w" style="border: none; box-sizing: border-box; contain: size; display: block; height: auto; margin: 0px auto; max-width: 100%; opacity: 1; padding: 0px; transition: opacity 0.3s ease 0s; width: 465.828125px;" width="879" /></p><div class="inline_meta" style="box-sizing: border-box; overflow-wrap: break-word; padding: 12px 12px 24px;"><p class="inline_caption" style="border: none; box-sizing: border-box; font-size: 0.889rem; line-height: 1.266rem; margin: 8px 0px 0px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">James Ehnes. Photo: Ben Ealovega</span></span></p></div></div><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">James Ehnes appeared at this afternoon concert as a replacement for pianist Daniil Trifonov, and the less-than-capacity audience heard instead a remarkable performance of Tchaikovsky’s Violin Concerto. With Ehnes, remarkable always seems to come as standard, but he still gave a masterclass in what can be done with a violin. After the brisk opening he produced some gossamer playing, fluent and free, and built steadily through melodies and technical fireworks alike. The second subject was sumptuous, growing organically from quiet simplicity to soaring rapture and onward to the great orchestral tutti. The staccato semiquaver variant of the opening theme, capricious and charming, was immaculate in all its varieties of bowing, and the cadenza was finely shaped, both brilliant and musically captivating.</span></span></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">The second-movement Canzonetta was eloquent, expressive and moving, aided by some beautiful contributions from clarinet and flute. As marked, Ehnes played with a mute throughout (which is not to be taken for granted – why do some fiddle players think they know better than the composer?). The finale combined dynamism, drama and precision. Afterwards Ehnes played Ysaÿe’s Third Solo Sonata in the best virtuoso encore style, compelling and viscerally exciting.</span></span></p><div class="factfile" style="border-top-color: rgb(171, 145, 108); border-top-style: solid; border-top-width: 4px; box-sizing: border-box; clear: both; margin-bottom: 16px; overflow: hidden; padding: 24px 16px;"><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><strong style="background-color: black; box-sizing: border-box;"><span style="color: white;">Watch: <a href="https://www.thestrad.com/video/violin-techniques-with-james-ehnes-pizzicato/7976.article" style="box-sizing: border-box; text-decoration: none;">Violin techniques with James Ehnes: pizzicato</a></span></strong></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><strong style="background-color: black; box-sizing: border-box;"><span style="color: white;">Read: <a href="https://www.thestrad.com/playing-hub/james-ehnes-you-should-never-be-scared-of-beethovens-violin-concerto/8328.article" style="box-sizing: border-box; text-decoration: none;">James Ehnes: ‘You should never be scared of Beethoven’s Violin Concerto’</a></span></strong></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><strong style="background-color: black; box-sizing: border-box;"><span style="color: white;">Read: <a href="https://www.thestrad.com/playing-hub/double-acts-violinist-james-ehnes-and-david-fulton/17147.article" style="box-sizing: border-box; text-decoration: none;">Double Acts: Violinist James Ehnes and David Fulton</a></span></strong></p></div><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">The Philharmonia with Paavo Järvi, who had been fine partners to Ehnes, went on to give an impressive account of Prokofiev’s Sixth Symphony in E flat minor (surely a key only a pianist could love).</span></span></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;">TIM HOMFRAY</span></span></p><p style="border: none; box-sizing: border-box; font-size: 0.875rem; line-height: 1.3rem; margin: 0px 0px 15px; padding: 0px;"><span style="background-color: black;"><span style="color: white;"><a href="https://www.thestrad.com/reviews/concert-review-james-ehnes-violin-philharmonia-orchestra/paavo-j%C3%A4rvi/17437.article">https://www.thestrad.com/reviews/concert-review-james-ehnes-violin-philharmonia-orchestra/paavo-j%C3%A4rvi/17437.article</a> </span></span></p></div></div></div></div></div></div></div></div></div></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-44512159098487865832023-12-23T04:49:00.004-05:002023-12-23T04:49:42.957-05:00Brahms • Dvořák • Viotti: Concertos<div class="list-content" style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; column-gap: 0.3em; display: flex; flex-flow: row wrap; padding: var(--listPadding);"><storefront-element class="mat-ripple list-entry no-ripple" data-entry-index="0" mat-ripple="" style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; display: flex; max-width: 100%; transform: translateZ(0px);" type="html"><storefront-html class="" ng-version="16.2.12" style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; cursor: pointer; display: flex; position: relative;"><a href="https://www.classical-music.com/author/michael-beekourmedia-co-uk" style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; font-family: var(--bodyFont) !important; font-size: 16px !important; font-weight: 700 !important; height: inherit; text-decoration: none; width: inherit;"><p style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; margin: 0px; text-decoration: underline;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; margin: 0px; text-decoration: underline;"><span style="background-color: black;"><span style="color: white;">Classical Music</span></span></p><p style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; margin: 0px; text-decoration: underline;"><span style="background-color: black;"><span style="color: white;">michael.beek@ourmedia.co.uk</span></span></p><p style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; margin: 0px; text-decoration: underline;"><span style="background-color: black;"><span style="color: white;"> November 30, 2023 </span></span></p><p style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; margin: 0px; text-decoration: underline;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><span style="background-color: black;"><span style="color: white;">Brahms: Double Concerto; Viotti: Violin Concerto No. 22; Dvořák: Silent Woods</span></span></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><span style="background-color: black;"><span style="color: white;">Christian Tetzlaff (violin), Tanja Tetzlaff (cello); Deutsches Symphonie-Orchester Berlin/Paavo