François-Xavier Roth & Les Siècles, a special listening within the period of cell phones | Culture | EUROtoday

The anecdote occurred firstly of the minuet trio, the third motion of the Symphony no. 41 “Jupiter”, by Mozart, final Thursday, April 18, on the National Auditorium. A cell phone broke in and altered its repetition, so the director François-Xavier Roth turned his gaze to the viewers with out stopping on the musicians of Les Siècles. It appeared like he was searching for the individual accountable, however his unmistakable gesture inspired her to concentrate to what was coming now. And we hear, within the violins, a phrase in lengthy notes, underlined in forte and barely occluded by the woodwind, with a figuring out position within the closing motion.

We have been in a position to confirm it shortly after. The violins opened the very joyful which closes the symphony with that phrase of 4 lengthy notes, now in a crystalline C main. And one of the crucial chic pages in your entire historical past of music was unleashed. An interesting whirlpool the place Mozart makes use of that theme as a melody with accompaniment and, on the identical time, as an imitative motif. An ideal alloy between traditional model and baroque counterpoint. Roth made it the climax of the night and likewise the very best of the presentation within the Ibermúsica cycles of Les Siècles, his glorious French ensemble with 41 interval devices tuned to 430 Hz.

In that closing motion, the Neuilly-sur-Seine conductor assumed the lightest tempo of your entire symphony, though with out sacrificing transparency. He linked with exact gestures and and not using a baton the infinite connections and contrasts of those staves. He didn’t quit any of the repetitions, however added a rhetorical pause that supplied the mandatory momentum to face the top of the work: an outburst the place Mozart weaves a fugue with the 5 themes of the motion. This contrapuntal achievement was unprecedented in a symphony. And the work was recognized in Vienna, after its posthumous premiere, as “the symphony with the fugue at the end”; the nickname of Jupiter he acquired it in London, firstly of the nineteenth century, in allusion to the place the work occupies within the highest step of the musical Parnassus.

This Mozart symphony was the second a part of a really conventional program and with out the standard experiments with up to date music of this French ensemble. In truth, final summer time, on the BBC Proms in London, it was the end result of a live performance that attempted to attach the music of Mozart with György Ligeti. The work started in Madrid with a decidedly operatic first motion. Roth theatrically lengthened the pauses to arrange for every musical occasion. It occurred, for instance, in the midst of the exposition of the second theme, when Mozart leaves us in suspense, and suspended over a C main dominant seventh chord, to renew the music with a terrifying C minor in an explosive gesture typical of the Storm and stress.

He andante It ran with beautiful fluidity. Roth intensified his dialogue filled with rhythmic and rhetorical surprises. And he embodied magnificence within the minuet, however with the aroma of the interval devices that have been performed standing up apart from the cellos. That silky tone of the intestine string, led admirably by the violinist Amaryllis Billet, and riveted by the pure metals, together with the acidic aftertaste of the classic woods and the ringing of the leather-based timpani.

The first half targeted on the Violin Concerto in D main, Op. 61, by Beethoven, a really perfect companion for Mozart's final symphony. And not as a result of they have been contemporaries, since eighteen years separate them, however as a result of the posthumous premiere and institution of the Jupiter within the Viennese live shows it coincided with the presentation of Beethoven's first symphonies and concertos. Specifically, this live performance premiered, on the finish of 1806, inside a musical academy organized for the good thing about the violinist Franz Clement, which the composer celebrated in his autograph with considered one of his ordinary puns: “Concerto par clemenza pour Clement primo violino e direttore del theater of Vienna.

Clement did not have much to do with the sonic power of the prevailing violin models of Rode and Viotti. The Austrian was an instrumentalist who stood out for “an indescribable delicacy, neatness and elegance, united with an extremely delightful tenderness and purity”, as portrayed by the General musical newspaper, in 1805. Therefore, the sound of the French violinist Chouchane Siranossian was splendid, as she sought an acceptable method for the work from the fluidity and lightness of an eighteenth-century violin, with the vibrato turning into extra of an decoration than a coloration.

We verified it, within the growth of the cheerful however not an excessive amount of, when the immediate seems expressive and the music strikes to the darkish G minor. Siranossian maintained the stress with out sacrificing lightness and magnificence, and was admirably supported by Roth and his musicians. The recapitulation was, quite the opposite, much less profitable and with some incidents between the intricate scales, groupets, arpeggios and bariolages. But the French violinist made the very best resolution for the cadenza and reworked together with her instrument the one written by Beethoven for the piano association of the work (op. 61a). An answer just like that adopted up to now by Wolfgang Schneiderhan, Christian Tetzlaff or Patricia Kopatchinskaja. An intensive solo passage with a marcia seasoned with the interventions of the timpanist, right here an distinctive Sylvain Bertrand.

He vast It was the very best of the work. Roth achieved an environment of stillness with splendid nuances in order that Siranossian may exhibit his mastery of the artwork of variation, with beautiful timbral particulars that contrasted the identical pitch as a harmonic and as a stepped be aware. He highlighted the oasis earlier than the fourth variation as a real lyrical parenthesis. And, to attach with the rondo Finally, we heard once more a passage taken from the composer's cadence.

A really attention-grabbing side of the ultimate motion, the place Beethoven recovers lightness and provides loquacity, have been the decorations that Siranossian added in every of the fermatas. To these additions have been additionally added the oboist Hélène Mourot and the timpani by Bertrand. In truth, Roth gave that ending a considerably harsher timbre and with a higher presence of the metals. And the violinist as soon as once more tailored Beethoven's cadenza, earlier than the festive closing of the work.

Siranossian selected to crown his efficiency with an in depth and atypical tip. It was probably the most troublesome whim closing, subtitled intonation checkfrom Sonata from digicam op. 6 no. 12, by Pietro Antonio Locatelli. He began it with dedication and with some incidents that he overcame together with his technical energy. Admirable bow strokes, arpeggios and double strings that tipped the steadiness of a superb efficiency that added, on the finish, the accompaniment of cellist Robin Michael within the cadenza included within the work.

Ibermúsica devoted this live performance to the unforgettable British conductor Neville Marriner (1924-2016), who would have turned 100 years outdated on April 15. A program that he directed many occasions, though by no means with the totally different listening within the period of cell phones that interval devices demand.

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