{"id":42465,"date":"2024-05-10T15:20:36","date_gmt":"2024-05-10T19:20:36","guid":{"rendered":"https:\/\/www.tedpublications.com\/fr\/?p=42465"},"modified":"2024-05-10T16:47:50","modified_gmt":"2024-05-10T20:47:50","slug":"jean-sibelius-richard-strauss-antonio-vivaldi-marc-andre-hamelin-olivier-messiaen","status":"publish","type":"post","link":"https:\/\/www.tedpublications.com\/fr\/en\/jean-sibelius-richard-strauss-antonio-vivaldi-marc-andre-hamelin-olivier-messiaen\/","title":{"rendered":"Sibelius, Strauss, Vivaldi, Hamelin, Messiaen"},"content":{"rendered":"

\"\"<\/a><\/strong>Record of the month March 2024<\/span><\/span><\/span><\/span><\/p>\n

YANNICK N\u00c9ZET-S\u00c9GUIN – METROPOLITAN ORCHESTRA<\/strong><\/span><\/p>\n

JEAN SIBELIUS<\/strong><\/span><\/p>\n

Symphonies Nos. 2 and 5.
\n<\/strong><\/span>Atma, ACD2 2453.<\/span><\/p>\n

Interpretation<\/strong>: *****<\/strong>
\n<\/span><\/p>\n

Technique<\/strong>: *****<\/strong>
\n<\/span><\/p>\n

Even though he is conductor at the Metropolitan Opera<\/strong> and the Philadelphia Orchestra<\/strong>, Yannick N\u00e9zet-S\u00e9guin<\/strong> remains faithful to his Orchester M\u00e9tropolitain<\/strong>, which he brings to a very remarkable level and with which he records important projects. A complete set of Bruckner<\/strong>‘s symphonies for Atma<\/strong> marked the beginning of their rise in the musical world. The Sibelius<\/strong> integral materializes its consolidation.<\/span><\/p>\n

This volume is the most important, the one to which everyone will have their eyes turned, because it brings together the two best-known and most accessible symphonies. It is also the most spectacularly successful. Symphony No.\u00a03<\/em> marked a turning point in the understanding of how to record the orchestra at the Maison symphonique de Montr\u00e9al<\/strong>. We find this clarity and depth here. It greatly serves the musical purpose nourished by the attention to detail and the sense of construction and gradation. These interpretations are marked by a real breath that comes from a conscientious reading of the score and its mastery. It is more than remarkable and often exhilarating.<\/span><\/p>\n

\u2022 \u2022 \u2022
\n<\/strong><\/span><\/p>\n

\"\"<\/a>Record of the month March 2024<\/span><\/span><\/span><\/em><\/span><\/p>\n

RAFAEL PAYARE – MONTREAL SYMPHONY ORCHESTRA<\/strong><\/span><\/p>\n

RICHARD STRAUSS<\/strong><\/span><\/p>\n

With SONYA YONCHEVA (soprano).<\/strong><\/span><\/p>\n

Ein Heldenleben. Mahler: R\u00fcckert-Lieder.
\n<\/strong><\/span>Pentatone, PTC 5187201.<\/span><\/p>\n

Interpretation<\/strong>: *****<\/strong>
\n<\/span><\/p>\n

Technique<\/strong>: *****<\/strong>
\n<\/span><\/p>\n

After a dazzling 5th<\/sup>\u00a0Symphony<\/em> by Mahler<\/strong>, which received a remarkable international critical reception, the OSM<\/strong> and Rafael Payare<\/strong> have chosen Ein Heldeleben<\/em> (A Hero’s Life<\/em>) by Richard Strauss<\/strong> for their 2nd<\/sup>\u00a0disc. It is a spectacular orchestral score, where the composer puts himself on stage facing his critics, in his battles or with his partner.<\/span><\/p>\n