Järvi</span></span></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><em style="-webkit-user-drag: none; -webkit-user-select: none; background-color: black; box-sizing: border-box; font-family: var(--bodyFont) !important;"><span style="color: white;">Ondine ODE 1423-2 60:43 mins </span></em></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><span style="background-color: black;"><span style="color: white;">Brahms and the late 18th-century violinist and composer Giovanni Battista Viotti may seem like odd bedfellows, but there’s a good deal of logic in their juxtaposition here. Brahms openly admired Viotti’s Violin Concerto No. 22, and his own Double Concerto for violin and cello, in the same key of A minor, contains distant allusions to it. The Viotti was also in the repertoire of Joseph Joachim, who made his own virtuosic edition of it (mercifully not used in this reading). Brahms’s concerto was designed to mend his relationship with Joachim: the two friends had fallen out over the violinist’s bitter divorce dispute, when Brahms sided with Joachim’s wife. </span></span></p></a><div class="separator" style="clear: both; text-align: center;"><a href="https://www.classical-music.com/author/michael-beekourmedia-co-uk" style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; font-family: var(--bodyFont) !important; font-size: 16px !important; font-weight: 700 !important; height: inherit; text-decoration: none; width: inherit;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCV_db7GiYhizP-vGDs8RSRjDKzEmxxaOJaRPPxBdz3bInmnxaoqdFFJcXzuyMY5Eb3VeP_697NbL8kgFwhPx6uVoMaEqt5-lwapERW7Tk-m3mr3_L5nkQmjxcuqmqUoaYkTAEnHwUsfhgvw83ummssrTz2NMaeBXFHU1lCaJklL3RIPF0Qg9/s900/Brahms_ODE14232_cmyk.jpeg.webp" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="900" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCV_db7GiYhizP-vGDs8RSRjDKzEmxxaOJaRPPxBdz3bInmnxaoqdFFJcXzuyMY5Eb3VeP_697NbL8kgFwhPx6uVoMaEqt5-lwapERW7Tk-m3mr3_L5nkQmjxcuqmqUoaYkTAEnHwUsfhgvw83ummssrTz2NMaeBXFHU1lCaJklL3RIPF0Qg9/s320/Brahms_ODE14232_cmyk.jpeg.webp" width="320" /></span></a></div><p></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><span style="background-color: black;"><span style="color: white;"><span style="font-size: 16px;">The opening pages of Brahms’s concerto have the two soloists rhapsodising in recitative style, and the passage ends with them sweeping passionately upwards in parallel octaves, unleashing a lengthy and powerful tutti. The octave writing heard near the concerto’s beginning is typical of the work as a whole, and it’s one of its features that make it so awkward to play. Brother-and-sister team Christian and Tanja Tetzlaff are ideal soloists, and they’re splendidly supported by the Deutsches Symphonie Orchester under Paavo Järvi. Christian Tetzlaff plays the wild, gipsy-style finale of the Viotti with appropriate abandon and Tanja is an eloquent soloist in Dvořák’s hauntingly beautiful </span><em style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; font-size: 16px;">Silent Woods</em><span style="font-size: 16px;"> – the composer’s own transcription of the penultimate number from his piano duet suite </span><em style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; font-size: 16px;">From the Bohemian Forest</em><span style="font-size: 16px;">. </span><em style="-webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; font-size: 16px;">Misha Donat</em></span></span></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><a href="https://www.classical-music.com/reviews/concerto/brahms-dvorak-viotti-concertos" style="background-color: black;"><span style="color: white;">https://www.classical-music.com/reviews/concerto/brahms-dvorak-viotti-concertos</span></a></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); color: #0f2c3b; font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><br /></p><p style="-webkit-hyphens: auto; -webkit-user-drag: none; -webkit-user-select: none; box-sizing: border-box; caret-color: rgb(15, 44, 59); color: #0f2c3b; font-family: franklin-gothic-urw; font-size: medium; font-weight: 400; line-height: 26px; margin: 0px 0px 20px; overflow-wrap: break-word; word-break: break-word;"><br /></p></storefront-html></storefront-element></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-51012209737074187842023-12-17T01:12:00.008-05:002023-12-17T01:12:57.492-05:00Jenseits aller Gemütlichkeit<p><span style="background-color: black;"><span style="color: white;">Kölnische Rundschau RKC Köln linksrheinisch</span></span></p><p><span style="background-color: black;"><span style="color: white;"> 06.12.2023</span></span></p><p><span style="background-color: black;"><span style="color: white;">mco</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kammerphilharmonie Bremenspielt Haydn</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Köln. SomussHaydnklingen!Dieser</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eindruck bliebnachdiesemPhilhar-</span></span></p><p><span style="background-color: black;"><span style="color: white;">monie-Konzert. Die Kammerphil-</span></span></p><p><span style="background-color: black;"><span style="color: white;">harmonie Bremen unter ihrem est-</span></span></p><p><span style="background-color: black;"><span style="color: white;">nischen Chef Paavo Järvi spendierte</span></span></p><p><span style="background-color: black;"><span style="color: white;">dem„WienerKlassiker“eineVerjün-</span></span></p><p><span style="background-color: black;"><span style="color: white;">gungskur, die es in sich hatte.</span></span></p><p><span style="background-color: black;"><span style="color: white;"> Ausgehend von zügigen Tempi</span></span></p><p><span style="background-color: black;"><span style="color: white;">setzte man auf eine im Detail ausge-</span></span></p><p><span style="background-color: black;"><span style="color: white;">feilte Interpretation. Trockene Ak-</span></span></p><p><span style="background-color: black;"><span style="color: white;">zente kehrten Haydns sprichwörtli-</span></span></p><p><span style="background-color: black;"><span style="color: white;">chen Witz hervor. Den baut er auch</span></span></p><p><span style="background-color: black;"><span style="color: white;">in seine „Londoner Sinfonien“ 97</span></span></p><p><span style="background-color: black;"><span style="color: white;">und 102 ein. Die „historisch infor-</span></span></p><p><span style="background-color: black;"><span style="color: white;">mierte“ Spielart des Orchesters et-</span></span></p><p><span style="background-color: black;"><span style="color: white;">wa bei Hörnern und Pauken sorgte</span></span></p><p><span style="background-color: black;"><span style="color: white;">ebenfalls für ein aufgerautes Klang-</span></span></p><p><span style="background-color: black;"><span style="color: white;">bild. Hier schallte nichts gemütlich</span></span></p><p><span style="background-color: black;"><span style="color: white;">durch den Saal. Alles wurde präg-</span></span></p><p><span style="background-color: black;"><span style="color: white;">nant auf den Punkt gebracht und</span></span></p><p><span style="background-color: black;"><span style="color: white;">Haydn als Revolutionär präsentiert.