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- the pianism of the strange


The piano recital is something strange. When exercise was developed in the nineteenth century, a large majority of the public should have a piano at home, essential vehicle for the dissemination of music in the absence of radio or blu-ray, and the music was that of contemporary composers. Gradually, the exercise has become increasingly abstract, the piano lounge is more a decorative object. As to the repertoire performed, it has largely turned to stone, the majority being divided into two categories: those who play Bach in a loop and those who alternate Beethoven and Chopin, but also in a loop. The contemporary music is no longer defended by a minority of pianists who seem to be regarded as mild bewilderment disconnected from the real world.

The truth is that the piano recital has become a form unto itself, with enough of an audience, specialized and sharp. A bit like the public chess tournaments, or curling of the Olympic Games. Something a little mysterious to someone who would land by chance and would not know what it is.

But I must confess a soft spot for the year. The piano gives an abstract vision music, with an interpreter who gives a very subjective music he plays.

was an interesting program than Radu Lupu 18, but 2009 at the Châtelet:

Part I: three sonatas of Beethoven 1799,
Sonata No. 9 Op. 14 No. 1
Sonata No. 10 Op. 14 No. 2
Sonata No. 8 "Pathetique" op. 13

Second part: Entire
first book of Debussy's Preludes .

and I'm haste to a step forward, into the hall of the Chatelet, attracted by the presence of Radu Lupu, Romanian pianist, and Debussy's Preludes, One of my favorite works that are not played all that often (though not a rarity, far away).

Radu Lupu is a phenomenon. I do not think there is another example of a pianist reached a certain level of familiarity with the piano playing is as strange. It must be the pianist I have seen most often in concert, I had heard in the early 1990s when he was less known and the rooms were quite empty when it occurred. His game has not changed much in the idea: the game that is more abstract, with a beautiful sound like music but folded on itself. A vision of autistic and meditative entire directory approached, but vibrant and never falls into contemplation.

Over the years, the rooms were filled and this time the Châtelet seemed very full. Radu Lupu himself, who decided not to make records, communicates a bit more with the public. Very closed in on itself at the beginning, today he Gromelle playing and seems aware of the presence of people in the room. The world of the piano seems to have adopted this unusual musician, who is not really a virtuoso who has not a spectacular game. Evidence that non-conformity exists in the world of piano and he can be a real success. The audience at the piano is sometimes happy, despite appearances, to welcome the most original.

's recital tonight has kept its promises: the sonatas of Beethoven in 1799 marked the passage of Beethoven's style still marked by Haydn to an unbridled romanticism. Radu Lupu has played its way, both austere and singing with a very comprehensive approach to music (the cons-soaped songs in this music convoluted, I do not remember that he put both side there are still some years, it is curious).

The first book of Preludes by Debussy was a wonder: poetry sound, subtle dynamics without mannerism, natural, breathing music. Truly a great interpretation of this masterpiece. Radu Lupu has captured the interest of the public very aware of what he was hearing, attention was palpable in the room.

Concerts Radu Lupu are in a kind indeed quite surprising. A wonderful evening

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Aperghis Concert-Xenakis at the Cité de la Musique


concert April 28 at the Cité de la Musique, on "short form - long forms, which has the advantage that it can squeeze in any program.

Ensemble Intercontemporain directed by Ludovic Morlot played:

Iannis Xenakis - Phlegra

George Aperghis - Parts for twelve

Iannis Xenakis - Rebounds
(percussion solo: Gilles Durot)

George Aperghis - Heysel

George Aperghis - Daily Happiness (creation)
(soprano: Donald Michael Dansac
mezzo Marianne Pusher)

More claimed that the theme of the concert, long and short forms, it seemed that the drivers were the son Free virtuosity and the difficulty of establishing delusional. We have almost sorry for musicians to imagine the difficulty that should represent such a program, although for Gilles Durot Rebounds in is very rewarding: it can be fun to make a number of percussion-hero about 12 minutes the audience transforms sleepy City of rock music in public (and he is entitled to a standing ovation from his colleagues behind the scenes), it must be said that the performance is amazing to see physically (and then it makes a terrible racket). However, I challenge any drummer or percussionist Sunday rock standard play 3 minutes of this thing, not even completely in place. Xenakis would have an enemy and percussionist sought a way to get rid for good ...