Just like Mahler<\/strong>‘s 5th<\/sup>\u00a0Symphony<\/em>, Ein Heldenleben<\/em> is appreciated by conductors who approach it as a sort of showcase<\/em> of their work with their orchestra. The score is very spectacular, notably the famous Battle (<\/em>Bataille)<\/em>, but it is also of suave beauty in the section of the Hero’s Peace Works<\/em> (Oeuvres de paix du h\u00e9ros<\/em>) which means that in the end we always keep the same versions or the same orchestras (Dresden , Berlin, Amsterdam, Vienna, Bavaria) because of the warmth and softness of the texture of the strings. Payare<\/strong> and the OSM<\/strong> have once again produced a biting and flamboyant but also superbly textured recording, with an experienced technical team: Martin Sauer<\/strong> and Carl<\/strong> Talbot<\/strong> associated with artistic direction and Richard King<\/strong> and St\u00e9phane Brochu<\/strong> on sound recording. The strange idea of involving the belcantist Sonya Yoncheva<\/strong> in Mahler<\/strong> Lieder<\/em> somewhat diminishes the impact of the CD<\/em>. Yoncheva<\/strong> sings very well, but the German Lied<\/em> is not in her blood.<\/span><\/p>\n

The disc nonetheless remains a must.<\/span><\/p>\n

\u2022 \u2022 \u2022
\n<\/strong><\/span><\/p>\n

\"\"<\/a><\/strong>Sound of the Month
\n<\/em><\/span><\/p>\n

ANTONIO VIVALDI<\/strong><\/span><\/p>\n

The four Seasons. Sovvente it soles. La Follia.<\/strong><\/span><\/p>\n

Julien Chauvin (violin and direction), Le Concert de la Loge, with Pierre-Antoine B\u00e9nos-Djian (countertenor).<\/strong><\/span><\/p>\n

Alpha, 1005.<\/span><\/p>\n

Interpretation<\/strong>: ****<\/strong>
\n<\/span><\/p>\n

Technique<\/strong>: ****<\/strong>
\n<\/span><\/p>\n

What if we looked back at The Four Seasons<\/em>? It’s been a while since there’s been a really interesting version to listen to! This one is. This is a small-scale performance (eight musicians), a system that works very well for several reasons. It must be remembered that the concert halls<\/em> of Vivaldi<\/strong>‘s time were palaces. There is therefore no need for orchestral one-upmanship. Furthermore, in the balance of timbres, the fact of having a solo violin, a quartet, a double bass, a theorbo and a harpsichord allows these last two instruments to assert themselves more and to color much more judiciously, when necessary, musical discourse.<\/span><\/p>\n

So it is, here, with the harpsichord, absolutely magical, in support of the slow complaint of the slow Autumn<\/em> movement. Just as sweet: the raindrop effect under the solo violin in the 2nd<\/sup>\u00a0movement of Winter<\/em>. Interpretatively, Chauvin<\/strong> is distinguished by very refined ornamentation. As if his natural qualities were not enough, he thinks he is being clever by starting the cycle with Autumn<\/em> rather than Spring<\/em> and inserts an opera aria in the middle. But we put up with it. The little miracle is captured with exquisite finesse by Ken<\/strong> Yoshida<\/strong>‘s microphones.<\/span><\/p>\n

\u2022 \u2022 \u2022
\n<\/strong><\/span><\/p>\n

CANADIAN RECORDS
\n<\/span><\/p>\n

\"\"<\/a><\/strong>MARC-ANDR\u00c9 HAMELIN<\/strong><\/span><\/p>\n

Variations on a theme by Paganini and other works for piano.<\/strong><\/span><\/p>\n