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Genau das war er auch.</span></span></p><p><span style="background-color: black;"><span style="color: white;">DabeideSinfoniennichthäufigzu</span></span></p><p><span style="background-color: black;"><span style="color: white;">erleben sind, gab es umso größere</span></span></p><p><span style="background-color: black;"><span style="color: white;">Aha-Erlebnisse. Besonders die B-</span></span></p><p><span style="background-color: black;"><span style="color: white;">Dur-Sinfonie102mitihreminsAda-</span></span></p><p><span style="background-color: black;"><span style="color: white;">gioeingearbeiteteCellosoloundder</span></span></p><p><span style="background-color: black;"><span style="color: white;">frechen Schlusspointe bot ein star-</span></span></p><p><span style="background-color: black;"><span style="color: white;">kes Haydn-Plädoyer. Der Streicher-</span></span></p><p><span style="background-color: black;"><span style="color: white;">klangwurde dynamischteils extrem</span></span></p><p><span style="background-color: black;"><span style="color: white;">abschattiert. Ausgezeichnet aber</span></span></p><p><span style="background-color: black;"><span style="color: white;">auchdieHolzbläser.Alle zusammen </span></span></p><p><span style="background-color: black;"><span style="color: white;">erfüllen die Musik mit Leben und</span></span></p><p><span style="background-color: black;"><span style="color: white;">rüttelten das Publikum von</span></span></p><p><span style="background-color: black;"><span style="color: white;">den Sitzen.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Solch ein Orchester ist natürlich in Beethovens erstem Klavierkonzert keinesfalls ein Begleiter.Auch hier</span></span></p><p><span style="background-color: black;"><span style="color: white;">gestaltete die Kammerphilharmonie tatkräftig</span></span></p><p><span style="background-color: black;"><span style="color: white;">mit. Am Flügel saß der 33-jährige Pianist FabianMüller.Der gebürtige</span></span></p><p><span style="background-color: black;"><span style="color: white;">Bonnerhat zuBeethoven,demSohn dieser Stadt, ein besonderes Verhältnis. Demnächst wird er alle</span></span></p><p><span style="background-color: black;"><span style="color: white;">Beethoven-Sonaten in Berlin aufführen.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Für das frühe C-Dur-Konzert war Müllers Zugang ideal. Sein angemessen leichter Anschlag verdeut-</span></span></p><p><span style="background-color: black;"><span style="color: white;">lichte gut die klassische Verankerung des Werks. Andererseits lieferte er die betonten Sforzati und auch</span></span></p><p><span style="background-color: black;"><span style="color: white;">Marcato-Passagen packend ab. So gelang ihm ein zugleich sensitiver</span></span></p><p><span style="background-color: black;"><span style="color: white;">wie pointierterBeethoven.Im Kopfsatz spielte er die längste der drei Originalkadenzen und strukturierte</span></span></p><p><span style="background-color: black;"><span style="color: white;">sie vorbildlich. Sein Nachschlag:Rachmaninows Etüde, Opus 39/9. Auch das Orchester lieferte noch</span></span></p><p><span style="background-color: black;"><span style="color: white;">zwei Zugaben ab. Nach Sibelius'„Andante festivo“ beschloss die früher Haydn zugeschriebene Serena-</span></span></p><p><span style="background-color: black;"><span style="color: white;">de, Opus 3/5 den Abend. Längst ist allerdings bekannt, dass sie von einem unbekannten Komponisten</span></span></p><p><span style="background-color: black;"><span style="color: white;">stammt. (mco)</span></span></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-8491379996061225302023-12-17T01:05:00.005-05:002023-12-17T01:05:36.277-05:00Ein Glücksfall für Bremen – und für Haydn<p><span style="background-color: black;"><span style="color: white;">Kreiszeitung Syker Zeitung</span></span></p><p><span style="background-color: black;"><span style="color: white;"> 09.12.2023</span></span></p><p><span style="background-color: black;"><span style="color: white;">MICHAEL PITZ-GREWENIG</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Bremen – Der Dirigent Paavo</span></span></p><p><span style="background-color: black;"><span style="color: white;">Järvi ist noch immer eine</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ausnahmeerscheinung und für die Deutsche Kammerphilharmonie Bremen ein Glücksfall. Umgekehrt gilt es wohl auch. Mittlerweile arbeitet man an einer Neuaufnahme der „Londoner Sinfonien“ von Joseph Haydn.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Nachdem man sich die Beethoven-Sinfonien erarbeitet hat, nähert man sich Haydns</span></span></p><p><span style="background-color: black;"><span style="color: white;">Sinfonien sozusagen auf Augenhöhe und tut sie nicht einfach als Vorläufer ab.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Deutlich zu hören ist das beim 3. „Hanse I-Abonnementkonzert“ im großen</span></span></p><p><span style="background-color: black;"><span style="color: white;">Saal der Glocke mit dem vielsagenden Titel „Shakespeare of Music“. Hintergrund ist,</span></span></p><p><span style="background-color: black;"><span style="color: white;">dass Haydn in England großes Ansehen genoss. In Oxford wurde er 1792 zum Dok-</span></span></p><p><span style="background-color: black;"><span style="color: white;">tor der Tonkunst ernannt.Sein Kollege Georg Friedrich Händel weilte 30 Jahre in</span></span></p><p><span style="background-color: black;"><span style="color: white;">England, ohne dass ihm diese Ehrung zuteilwurde.