Phlegra is complex, several overlapping structures, it seemed almost impossible to follow without the score. This music leaves the listener a bit on the side of the road: the reasons that come up repeatedly in the wind, same (but different reasons) in the strings, and here and there (yes, note the subtle reference that I'm in the operetta Véronique), repeated notes, this story is even more convoluted. Emerges a sense of twelve contemplative poetry, for me.

Exhibit twelve of Aperghis was based on a muttering muttering in serious waves who leave abruptly in the high (well, uh, I summarize and I shematized, eh) and you can listen without much spark, but it's subjective, of emotion.

The program closes with the big chunk of the evening, creating a piece more than a half-hour soundtrack spoke-sang, "Daily Happiness" by Georges Aperghis. It is a dialogue "stylized" between two women, consisting solely of sentences of life everyday, as a succession of small scenes absurd, or a single scene that is changing. But maybe I mouthed that night, I especially felt that accumulation of small sentences was irrelevant in the end a long uninteresting stuff. Hat the two soloists, who managed to escape without any language that does fork once, because, yes, it is also a great demonstration of virtuoso music, with even small phrases diction for theater people to be repeated dozens of times as fast as possible without crashing. They have managed to create a crescendo in the intensity intended by Aperghis, while behind, the Ensemble Intercontemporain knits a kind of frame which is not paying attention. Finally, here is what. Bravo for having put all this in place, kudos to the composers write things unplayable. To say I was excited more than that, no.

Maybe I was wrong mood. I will try again to listen to this if the opportunity arises.

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Lingling Yu - Music Chinese pipa



The four-stringed Chinese lute is one of the oldest instruments still played, although he seems to have been significant changes since its appearance (its first mention) as instruments of the court orchestra Chinese Han Dynasty to -200 BC (300 years after Confucius, to speak more clearly). The changes came from the Silk Road, based on the pipa the shape of Iranian lute during the first centuries. Pipa The term refers to a family of instruments has evolved in different periods and regions.

Like all instruments of this type, it is ungrateful and austere. A very low volume, offset by the finest type of stamp that is (when it is near). The instrument has been popular in China outside the circles of the nobility, as indicated by the poet Xuan Fu of the Jin Dynasty (265-420 AD), in "Ode to Pipa," ... the pipa appeared during the last period of the Qin Dynasty. When the people suffered during the forced labor of the Great Wall China, they played this instrument to express their resentment. (found on this site ). We understand better that the Chinese people is not always of course ...

The program chosen by Yu Ling, in except Lai Xu (the sound of silence) "written in 1929 by Liu Tianhua and which gives its name to the album and is made up of traditional pieces.

essence of ancient melodies Ying Zhou, but we do not know much, if it is blended and traditions passed on by various people, reconstruction of classical Chinese music seems to be a long breath.

Gone fishing for information, I finally realized that the style of Ying Zhou is a specific school of pipa playing native of Chongming Island off the coast of Shanghai. Well, I know, you stay on your hunger, but the page the most complete and documented that seems to exist on the subject are few lines on the site of the Shanghai ...), a style that seems to have known his moment of glory during the rule of Emperor Xianfeng (1850-1861). Can also be found on the internet book of the thesis of one John Myers of the University of Maryland ( The Way of the Pipa ) who devotes a few lines on this style Ying Zhou. The songbook was published in 1919 in the early Republican period in China, and came from that date directory of performers of this instrument.

But the simplest is probably to listen to this beautiful disc.

Ling Ling Yu xu lai: Chinese classical music - listen free and download album
proposed musicMe

There is also a Lingling Yu site, not very talkative, with three excerpts of better quality.

Enjoy!

