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Auditions enmendalla not untimely: Tchaikovsky and the limits of subjectivity

After a good season, not a bad thing back to Tchaikovsky, an author who was instrumental in my early days as an amateur.

The interpretation of the symphonies of this author has always been confronted with the complex duality between music pure and programmatic conflict that already existed in the center of his creative process. It is known that Tchaikovsky had difficulty writing in a strictly symphonic and it was his emotional world which acted as a catalyst for inspiration. Developing their ideas and respond less to criteria of classic contrast harmonics as a dramatic parallel evolution in which one detects the influence of Liszt (tone poems) and creating contemporary poetry (Verdi and Bizet ) with Wagner never entirely absent. Thus, the strict translation of his symphonies abstract - that is, ignoring the content biography that the author himself gave them - always seems to find expressive limits however excellent execution. Ultimately, one misses the narrative development that overlaps the pure musical. You can think of the superb recordings of Georg Szell Fourth and Fifth : You can not imagine a better played, but the Hungarian ditrector completely ignores its religious aspect (not surprisingly, never recorded the "Pathetique" .) The listener is always left with the impression that an interpretation of Tchaikovsky is not complete unless it is perceived that commitment with their musical intentions. Remains, then, the difficult task of integrating, that somehow, a story in musical performance - something that would be unthinkable in a Brahms symphony . While Mravinski , particularly in mono recordings of 5 th and 6 th, shows it is possible to transmit all the drama of these scores from a factual point of view but deeply sincere, with Leonard Bernstein Tchaikovsky heard a very different premises. Lenny In his later years led to the extreme subjectivity of his interpretations: among all the Romantic writers, Tchaikovsky and Mahler seemed to have written his symphonies as of this way of making music. For these works American director meant something, even something translatable into words, and with this conviction he approached the last three Tchaikovsky symphonies. These records remain as one of the most prominent evidence of this artistic adventure. With Bernstein each occasion of the Fifth seems to represent not only mood but also a character in a drama that has something to tell the listener. To this end, and although the author was neat to changes in tempi suggesting this extra musical development, management exacerbates the contrasts and making risky decisions with rubato or simply - and this is less legitimate - adds unwritten slowdowns and accelerations. Lyrical periods, particularly, offers unusually spacious with times that often fall into affectation and languor.

Few executions of slower introductory Andante can be heard: in this case, despite the clear violation of schedule, bass clarinet and string create serious gloomy atmosphere is no less suggestive. We in the mind of a man oppressed by the thought of doom. If I had to justify himself, Bernstein could say that in that state - possibly depression in medical terms - the reality is perceived as a long tunnel in which there is no light. This is the impression that is transmitted with a section that runs unchanged as if it had no beginning or end, throughout its nearly three minutes. The Allegro is released by contrast with unexpected vitality (different families actually spell out their sentences with animals). The second reason shows a slight relaxation, but this allows the string phrase this section with a mime that makes it sound fresh and new to the ear. You can not say the same for the fourth reason, following the outline of a waltz: Bernstein conducts the beautiful melody of the fiddles Adagio time and incurs a mawkish sentimentality that even cause embarrassment (especially in the recapitulation). Structurally there are problems, since a section of Tchaikovsky's opera does not rest on a complex a slow tempo allows expose more clearly (as it does with Mahler or Bruckner) and is also complicated the transition back to the Allegro . This is not something related to technical decay but with a conscious choice - too aware of the facts. When it comes to printing energy management, B. is able to catch the listener the feeling of conflict, inner struggle, which presides over the exhibition of the first theme and its further development. The response of the orchestra is also vigorous and precise: the force with brass and percussion to shake the central motif (9:30) does not go unnoticed. The coda begins with an irresistible movement for the urgency of the violins, but a whimsical rallentando overlapped great sacrifices crescendo that something inexorable and easy and melodramatic effect. It should be recognized, however, that while the music fades heard new details in the lower strings. In addition to the disturbing feeling accomplished, this is consistent with the introduction and creates a bridge to the next time.

The Andante cantabile this election results in very slow times, so much so that many changes are diluted agogic provided, so that means for the dramatic discourse of the page. Hear this recapitulation of the main subject: the air that reaches danceable buy this passage in the woods is barely perceptible ( mosso indicates Tchaikovsky). The section ends with the memorable return of the second topic: the preparation of the report is not without its impact on the listener when confronted for the first time this recording. Over time however arising doubts about the honesty of the retention of practical time, which practically makes the activities of the metals in the wheeze of an asthmatic who knows that preparing for the physical act. Enter the violins and one would say that rather than play the notes of the smear, that is the focus of the joint itself. However there is no real intensity in his phrasing, replaced by an indulgent pleasure that stretches the melody as if it were chewing gum. Then again perceived difficulty of reconciling these vagaries with Accellera prescribed to the Allegro non troppo . Nor does the staccato of clarinets may have the effect of pressing was intended to. While acknowledging the positive aspects, because in the first part of the movement one has to admire the sweetness of the solo horn and wood, together we have a violence on the structure of the piece to putting one's own vision of the work. That is, beyond the limits of legitimate interpretation. The outbreaks of the subject driver (of Doom) are just powerful and would have been perfect without rallentandi added.

The little waltz not give excuses for the eccentricity, although the tempo again chosen is more moderate than usual. This allows the wood are original inflections in his words, this time enriched by an elegant and restrained rubato .

The Final Score is a difficult implementation and not in a few opportunities left an impression of deception due to his bombastic final section. Bernstein delays the introduction, but is justified by a genuine feeling maestoso. Amplitude addition there is strength in the lower strings and metals are not limited to rant, but leave several memorable passages - a trumpet solo is particularly mysterious. The tension created is raised naturally with arches spirited and fast-paced tempo . Only when the leitmotif repeated metals appears a slight retention fortunately leaves suddenly. There in the final two periods in Tchaikovsky's intentions seem to falter and often resent the listener's attention, but Bernstein's beautifully revitalized: the contrapuntal passage in the strings (about half) and calls from the tubes after the final fanfare minor mode. The recapitulation is superimposed a dangerously slow tempo , although it is clear that the lengthening of sentences so it is difficult to maintain tension. The coda begins frantically and more than convincing, dragging the listener but the director can not resist a new rallentando gimmicky in the closing stages. Usually

unreservedly praised Bernstein's emotional engagement - it is clear - without realizing to what extent the subjectivity of his approach can be a barrier between the listener and the work. There is a story, but Tchaikovsky is less than the director. A problem that reaches the limit in reading Sixth . This execution of the Fifth can be heard on Spotify and the blog "Senses." Open bar

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