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Das 3. „Hanse-Konzert“ präsentierte in der Tat einen bedeutsamen Abend mit drei</span></span></p><p><span style="background-color: black;"><span style="color: white;">Haydn-Sinfonien, der mit konventionellen interpretatorischen Vorstellungen aufräumte. Das begann schon</span></span></p><p><span style="background-color: black;"><span style="color: white;">mit dem Programm. Haydns Londoner Sinfonien sind ausgesprochen geistreiche musikalische Kabinettstücke, viel freundliche Stimmung, Spielfreude, die kompositorische Erfahrung summierend und transformierend, zurückblickend und vorausschauend zugleich. Hierzu gehört ein deutig die Sinfonie Nr. 102 in B-Dur. Haydn hat für Orchester niemals verschlungener, halsbrecherischer komponiert. Und was Järvi und die Kammerphilharmonie daraus machten – exemplarisch bis in die kleinsten Verästelungen hinein – war in der Tat ein Ereignis. Während andere Dirigenten ehrfürchtig um das Denkmal „Haydn“ lustwandeln und ihn so zu einer historisch überholten Stelle werden lassen, die allenfalls fürKlangarchäologen interessant ist, muss man sich bei Järvi erst einmal von alten Hörgewohnheiten tren-</span></span></p><p><span style="background-color: black;"><span style="color: white;">nen. Bezüglich der Tempi riskant angelegt, überzeugte seine Interpretation durch</span></span></p><p><span style="background-color: black;"><span style="color: white;">fulminante Musikalität und stupende Stilsicherheit,</span></span></p><p><span style="background-color: black;"><span style="color: white;">durch die Järvi eine nahezu vollkommene Ausbalancierung und klangliche Transparenz erreichte. Was auch der Tatsache geschuldet war, dass die Kammerphilharmonie klanglich eine intelligente Mischung von alten und neuen Instrumenten lieferte.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Paavo Järvi deckte auch in den Sinfonien Nr. 95 und Nr.97 verschlungene Zusammenhänge auf, die die Werke wie aus einem Guss erscheinen ließen, aber auch die Risse, die rhythmischen Verschiebungen, die scharfen Dissonanzen nicht zudecken.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ein Panorama zwischen Beseeltheit, Grazie und Tornado. All das galt natürlich auch für die überaus geschmackvoll ausgeführte Ouvertüre zu „Don Giovanni“ von Wolfgang Amadeus Mozart mit ih-</span></span></p><p><span style="background-color: black;"><span style="color: white;">rer stellenweise überaus komplexen Rhythmik.Klangkultur und Schattierungskunst bewegten sich auf höchstem Niveau. Wie Järvi dabei die Mittelstimmen in allen Variationen als verbindendes Glied herauskristallisierte, war phänomenal. Als Zugabe gab es die Serenade Op.3, No. 5 „Andante cantabi-le“ von Haydn.</span></span></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-74800381246531834502023-12-17T00:55:00.003-05:002023-12-17T00:55:27.110-05:00Senkrechtstarter sorgte für vergnügte Überraschungen<p><span style="background-color: black;"><span style="color: white;">12.12.23</span></span></p><p><span style="background-color: black;"><span style="color: white;">Hamburger Abendblatt</span></span></p><p><span style="background-color: black;"><span style="color: white;">Helmut Peters</span></span></p><p><span style="background-color: black;"><span style="color: white;">Der Dirigent Paavo Järvi und die Kammerphilharmonie </span></span></p><p><span style="background-color: black;"><span style="color: white;">Bremen brachten einen besonderen Pianisten mit</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Hamburg. Es musste für die Studierenden</span></span></p><p><span style="background-color: black;"><span style="color: white;">der Kölner Musikhochschule an deren</span></span></p><p><span style="background-color: black;"><span style="color: white;">StandortWuppertal schonklasse gewesen</span></span></p><p><span style="background-color: black;"><span style="color: white;">sein, als ihnen 2020 mit dem in Bonn ge-</span></span></p><p><span style="background-color: black;"><span style="color: white;">borenen Pianisten Fabian Müller ein Kla-</span></span></p><p><span style="background-color: black;"><span style="color: white;">vierprofessor gegenübertrat, der nur weni-</span></span></p><p><span style="background-color: black;"><span style="color: white;">ge Jahre älter war als sie selber. Damals</span></span></p><p><span style="background-color: black;"><span style="color: white;">war er gerademal30undwurde erstindie-</span></span></p><p><span style="background-color: black;"><span style="color: white;">sem Jahr vonder erst 27 Jahre altenJunior-</span></span></p><p><span style="background-color: black;"><span style="color: white;">professorin für Applied Microeconomics</span></span></p><p><span style="background-color: black;"><span style="color: white;">Alicia von Schenk als jüngste Professorin</span></span></p><p><span style="background-color: black;"><span style="color: white;">Deutschlands mit einer so frühen Beru-</span></span></p><p><span style="background-color: black;"><span style="color: white;">fung überholt.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Paavo Järvi und seine Deutsche Kam-</span></span></p><p><span style="background-color: black;"><span style="color: white;">merphilharmonie Bremen hatten den von</span></span></p><p><span style="background-color: black;"><span style="color: white;">vielen internationalen Orchestern um-</span></span></p><p><span style="background-color: black;"><span style="color: white;">worbenen Senkrechtstarter und Gründer</span></span></p><p><span style="background-color: black;"><span style="color: white;">eines eigenen Kammerorchesters am</span></span></p><p><span style="background-color: black;"><span style="color: white;">Sonntag alsSolistenvonLudwig van Beet-</span></span></p><p><span style="background-color: black;"><span style="color: white;">hovens Klavierkonzert Nr. 1 C-Dur op. 15</span></span></p><p><span style="background-color: black;"><span style="color: white;">mit in die Elbphilharmonie gebracht. Und</span></span></p><p><span style="background-color: black;"><span style="color: white;">wer das bis heute revolutionäre Beetho-</span></span></p><p><span style="background-color: black;"><span style="color: white;">ven-Projekt dieses Orchesters kennt,</span></span></p><p><span style="background-color: black;"><span style="color: white;">wusste schon im Voraus, auf welche Über-</span></span></p><p><span style="background-color: black;"><span style="color: white;">raschungen er sich dabei einstellen