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The Troqueurs Dauvergne of the Academy of Ambronay the City of Music


May 14 at the Cité de la Musique, a rare representation of Troqueurs Dauvergne by soloists of the Academy Baroque Ambronay (it seems that I am a regular now, since this super Carnival friendly and Madness Destouches the Comic Opera).

two parts: first, only a piece of orchestral Dauvergne, the concert has Simphonies IV parts, lumber III No. 2 in F major (to be precise), excerpts from books published in 1751. This symphony is played in a chamber, the small detachment headed Ambronay by the first violin (Juliette Roumailhac, probably, if I am the program), although the program indicates a direction of Serge Saitta (yes, the invisible man in person). To be honest with this music, it should be noted that it is written at a time when the symphonic genre has not really emerged as such. Even

chamber and nervous, orchestral music Dauvergne is, uh, well, it's orchestral music Dauvergne what. Not unpleasant, it is reminiscent of Rameau soft and generates a haunting feeling of drowsiness conducive to daydreaming (yes, that is, I'll say that). Twenty minutes are going well. As the concert goes on in the pleasant small amphitheater of the city of music, luckily there is a kind of intimacy that passes between you and empathize with the musicians in this incredible sound accuracy.

In this opera pocket, then come the singers Andrea Puja Annastina Malm, Benjamin Alunni, Marcos Garcia Gutierrez for Troqueurs.

Antoine Dauvergne, who led the Paris Opera and has written several lyrical tragedies, is best known for Troqueurs presented as a comic opera from a fairy libertine Jean de la Fontaine. Why the importance of this opera in the work of Dauvergne?

Because it is a pastiche, written at the end of the quarrel of the buffoons (created in July 1753). Supporters of the French opera led by Jean Philippe Rameau (corner of King), seen as conservatives, have battled supporters of Italianization any music as a natural thing with Jean-Jacques Rousseau (corner of Queen) perceived as progressive.

The director of the Komische Oper, Jean Monnet wants to make a joke and make people believe that the Italian composer of Vienna (Opera has an Italian international image while the lyric tragedy seems closely hex) composed an opera-style comic libretto by Jean-Joseph Vade, inspired by La Fontaine. The purpose of this joke is also italianize French music, but he knows that if this immediately as the French Opera, supporters of Italian opera will refuse to listen, as the quarrel s' is poisoned by this date.

The room had a huge success, and fans of Italian buffoons were furious to learn that the author was very French director of the Opera, and probably a pupil of Rameau, Antoine Dauvergne. But the success of the play continued, so much so that in September 1753 must be removed from the poster for success too ...

The booklet is very nice, the story of two lovers who change their fiancees, which agree in gasping, then everyone is sorry and re-exchange. At the end, everyone is happy. The subject is sweetened with respect to La Fontaine, in which couples are married.

Musically, it's pretty amazing, a mixture of Italian and vocal style of French orchestral music, you wonder how the supporters of the clowns were able to so easily fooled. It's very rich, very alive, he spends a lot of things on the side of voices and harmonies (much more than in the book) and it's exciting to hear as a milestone in the French comic opera whose vocal style will change dramatically under the impetus of these Troqueurs. A big thank you to the City of Music and Ambronnay. There must have been some cuts (at least the ballet) in this version of 45 minutes but was played with such enthusiasm and such a faith that any reluctance is taken away (again, the level of young singers is proposed Ambronnay as in the Carnival and Madness, amazing). There was no stage but a beautiful full directing actors.

Really pleased with this discovery!

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Henry Dutilleux - Time Clock, invention of the French decadence


On May 7, 2009, after much waiting, was created at the Theatre des Champs Elysees song cycle by Henri Dutilleux "Time Clock" written for the American soprano Renee Fleming. The composer has put a lot of time to get there, he has over 90 years and has always been meticulous. A partial

creation had already been organized in three of the four-song cycle about a year ago, Saito Kinen Festival in Japan.

But this time the fourth song on a text by Baudelaire, was created with the Orchestra National de France conducted by Seiji Ozawa.

Henri Dutilleux has written a set of four songs and an interlude with orchestra,

Time Clock Jean Tardieu
mask Jean Tardieu
The last poem by Robert Desnos
Interlude
Get drunk Charles Baudelaire

This cycle is like a kind of manifesto of French music, he was placed between two large orchestral cycles by Ravel and Berlioz as in a box. To create partial Seiji Ozawa chose the Pavane for a Dead Princess Debussy and Berlioz's Symphonie fantastique. This time, the chief who is in love with French music and directs the works by heart, with great transparency, chose Mother Goose Ravel and Berlioz's Romeo and Juliet.