Hyperion, CDA 68308.<\/span><\/p>\n

Interpretation<\/strong>: *****<\/strong><\/span><\/p>\n

Technique<\/strong>: *****<\/strong>
\n<\/span><\/p>\n

This is starting to become known: Marc-Andr\u00e9 Hamelin<\/strong> is not only a keyboard magician, he is also a diligent composer who instills in his compositions the technical traps that he likes to tame, his tastes and his musical culture. He is lucky to record for Hyperion<\/strong>, a label very open to experimentation by its stars. After the compositions of Stephen Hough<\/strong>, here are those of Marc-Andr\u00e9 Hamelin<\/strong> and we immediately have fun gauging the way in which he will vary Paganini<\/strong>‘s 24th<\/sup>\u00a0Caprice<\/em>. We catch him slide in a tribute to the most glorious of his predecessors, Rachmaninov<\/strong>. This is no coincidence, because the culture of the pianistic and musical repertoire in general greatly nourishes his creative spirit (Diabellic Variation<\/em> on a Beethoven<\/strong> Theme<\/em>). We will listen with immense pleasure to the Suite \u00e0 l\u2019Ancienne<\/em> or the Pavane Vari\u00e9e<\/em>. But the Quebec pianist’s references are vast and Meditation on Laura<\/em> (the film by Otto Preminger<\/strong>) will not fail to touch moviegoers in this pleasant and endearing disc.<\/span><\/p>\n

\u2022 \u2022 \u2022
\n<\/strong><\/span><\/p>\n

\"\"<\/a><\/em>OLIVIER MESSIAEN<\/strong><\/span><\/p>\n

MARC-ANDR\u00c9 HAMELIN (PIANO),
\nNATHALIE FORGET (ondes martenot),<\/strong><\/span><\/p>\n

TORONTO SYMPHONY ORCHESTRA, GUSTAVO GIMENO.<\/strong><\/span><\/p>\n

Turangal\u00eela-Symphony.<\/strong><\/span><\/p>\n

Harmonia Mundi, HMM 905 336.<\/span><\/p>\n

Interpretation<\/strong>: ***<\/strong>
\n<\/span><\/p>\n

Technique<\/strong>: ****<\/strong>
\n<\/span><\/p>\n

Is it a coincidence that for their first release with Harmonia Mundi<\/strong>, Gustavo Gimeno<\/strong> and the Toronto Symphony<\/strong> chose Messiaen<\/strong>‘s Turangal\u00eela-Symphonie<\/em> which had propelled the Toronto-Seiji Ozawa<\/strong> tandem to notoriety in 1967? The comparison stops there. The Ozawa<\/strong> recording, whose memory has largely been forgotten and which awaits a serious reissue outside Japan, was sharp, scathing, determined, constructed, layered, patient. This one is good paste<\/em>, nice, quite superficial, often a little rushed, with few edges, lacking that solemnity which is the style of Messiaen<\/strong>. Obviously Marc-Andr\u00e9 Hamelin<\/strong> and the ondist Nathalie Forget<\/strong> are excellent protagonists and the musicians are beyond reproach but there is no bias, no exaltation, no backbone and, if we know the competing versions from Ozawa<\/strong>, Chailly<\/strong> or Wit<\/strong>, we feel quite far from the unique musical and sensory experience<\/em> promised by the publisher.<\/span><\/p>\n

More to come soon \u2026<\/strong> <\/em><\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Record of the month March 2024 YANNICK N\u00c9ZET-S\u00c9GUIN – METROPOLITAN ORCHESTRA JEAN SIBELIUS Symphonies Nos. 2 and 5. Atma, ACD2 2453. Interpretation: ***** Technique: ***** Even though he is conductor at the Metropolitan Opera and the Philadelphia Orchestra, Yannick N\u00e9zet-S\u00e9guin remains faithful to his Orchester M\u00e9tropolitain, which he brings to a very remarkable level and […]<\/p>\n","protected":false},"author":24,"featured_media":42470,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2727,2725],"tags":[],"class_list":["post-42465","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rhythm-and-music","category-whats-new","entry","has-media"],"_links":{"self":[{"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/posts\/42465","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/comments?post=42465"}],"version-history":[{"count":13,"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/posts\/42465\/revisions"}],"predecessor-version":[{"id":42472,"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/posts\/42465\/revisions\/42472"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/media\/42470"}],"wp:attachment":[{"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/media?parent=42465"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/categories?post=42465"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.tedpublications.com\/fr\/wp-json\/wp\/v2\/tags?post=42465"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}