durfte. </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdxcu0wBzUhboV4S7cUMCj2pjCGC3FXr9jjc35P0Wls5FA3BMcwyZ2AIgT8c-gqCD57DvN1Kan98F127L4QKQBEgqEB6CGVUqFFutP8V5VFqqYJRW5gKiCGmBEQAwJ3vHuTx3napt5Gp1LKl_roMBqXzrOvHJ50DY0NM-IAvKXyP5rcMsB9bMn/s498/Screenshot%202023-12-17%20at%2009.54.16.png" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="408" data-original-width="498" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdxcu0wBzUhboV4S7cUMCj2pjCGC3FXr9jjc35P0Wls5FA3BMcwyZ2AIgT8c-gqCD57DvN1Kan98F127L4QKQBEgqEB6CGVUqFFutP8V5VFqqYJRW5gKiCGmBEQAwJ3vHuTx3napt5Gp1LKl_roMBqXzrOvHJ50DY0NM-IAvKXyP5rcMsB9bMn/s320/Screenshot%202023-12-17%20at%2009.54.16.png" width="320" /></span></a></div><span style="background-color: black;"><span style="color: white;"><br /></span></span><p></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Natürlichwaren bei den Bläsern die his-</span></span></p><p><span style="background-color: black;"><span style="color: white;">torischen ventillosen Naturtrompeten</span></span></p><p><span style="background-color: black;"><span style="color: white;">und Holz- anstelle silberner Böhmflöten</span></span></p><p><span style="background-color: black;"><span style="color: white;">im Orchester besetzt. Jede Note und jede</span></span></p><p><span style="background-color: black;"><span style="color: white;">kleinste Phrase wurden in der schwung-</span></span></p><p><span style="background-color: black;"><span style="color: white;">voll anhebenden Orchesterexposition</span></span></p><p><span style="background-color: black;"><span style="color: white;">perfekt ausgeformt.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Die Crescendi und die Akzente waren</span></span></p><p><span style="background-color: black;"><span style="color: white;">so scharf konturiert, dass das erste Kla-</span></span></p><p><span style="background-color: black;"><span style="color: white;">viersolo Müllers danach fast ein wenig zu</span></span></p><p><span style="background-color: black;"><span style="color: white;">brav und zurückhaltend wirkte. Das än-</span></span></p><p><span style="background-color: black;"><span style="color: white;">derte sich allerdings schnell, als der Solist</span></span></p><p><span style="background-color: black;"><span style="color: white;">im weiteren Verlauf einzelne Betonungen</span></span></p><p><span style="background-color: black;"><span style="color: white;">deutlich kräftiger und zuweilen mit klei-</span></span></p><p><span style="background-color: black;"><span style="color: white;">nen Verzögerungen herausarbeitete.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Nicht nur Järvi war körperlich in voller</span></span></p><p><span style="background-color: black;"><span style="color: white;">Fahrt und trat bei dem Orchestertutti vor</span></span></p><p><span style="background-color: black;"><span style="color: white;">der fünf Minuten langen Solokadenz des</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kopfsatzes, mit der Beethoven den Rah-</span></span></p><p><span style="background-color: black;"><span style="color: white;">men der klassischen Konzertform spreng-</span></span></p><p><span style="background-color: black;"><span style="color: white;">te, einmal kräftig mit dem Fuß auf. Auch</span></span></p><p><span style="background-color: black;"><span style="color: white;">Müller benutzte seinen linken Fuß, um</span></span></p><p><span style="background-color: black;"><span style="color: white;">mit zitternd-wippenden Bewegungen</span></span></p><p><span style="background-color: black;"><span style="color: white;">einen extrem schnellen Triller derrechten</span></span></p><p><span style="background-color: black;"><span style="color: white;">Hand anzuheizen.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Das Thema des Largo-Satzes sang er</span></span></p><p><span style="background-color: black;"><span style="color: white;">förmlich auf den Tasten und ließ sich von</span></span></p><p><span style="background-color: black;"><span style="color: white;">der sprudelnden Lebendigkeit der Kam-</span></span></p><p><span style="background-color: black;"><span style="color: white;">merphilharmonie im Finale nur so mitrei-</span></span></p><p><span style="background-color: black;"><span style="color: white;">ßen. Zur Überraschung aller kündigte er</span></span></p><p><span style="background-color: black;"><span style="color: white;">als Zugabe das Wiegenlied von Johannes</span></span></p><p><span style="background-color: black;"><span style="color: white;">Brahms an und bat das Publikum sogar</span></span></p><p><span style="background-color: black;"><span style="color: white;">darum mitzusummen.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Diese vergnügte Stimmung passte auch</span></span></p><p><span style="background-color: black;"><span style="color: white;">zu Joseph Haydns Londoner Sinfonien C-</span></span></p><p><span style="background-color: black;"><span style="color: white;">DurHob:97und B-DurHob.I:102,diedie</span></span></p><p><span style="background-color: black;"><span style="color: white;">Deutsche Kammerphilharmonie mit</span></span></p><p><span style="background-color: black;"><span style="color: white;">einem Witz und einer ungeheuren dyna-</span></span></p><p><span style="background-color: black;"><span style="color: white;">mischen Variationsbreite spielte. Den Hö-</span></span></p><p><span style="background-color: black;"><span style="color: white;">hepunkt bildete im Adagio der C-Dur-Sin-</span></span></p><p><span style="background-color: black;"><span style="color: white;">fonie eine Art Super-Pianissimo, bei dem</span></span></p><p><span style="background-color: black;"><span style="color: white;">die ersten Geigen das Thema nur noch zu</span></span></p><p><span style="background-color: black;"><span style="color: white;">flüstern schienen. Nachihrem Beethoven-</span></span></p><p><span style="background-color: black;"><span style="color: white;">Projekt ist für die Bremer ein Haydn-Pro-</span></span></p><p><span style="background-color: black;"><span style="color: white;">jekt mit allen 104 Sinfonien nun aber</span></span></p><p><span style="background-color: black;"><span style="color: white;">wirklich an der Zeit.