In this context, there emerges a strange impression of these melodies, as if it were an anachronism. Compared to what Dutilleux wrote before, this music is good, there is less dissonance. But it is an incredible harmonic sophistication and emerges as the fragrance of a bygone era. If I did not know that it was written in the 2000s, I was satisfied to hear music written in the years 1920 or 1930. There is no abstraction in Henri Dutilleux is meant at Olivier Messiaen, who also wrote songs, and the impression given is that of a heady and sophisticated music in the extreme.

I felt to hear the music for the French equivalent of the last four songs of Richard Strauss. I wonder if it's not intentional on the part of Henri Dutilleux chooses here a text by Robert Desnos's last poem, found in the Terezin concentration camp in which Desnos died. It would not be an original poem, but a French translation of the Czech translation of another poem by Robert Desnos, "I dreamed of you." All these links created between the past, this, the original perception of time gives a feeling hovering, intended by the composer. He wanted in the last poem of Charles Baudelaire, the singing so that "the feeling of excitement is manifested more and more," since early this cycle is thought for the voices of Renee Fleming (yes, Hentai Dutilleux good taste him. Not like some s. .. )

It is intended by the composer, performer and is ideal in giving a special atmosphere to these texts, is a mixture of naivete and sophistication extreme that only she, as a bonus with some small accents verismo. Her singing style has changed slightly, as in his recent album of the last four songs by Richard Strauss, precisely, with a new taste for diction (here it is difficult to understand, probably also because of the Dutilleux writing) and severe beautiful. Shaped and obviously happy to sing this cycle in Paris, she returned in full a second time.

A beautiful concert, with this strange feeling of having witnessed the birth of French music decadent, just like the decadent Viennese of the interwar and sophisticated style to the extreme.

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Yuja - Sonatas by Chopin, Liszt and Scriabin


I spoke some time ago Yuja after the recital which I attended in Paris and who had literally flabbergasted. I also want to chat about prejudice, justified or not, about the Chinese pianist.

It seems to me quite a bit to after-sales service.

She just released, recorded in November 2008 in Hamburg, a recital for Deutsche Grammophon.

The program is as follows:

Chopin: Piano Sonata no. 2 "Funeral March"
Ligeti: Etudes
no. 4 "Fanfares", no. 10 "Der Zauberlehrling"
Scriabin: Piano Sonata no. 2
Liszt: Sonata in B minor

Another incredible program difficulty. Along with a directory reserved for the construction of master pianists.

And then, for a first disk, try the Liszt Sonata in B, one of the peaks of the piano literature, feared and dreaded, he must dare!

At first listen, this disc was a bit disappointed. As the recital in December was a real shock, I expected to feel it too new. But the effect surprise does not work like that every time. Yeah, so, disappointment, why? A piano recital with an incredible technical skill, but no roughness ... A product of the studio, what it could be worse.

Then I listened again, several times. And he exudes a kind of enchantment that disk, a poem that captures the listener gradually (yes, I'm talking about me).

The Chopin sonata is not the greatest achievement of the disc. It is placed there to emphasize the kinship of Chopin and Liszt with its dramatic winding structures. Yuja it explains on the website Deutsche Grammophon, in a note of promotional intent. But his interpretation is interesting for its attention to detail, his obvious desire to show the subtleties of the score by chiseling details smoothed by some performers. It is a service game to work, not to make the bluff finger (she can do, for that matter). But I think she lost a little in this sonata, too wanting to dissect.

Ligeti Both studies are put there as playful interludes, the ear to rest between each of the three major pieces of this disc. It's interesting because it shows a contemporary workers, considered an object with which we can have fun and give a little theatricality, not as something dead and disembodied we respect without knowing why. But it's also a shame there is a side alibi Yuja Wang gives a small picture adventurous cheap, the whole Ligeti played on this disc takes about five minutes, no more. Probably difficult for a beginner to impose more interpreter of contemporary music at the very conservative, which is probably Deutsche Grammophon disc with it the conquest of a large Asian audience.

