Recent
commemorate the centenary of Mahler's death, might be a good opportunity to spend time one of the works which have done most for his claim as the musician (?) Interpreted the recent decades: the Ninth Symphony . When faced with the Ninth fans and directors always seem to have felt the need to establish as a starting point if this music is a confession of the author's attitude towards death: a real goodbye, bitter and desperate, or resigned acceptance. There is even the view that there is, in its final pages are specifically a "supreme achievement" (La Grange) and a catharsis through the love of life. He is so ambiguous and inexhaustible sense of this music. These alternatives seem to have counted for a number of other performers who have opted for a risky line "objective", including Georg Solti and his record with the London Symphony Orchestra. Risky option because the objective does not seem to be something that prompted the special expressive world Mahler, in which a certain amount of irrational subjectivism seems even necessary.
In some ways, therefore, will not satisfy as an interpreter Solti able to communicate the feeling existential anguish and torture, since reading is not intended to transmit or that or message. Its strength is based on a marvelous performance in that play to the last detail hidden behind the huge waves of sound. Beyond the virtuosity and superb construction, the absolute clarity and precision are not a value in themselves, but instruments that emphasize conflict: the climaxes are devastating; acid transitions, no matter how powerful passages, always heard something new and unsettling, lyrical passages, rather than offer the contrast of an individual warm voice inhabit this "spiritual coolness" of which Schoenberg spoke.
As usual, the sound of Hungarian director overpowering for their bells loud and clear, almost exhibitionist both color and volume. At this point should be clarified that if there showcasing muscle, it is relentless, steel, and the assertiveness of the greatest passages is not victorious, but loud, the excesses (existing) also held for all the crooked and communicate grotesque.
polyphonic clarity is evident from the first beat as the reason for the "bounce" goes through the different families. The chosen tempo is moderate. At 1:13 the violins involved with a touching softness. At 1:50 they develop the "turbulence" that lead to the first climax (3:00 to 3:09), when it overwhelms and clearly exposes the coordinates of interpretation, including a colossal that may repel some listeners. There are also findings: the return of the main subject in a high-pitched voices that are a real cry of pain, a sharp turn of musical expressionism. Note that despite the deployment continues to be heard the relentless sound base rate, omnipresent, ominous. The following sequence (5:07) other sins a certain triumphalism from 5:40 to about trumpets and drums that should charge double that session (for Berg currently represented "Armored Death"). It is rather distressing transition "ghostly" back (6:20), with this cruel parody of the generator ground almost beaten by brass and percussion and a violin almost gaunt (in 7:07 should not miss details of the grunts of the woods .) 10:06 From develops the material and is admirable clarity with which he unfolds the successive Solti Pandemonium (10:51) Sound: If you already know the power of the voices of metal, the force of the string sections is not ago. Can not be conceived more crushing force at the climax of 18:00, marking the beginning of a relentless character wrap up. Without a trace of sentimentality, Solti draws anguished intensity of the rope from 20:06 and brahmsiana outpouring of violins (20:52) just provides some comfort, stifled by the protests and metal percussion. Follow the strange concertante for wind instruments, a kind of meditation Bach. The Hungarian director clearly has shifted from the titanic, but also knows to speak with refined lyricism (23:48) in that one horn that is the epitome of Romanticism, a moment of solace after the ravages of the experience. Follows a coda of chamber music transparency on suspending the flute soloist.
In Ländler chain appreciated the second time (12:10) a job with the stamps (especially timber, clarinet 0:07) that mercilessly dissects a tradition of friendly and sentimental dances. The tempo chosen is measured and the strings have a country flavor in the first ländler and the beginning of the second (3:00). Perhaps the prominence of the drums is excessive in this second section. Supported by the expertise of the microphones used in the Decca Solti moves with the same comfort in the chamber music sonorities (third section and 8:30) that the movement of large volumes.
metals and wood speak more than ever Shostakovich strident language in Rondo (0:35 onwards), the grotesquely dancing grounds (2:23, 10:40) in opposition and rope winding drum beat (1:10) with vicious precision. Only from 4:30 on speech loses some conviction. The irony pervades even the solo trumpet (6:17) of a central section whose outbursts vocalist just fly away oppressed by the growling bass (climax of 7:51) The preparation of the ripresa makes use of a game acid and fascinating timbres. Towards the end of this summary - frantically directed by Solti - the excesses of percussion (12:18 and especially 12:41 and 12:46) no can fully appreciate the Expressionists 'screams' from the wind.
The End presents us with a troubling excess energy that is manifested in the very articulation of the phrases (in particular the grupetto ). To put it another way, it brings into play all the conviction is pending affirmative Finale of the First of Brahms, but not the Mahler's Ninth. This trip can only lead to oblivion and cause as little confusion in the listener that Solti sailing under full sail. However there is no denying the impression conveyed to hear the force of the string family (especially bass) and balanced distinction of levels and depths. Otherwise go unnoticed by the desolate bassoon solo (1:32) somewhat surprising after the details heard in the woods so far. The entry of the violins (1:44) is also somewhat impulsive. At 3:35 the basses do provide the blackness that eluded him the bassoon. The call of the tube separating each episode of this hymn bruckneriano have romantic unmistakable aroma. The tremendous passage carried out between 8:32 and 8:56 does not cause the expected effect: perhaps inevitable result of the impressive strength shown from the start, the highlights do not stand out as they should. Something similar happens in the climax of the movement, despite the dramatic retention tempo (14:03) in the colossal metal rant (after one of the thickest interventions percussion). The restatement of grupetto down the tubes (14:53) is steep. Solti seems to find a more musical in the solution collected in the last six minutes: radiant textures, strangely beautiful, chairing a speech highly expressive silences.
In short, this is a "reading" that not only can grasp the overall structure of the work, but stands up to the last detail. Despite its limited ultimately pathos creates a kind of empty in the middle of a score so personal, this honest, almost raw, with which it shows how much has the destructive and dark is more faithful to the spirit of Mahler other addresses (usually best seen) that tend to soften or render it harmless - Read Barbirolli, Giulini and Karajan.
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