</span></span></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-74317528069379611732023-12-07T10:27:00.003-05:002023-12-07T10:27:31.961-05:00Das Orchester<div class="page" title="Page 1"><br /></div><div class="page" title="Page 1"><br /></div><div class="page" title="Page 1">Das Orchester</div><div class="page" title="Page 1"><br /></div><div class="page" title="Page 1">01.12.23</div><div class="page" title="Page 1"><br /></div><div class="page" title="Page 1"><br /></div><div class="page" title="Page 1"><img alt="page1image24617296" height="599.528000" src="blob:https://www.blogger.com/0205876f-302e-4b1e-9593-75dfd28a8227" width="215.433000" /></div><div class="page" title="Page 1"><br /></div><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;"> Rückblickendwar derTod von JosephHaydnsDienstherrn,dem FürstenNikolaus von Esterhzyim Jahre1790,einentscheidenderIm- pulsimLebenundWirkendes KomponistenD:er Nachfolgerdes Fürsten,welcher der Musik weitaus</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">wenigerzugetanwaralsseinVorgänger,entließHaydnausgestattetmit</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">einerstattlichenRentenachfastdreiJahrzehntenausdenhöfischenDiens- —</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">ten.Finanzielalbgesichertund entbundenvon seinenDienstpflichtelnieß</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">er sich in Wienniederund konntesich fortanganzseinerKunstwidmenS.o entstand ab 1790 in den fast 20 verbliebenen Lebensjahren Haydnsbedeu- tendes Spätwerk,zu dem auch die sogenanntenLondoner Sinfoniengehören. IhrenBeinamevnerdankendieseWerkeHaydnsbeidenLondon-Reisen,wo</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">fürdasdortige,bereitskommerziellgeprägteunddamitimGegensatz</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">er</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">europäischenFestland durchaus fortschrittlicheMusildebendieseZyklen an insgesamtzwölfSinfonienschuf. Fürdie Gattungsgeschichgteeltendie LondonerSinfonien als Meilenstein,da diese eine Reihe an Neuerungemnit sichbrachten,anwelchespäterbesondersLudwigvanBeethovenmitseinem sinfonischenSchaffenanknüpfensollte.</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">DievorliegendCeDbestichmtiteinerausgesprocheanuthentischenIn- terpretationder SinfonienNr. 101 Die Uhr und Nr. 103MitdemPaukenwirbel, welcheHaydnfürseinenzweitenLondon-Aufentha1lt794/95 komponierte. Die im Vergleich zu einem typischen Sinfonieorchesterkleinere Besetzung derDeutscheKnammerphilharmoBniremenentsprichtdabeideutlichbes- serdemOrchesterklangausderEntstehungszediterWerke,sodassganz losgelöstvondemBegriffderhistorischenAufführungspraxiseinäußerst authentischerKlang erzieltwird.DerklareundzugleichfarbenreicheOr- chesterklangd,en PaavoJärvi als deren langjährigeDririgentder Deutschen KammerphilharmoBnriemenentlockt,zeichneitn jederHinsichtauchdie vorliegende CD aus. Die tickende rhythmischeStruktur im zweitenSatz,</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">derdieSinfonieNr. 101ihrenBeinameDnie Uhrverdankt,kommmtitbei- spielhafterPräzisionundLeichtigkeitzur Geltung.Alles erscheinbtei Järvi</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">in einemnatürlicheFnluss, sodassauchderTrommelwirbelm,itdem die SinfonieNr. 103eröffnewtird,in einemausgewogenVeenrhältniszurübrigen Faktursteht.Ebensowird deraus manchemWerk sprechendeHaydn'sche HumordankJärvis ausgesprochenfeinsinnigemDirigatansprechenvder- mittelt.</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">DerRufeinesherausragendeKnlangkörpersmitinternationalerBeach- tung,densichdieDeutscheKammerphilharmonieBremeninsbesondere mitAufnahmenvonWerkendergroßenSinfonikdes19.Jahrhunderts</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">-</span></span></div><div class="page" title="Page 1"><span style="background-color: black;"><span style="color: white;">man denke hier an die Gesamtaufnahmeder Brahms-Sinfonienerarbeitet hat, wird durch die vorliegendeEinspielungder beidenHaydn-Sinfonien weitergefestigt. </span></span></div><div class="page" title="Page 1"><br /></div><div class="page" title="Page 1"><span style="background-color: black; color: white;">Bernd Wladika</span></div></div></div></div>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-4598988417377524062023-12-07T10:22:00.009-05:002023-12-07T10:22:59.696-05:00Deutsche Kammerphilharmonie mit Fabian Müller Dieser Pianist hätte sich mit Beethoven verstanden Von Markus Schwering<p><span style="background-color: black;"><span style="color: white;">Kölner Stadt-Anzeiger</span></span></p><p><span style="background-color: black;"><span style="color: white;">5. Dezember 2023</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Der Pianist Fabian Müller</span></span></p><p><span style="background-color: black;"><span style="color: white;">Copyright: Christian Palm/Köln Musik GmbG</span></span></p><p><span style="background-color: black;"><span style="color: white;">Der Pianist Fabian Müller spielte mit der Deutsche Kammerphilharmonie Bremen unter dem</span></span></p><p><span style="background-color: black;"><span style="color: white;">Dirigenten Paavo Järvi in Köln. Es war ein beeindruckender Auftritt.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Corona machte es möglich: Veranlasst durch den Zwang, angesichts der Pandemie auf kleinere</span></span></p><p><span style="background-color: black;"><span style="color: white;">Orchesterbesetzungen auszuweichen, wandte sich der estnische Stardirigent Paavo Järvi</span></span></p><p><span style="background-color: black;"><span style="color: white;">Haydns späten Londoner Sinfonien zu, die er derzeit mit der Deutscher Kammerphilharmonie</span></span></p><p><span style="background-color: black;"><span style="color: white;">Bremen in Konzerten wie in CD-Aufnahmen erarbeitet.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Eine Kostprobe davon – mit den Sinfonien Nr. 97 und 102 – konnte man soeben in der Kölner</span></span></p><p><span style="background-color: black;"><span style="color: white;">Philharmonie erleben, und es kann schon jetzt kein Zweifel daran bestehen, dass es sich – nach den</span></span></p><p><span style="background-color: black;"><span style="color: white;">Befassungen mit Beethoven, Schumann und Brahms – um ein neuerliches Erfolgsprojekt des</span></span></p><p><span style="background-color: black;"><span style="color: white;">vielfach akklamierten Gespanns Järvi/Bremen handelt.