The number two Scriabin Sonata is a miracle of poetry and fluidity. The pianists Scriabin plays often want to stall their virtuosity in the pages of this composer affreusementr difficult to play and produce a result very hard and very cold, with a game hit. Here, not at all, Yuja still trying to show the harmonic beauty of this piece and does it all in natural, his game is obvious. I wonder if this is not the best version of this sonata that I heard.

Finally comes the big piece, the Sonata in B. And again, many of didacticism and an infinite respect for the text without ever being in school. The speech is developing very natural environments vary. Very successful. There are many recorded versions of this sonata, and the weak point of Yuja Wang is not taking a bias. She is still in evidence, and one could say that this version would be an ideal version for a first listening to this piece, not deepening. But still, the musical mastery that emerges from this game is amazing, with a game without ever bluff. It is simply great piano great musician who wants to show all the beauties of this score. And as in the recital I heard, the mastery of large form is incredible, the discourse takes place throughout the execution. Except not the version of the Sonata in B I'll take on a desert island, it is instead the one I'd listen if I want to hear the score played by Liszt in a clear and settled, and to rest of the pianists egos Oversize.

My intuition tells me we have not heard the last of Miss Wang, if it stays at this level of music and continues to offer interesting programs.

listened on the disc MusicMe:

Yuja: Sonatas & Surveys - listen and download free
Album proposed musicMe

(In France, it will be listenable than June 2 Mysteries of the outputs of records and their calendars.)

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Die Feen Wagner at the Chatelet



's Theatre Chatelet proposed in March the creation of the first French opera by Richard Wagner, The Fairies. Fascinating work: Richard Wagner is virtually self-taught, and he shows his twenties when he learned the musical language of his time and is already capable of being.

course in 1833, this young designer who gropes is far from that will be a few decades by Richard Wagner wrote Tristan and the Ring, but there is already an accomplished composer.

Reviews: resignation !

I just want to make a small parenthesis that the welcome criticism as a whole, this show has given exceptional pathetic. Fairies sulfur prejudice. Moreover, Radio France has not deigned to move while it was obviously an event of the season, we prefer to drink generously broadcasts of routine performances of the Metropolitan New York.

In these cases, one might say that the critics, curious, will go to this show and realize how interesting. No! Them, they giggle. I take an example that is worth his weight in peanuts: the sort of editorial on page 32 of Classica May. We are entitled to the full! The author, a sub-docket named Nicolas d'Estienne d'Orves, said no one was so that he, demanding aesthetic, could not hold more than half managed to show that he has not seen. And as he seemed to discover the work, we understand that an article about an opera he does not know. Then he criticizes the book that Wagner chose "he would soon be less convoluted themes that imbitable imbroglio mythological ". There, I wonder if I dream. In reality, this brave boy has also quit the Ring, Tristan and Parsifal at the half, otherwise I can not understand his sentence because the late operas of Wagner in terms of mythological imbitable imbroglio, they arise here ... Then he spoke of the detrimental influence of Meyerbeer about writing this opera. He just neglects the detail that this influence does not agree, and Because in 1833 Meyerbeer was known as a composer of Italian opera, he never wrote the great French opera for two years and Wagner had not yet met, or perhaps even heard Meyerbeer style. It should perhaps be qualified, then read what I write about playing the Devil by Robert Wagner at the time, but still, there is very little in these Meyerbeer Fairies ... Basically, this pseudo-criticism shows that he knows not the works of Meyerbeer. It compares an opera he has not heard of a composer to those he does not know, and poof! it draws conclusions ... Well, I'll drop the rest of the article, insulting the staging, the chef, and singers, written with his good jokes "evil fairies", "fairy soft." Ahaha! In addition to displaying his ignorance with pride and his lack of ethics, he started the high-end humor.

is the level of the music press in France ... This

closed parenthesis, this show could have some shortcomings, it was exceptional, full of respect.



Wagner of the generation of 1820.