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kölner Philharmonie mit Dirigenten Paavo Järvi</span></span></p><p><span style="background-color: black;"><span style="color: white;">Die experimentelle Signatur des späten Haydn wird hier eindrucksvoll kenntlich, scharfe</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kontrastbildungen sorgen für eine starke interne Dramatisierung, vor allem aber hat Järvi ein</span></span></p><p><span style="background-color: black;"><span style="color: white;">waches Ohr für den Haydnschen Humor, für falsche Fährten und Reprisen, unerwartete</span></span></p><p><span style="background-color: black;"><span style="color: white;">Ausweichungen, die köstlich-skurrilen Instrumentaleffekte. Energie und Vitalität kommen übrigens</span></span></p><p><span style="background-color: black;"><span style="color: white;">nicht durch ein übertrieben angezogenes Tempo zustande, auch die Menuette mutieren nicht zu</span></span></p><p><span style="background-color: black;"><span style="color: white;">Schnellwalzern. Lediglich in den Finalsätzen langt Järvi diesbezüglich zu.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Da müssen die Bremer quasi auf der Stuhlkante sitzend musizieren, ist höchste Konzentration</span></span></p><p><span style="background-color: black;"><span style="color: white;">gefordert. Die bringen sie allerdings auch problemlos auf, so dass gerade besagte Finali zu</span></span></p><p><span style="background-color: black;"><span style="color: white;">Feuerwerken einer zupackenden Virtuosität werden. Die wie mit der Feder gezogenen Linien der</span></span></p><p><span style="background-color: black;"><span style="color: white;">Streicher (die ihre Potenz dann noch einmal in Sibelius` als Zugabe serviertem Andante festivo</span></span></p><p><span style="background-color: black;"><span style="color: white;">zeigen konnten), die knackigen Bläserinterventionen, das von beiden bestrittene Pingpong-Spiel der</span></span></p><p><span style="background-color: black;"><span style="color: white;">Motive – das alles kann man kaum besser machen. Zumal in den langsamen Sätzen mochte man ein</span></span></p><p><span style="background-color: black;"><span style="color: white;">paar dunklere, wärmere Töne vermissen, aber solche Einwände wiegen wenig angesichts der immer</span></span></p><p><span style="background-color: black;"><span style="color: white;">wieder atemberaubenden Klangbrillanz dieses Ensembles.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Pianist Fabian Müller mit einem sehr natürlichen Beethoven-Stil</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Sinn für Humor hat auch der Bonn/Kölner Pianist Fabian Müller, der, Meisterschüler von Pierre-</span></span></p><p><span style="background-color: black;"><span style="color: white;">Laurent Aimard, bei Beethovens erstem Klavierkonzert in der Kammerphilharmonie einen denkbar</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">geeigneten Partner fand (was sich immer wieder auch im erfüllten Dialog zwischen Flügel und</span></span></p><p><span style="background-color: black;"><span style="color: white;">Orchesterinstrumenten zeigte). Müller spielte im ersten Satz die monströse dritte Kadenz aus</span></span></p><p><span style="background-color: black;"><span style="color: white;">Beethovens Feder, die am Schluss aber nicht in den üblichen Triller mündet, sondern in einem</span></span></p><p><span style="background-color: black;"><span style="color: white;">lapidaren piano-Akkord sozusagen implodiert – dies ein Effekt, dessen Demonstration sich der</span></span></p><p><span style="background-color: black;"><span style="color: white;">Solist nicht entgehen ließ.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Müller pflegt, auf der Basis einer souveränen Technik, einen sehr natürlich wirkenden, in seiner</span></span></p><p><span style="background-color: black;"><span style="color: white;">grundständigen Musikalität positiv unauffälligen Beethoven-Stil, der nicht romantisiert und</span></span></p><p><span style="background-color: black;"><span style="color: white;">sentimentalisiert, der die Phrasen in einem stets stilvollen Rubato atmen lässt, die Verzierungen mit</span></span></p><p><span style="background-color: black;"><span style="color: white;">Substanz füllt und über die vielen Sforzati einen fesselnden rhythmischen Drive herstellt. Als</span></span></p><p><span style="background-color: black;"><span style="color: white;">romantischen Virtuosen konnte er sich dann in einer Rachmaninow-Etüde präsentieren.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">https://www.ksta.de/kultur-medien/deutsche-kammerphilharmonie-fabian-mueller-spielt-in-koeln-696667</span></span></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0tag:blogger.com,1999:blog-10351022.post-49438867178261752212023-12-07T10:22:00.001-05:002023-12-07T10:22:01.309-05:00Fabian Müller und Paavo Järvi in Köln<p><span style="background-color: black;"><span style="color: white;">General-Anzeiger</span></span></p><p><span style="background-color: black;"><span style="color: white;">5. Dezember 2023</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Fabian Müller und Paavo Järvi in Köln </span></span></p><p><span style="background-color: black;"><span style="color: white;">Begeisterung für Haydn und Beethoven</span></span></p><p><span style="background-color: black;"><span style="color: white;">Köln · Die Deutsche Kammerphilharmonie Bremen und ihr Chefdirigent begeistern in der</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kölner Philharmonie mit ihrem jüngsten Komponistenprojekt, das Joseph Haydn und seinen</span></span></p><p><span style="background-color: black;"><span style="color: white;">letzten Sinfonien gilt. Dazwischen erinnern sie mit dem ersten Klavierkonzert an ihre</span></span></p><p><span style="background-color: black;"><span style="color: white;">Kompetenz in Sachen Beethoven. Am Flügel: der Bonner Fabian Müller.</span></span></p><p><span style="background-color: black;"><span style="color: white;">05.12.2023 , 17:37 Uhr</span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYWHWRuEjPgA0wCsHbDxL4tSjnGpd0QOid9hPQNTeFc88eRwAkGzzU13fN09jPkog912Hn2O9sp_BAsDKHsdc3T5KOU-fXml3IYvXfjFctYOvohvr13YulrUuU2BjdPOe_gVsockv4JdbJB12REFVm-_-sIDm9hFL7Vi2ZeDSuuDjib9bk42_/s616/Screenshot%202023-12-07%20at%2019.21.29.png" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="360" data-original-width="616" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYWHWRuEjPgA0wCsHbDxL4tSjnGpd0QOid9hPQNTeFc88eRwAkGzzU13fN09jPkog912Hn2O9sp_BAsDKHsdc3T5KOU-fXml3IYvXfjFctYOvohvr13YulrUuU2BjdPOe_gVsockv4JdbJB12REFVm-_-sIDm9hFL7Vi2ZeDSuuDjib9bk42_/s320/Screenshot%202023-12-07%20at%2019.21.29.png" width="320" /></span></a></div><span style="background-color: black;"><span style="color: white;"><br /></span></span><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Dirigent Paavo Järvi.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Foto: Kaupo Kikkas</span></span></p><p><span style="background-color: black;"><span style="color: white;">Von Bernhard Hartmann</span></span></p><p><span style="background-color: black;"><span style="color: white;">Redakteur Feuilleton</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">In der Regel hält sich die Vorfreude der Klassikfans in überschaubaren Grenzen, wenn ein</span></span></p><p><span style="background-color: black;"><span style="color: white;">Orchester eine Aufnahmeserie mit Sinfonien von Joseph Haydn ankündigt. In der Trias der Wiener</span></span></p><p><span style="background-color: black;"><span style="color: white;">Klassik, die er gemeinsam mit Mozart und Beethoven bildet, ist er der am meisten unterschätzte</span></span></p><p><span style="background-color: black;"><span style="color: white;">Komponist. Wenn sich aber die Deutsche Kammerphilharmonie Bremen und ihr langjähriger</span></span></p><p><span style="background-color: black;"><span style="color: white;">Chefdirigent Paavo Järvi der Sache annehmen, sieht das ein bisschen anders aus. Das hat Gründe:</span></span></p><p><span style="background-color: black;"><span style="color: white;">Seit sie vor gut anderthalb Jahrzehnten ihren legendären, in enger Zusammenarbeit mit dem Bonner</span></span></p><p><span style="background-color: black;"><span style="color: white;">Beethovenfest entstandenen Beethoven-Zyklus vollendeten, sorgen sie mit ihren</span></span></p><p><span style="background-color: black;"><span style="color: white;">komponistenbezogenen Projekten immer wieder für Furore. Nach Schumann und Brahms ist nun</span></span></p><p><span style="background-color: black;"><span style="color: white;">Haydn mit seinen späten Londoner Sinfonien an der Reihe.</span></span></p><p><span style="background-color: black;"><span style="color: white;">„Orchestra of the Year 2023“</span></span></p><p><span style="background-color: black;"><span style="color: white;">Nachdem sie für ihre Einspielung der Nummern 101 und 103 bereits Kritikerlob eingesammelt</span></span></p><p><span style="background-color: black;"><span style="color: white;">haben und im Oktober per Publikums-Voting vom britischen Klassik-Magazin „Gramophone“ zum</span></span></p><p><span style="background-color: black;"><span style="color: white;">„Orchestra of the Year 2023“ gekürt würden, sind sie derzeit mit den Londoner Sinfonien auf Tour.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Auch beim fast ausverkauften Gastspiel in der Kölner Philharmonie trafen sie auf ein begeistertes</span></span></p><p><span style="background-color: black;"><span style="color: white;">Publikum: So klatschfreudig wie an diesem Abend erlebt man die Kölner selten. Man ließ entgegen</span></span></p><p><span style="background-color: black;"><span style="color: white;">jeder eingeübten Konzert-Etikette praktisch keinen Satz aus, um danach zu applaudieren.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Der Pianist Fabian Müller ist Residenzkünstler in BonnEin Bonner Jahr mit vielen Plänen</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">Tatsächlich ging es mit der Sinfonie C-Dur Nr. 97 gleich packend zur Sache. Bis auf die ventillosen</span></span></p><p><span style="background-color: black;"><span style="color: white;">Trompeten und Hörner kommen zwar keine historischen Instrumente zum Einsatz, aber Klang und</span></span></p><p><span style="background-color: black;"><span style="color: white;">Spielweise orientieren sich hörbar an den Errungenschaften der Alte-Musik-Bewegung. Ihr Spiel</span></span></p><p><span style="background-color: black;"><span style="color: white;">besitzt Biss, rhythmischen Drive und bei aller technischen Perfektion und klanglicher Transparenz,</span></span></p><p><span style="background-color: black;"><span style="color: white;">mit der das großartige Orchester punktete, eine mitreißende und ansteckende Leidenschaft. Das kam</span></span></p><p><span style="background-color: black;"><span style="color: white;">auch in der zum Abschluss des Abends aufgeführten Sinfonie Nr. 102 in B-Dur zum Tragen, in der</span></span></p><p><span style="background-color: black;"><span style="color: white;">auch das Solocello im langsamen Satz sehr schön hervortrat. Das virtuos und lebendig gespielte</span></span></p><p><span style="background-color: black;"><span style="color: white;">Presto-Finale bot dann pures Hörvergnügen. Ebenso wie die hinreißenden Zugaben von Jean</span></span></p><p><span style="background-color: black;"><span style="color: white;">Sibelius und Haydn.</span></span></p><p><span style="background-color: black;"><span style="color: white;">Wilde Zugabe</span></span></p><p><span style="background-color: black;"><span style="color: white;">Konzert für Frieden Wiener Akademische Philharmonie und ProChoro Wien</span></span></p><p><span style="background-color: black;"><span style="color: white;">Zwischen den beiden Haydn-Sinfonie kamen die Bremer dann doch noch einmal auf Beethoven</span></span></p><p><span style="background-color: black;"><span style="color: white;">zurück, dessen erstes Klavierkonzert auf dem Programm stand. Wie schon beim Eröffnungskonzert</span></span></p><p><span style="background-color: black;"><span style="color: white;">des diesjährigen Beethovenfestes, bei dem er das Tonhalle-Orchester aus Zürich dirigierte, lud Järvi</span></span></p><p><span style="background-color: black;"><span style="color: white;">den Bonner Pianisten Fabian Müller als Solisten ein. Man hörte ein perfekt eingespieltes Team,</span></span></p><p><span style="background-color: black;"><span style="color: white;">wobei Müller mit seinem ebenso energischen wie klanglich fein ausbalancierten Spiel, das im ersten</span></span></p><p><span style="background-color: black;"><span style="color: white;">Satz seinen Höhepunkt in der langen, virtuosen Kadenz fand, ausgezeichnet mit der Spielkultur des</span></span></p><p><span style="background-color: black;"><span style="color: white;">Orchesters harmoniert. Er brachte die emotionale Tiefe des Largos zum Klingen und die Noten des</span></span></p><p><span style="background-color: black;"><span style="color: white;">Finales zum Tanzen. Das Publikum reagierte mit großem Jubel. Und erhielt als Dank eine wilde</span></span></p><p><span style="background-color: black;"><span style="color: white;">Rachmaninow-Zugabe.</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;">https://ga.de/news/kultur-und-medien/regional/begeisterung-fuer-haydn-und-beethoven_aid-102798051</span></span></p>Primaverahttp://www.blogger.com/profile/18009246616645746145noreply@blogger.com0