What are the real influences of Wagner in the score? Because it is not strictly speaking of Wagner, the changing character has not yet occurred. He writes like a true romantic of this generation of 1820, his musical universe is bathed in the music of Ludwig von Beethoven, Felix Mendelssohn, but more importantly, for music lyrics: Franz Schubert, Carl Maria von Weber and Marschner Heinrisch.

Wagner was also the head training when he composed this opera, and it seems he led many of Beethoven's symphonies, but also excerpts from Rober le Diable Meyerbeer. It's quite fascinating to see the aggregate all its elements, and write a real German romantic opera, and it was romantic "flamboyant" before being romantic late. It also seems that one feels in this opera traces of Italian opera: Rossini, Spontini ... I did not hear personally. But I was also in a discovery phase of this opera. However, the desire to be in line with Mozart is evident.

It is interesting to see the development of his music: he writes at the outset of a theatrical way, not in great shape with repetition, but as an orchestral discourse that develops with great effect to highlight the action, written fluency with nice modulations, and already the leitmotif. Uh no, themes. Finally, one or two small quotes that appear in the score but not receiving treatment so sophisticated that a true Wagnerian leitmotif.



There is a puzzle generation of romantic opera that is taking place now thanks to performers brave and curious. It's a great piece that was added here by Marc Minkowski.

A Wagnerian libretto

What is interesting is to see how, at the outset, Wagner grabbed the booklet. Everything is built around this text, inspired by Carlo Gozzi (that of Turandot), itself inspired by an Indian legend of a snake woman. It's almost funny, there immediately tics Wagner: major explanatory monologues, the action happens largely off-stage Wagner and intuitive. One who will so instinctive onstage Buddhism, Marxism, the proto-psychoanalysis, in the great operas of his messy salad of maturity, as an intuition here on the conclusion. Rather than make its characters all mortals, he makes all divine: in so doing, it corrects the work of Carlo Gozzi and returns, knowingly or not?, To the original version of the story.

He chose a German romantic universe, not a historical or a contemporary and humorous. It places this text with its wonders, its monsters and mysteries at the center of his writing and the music follows the text. From his first opera, a real opera Wagner with its mystical and erotic themes.



A staging in addition

What has been the choice for this creation? It's tricky to know what to do, I guess. The direction of Chatelet entrusted this task to Emilio Sagi.

The choice was a dreamlike aesthetic choices with kitsch. And it works very well: it does not denature the libretto, directing actors is good, we follow the story in a fluid (except perhaps in the third act, the less successful) and it is elegant. Because we have heard read in full of nonsense about this show, it was the Lido, distasteful, etc. ... Wrong. The aesthetic is pretty funny, with a gay-friendly side, but the costumes are very elegant Jesus Ruiz, there are even more sober moments. A good choice

saw a recreation and avoids transposition difficult with a little known work.

A beautiful voice shelf

Belle delivery singers: the choice was made for youth, with principal roles in deu hopes of Wagnerian singing. Difficult choice because the vocal writing is very difficult, it made me think of that but it's worse than Fidelio this, it reminds of Wagner ... In other words, it is virtually unsingable. William Joyner is doing very well, as Christiane Libor's voice very impresive, even if it is not my personal dream.

The feat is that any distribution is high level and involved: Lina Tetruashvili, Laurent Naouri, Salome Haller, Eduarda Melo, Laurent Alvaro, Judith aguthier, Nicolas Tested. I will not detail, but it was really neat.



Wagner on period instruments.

And finally, the icing on the cake, but also the element who was operating all this show: Marc Minkowski and his Musiciens du Louvre-Grenoble. Tremendous work done by contemporary collection of antique instruments of writing this piece was a true romantic orchestra was meant, not a war machine sraussienne. Exciting balance between pit and stage, beautiful textures, all under the very dramatic Minko that animated the score you it seems much harder than it seems and in which the orchestra was doing really well.

In conclusion, an extraordinary discovery in my case, and anyone curious about this important period German Romantic opera, and a milestone in the formation of Wagner.

Probably disappointing for those who pretended not to understand that they would hear Tristan or the Ring, but did not appreciate what they were offered an exciting spectacle and an opera great and successful.