The concert on October 15, 1905, which introduces and annihilates La mer, the new work of Claude-Achille de Bussy is a trap, a summary trial the composer's private life. Here's why: By 1903, start date of the composition, Debussy binds various sexual adventures behind his wife (which would be accused of prostitution in their circle of friends). The issue of separation cause extraordinary feeling in the small world of the musician and the great world of Parisian society at its height of splendor cosmopolitan (which still lives today): the suicide attempt, the shot under the heart, the collection Debussy among his friends the benefit of the abandoned wife, the media coverage of proceedings before the courts, and even a play dramatizing the affair . In this turbulent, cryptic and bizarre period of upheaval and renewal of mind, where wave storm sentimental joy and depression, La mer feat.
Virtually free of influences, the composition defies rigid classification and formal: " The symphony is in the past because of their rude elegance to your order and its public ceremonial braggart and perfumed. After Beethoven is the only respectful repetition of the same forms with fewer forces. You have to look at the sky through the open window . " Therefore, this author's subversive response to the cultural heritage requires us to abandon the traditional concepts, presents a vague and open, improvisational flexibility, joint heritage, promiscuous expression, texturally ambiguous, indefinite reasoned, modally ambiguous isolated technical study composition, which, given the lack of development, the grounds are constantly propagated by derivation of previous issues in a seamless flow, an evolutionary process, we would say that narrative is both a progression carefully sequenced. Avoiding a description sound-painting, Debussy is a transposition intuitive prophesy all that nature has "inexpressible " and a toned pictures that evoke nature in him: his voice, its colors, smells noise and sound symbols become, in shades that create a formal body with regular unfathomable nature. The projection monumental build it dense and logical thematic structure, and the essential range polyrhythmic (dizzy, light, elastic) that exceeds any previous work.
Orchestration as
of The Concertgebouw Orchestra of Amsterdam early Debussy met through Mengelberg (who had learned the composer) . So So full authority in this record ascetic but full of inner light, led by Eduard Van Beinum and dry vintage sound (Philips, 1957).
varied and tumultuous as the sea itself, rich in dynamic indications piano with the intention of lightening the texture and define the layers of activity on the lines moving at different speeds, and have been ignored in most interpretations . Sustained lines and delicate, ghostly, which are associated with feelings and thoughts, fears, guilt and apocalyptic events, whose arabesques form a delicate tracery, ornamental and non-figurative (and contemporary art-nouveau decor ). Without missing a logical and structured nature of music, its intangible, volatile harmony (without reaching the atonality of Schoenberg and her cubs) is no longer functionally reflect constructively for a succession of changing colors, " I live in an imaginary world, which is set in motion by something suggested by my intimate rather than external influences that distract me and I gain nothing. If something original is to come from me, must be from the depths of myself, what gives me joy exquisite. "
Piero Coppola recorded in very early with an encyclopedic set of name - Orchestre of Societe des Concerts du Conservatoire du Paris-a priceless document that shows how most subsequent interpretations have departed radically from the subtle intentions of the composer: the faint sound in the portamento in the violins, almost without vibrato, the unstable propulsion tempi ... The advanced age precludes sound decision decoding or dynamic textural details (Andante, 1932).
The obituary dedicated to Arturo Toscanini and the New York Times proclaimed that " He struggled with the utmost zeal to translate as accurately as possible the composer's intentions as they were printed in the score ... The concept of absolute loyalty ... ", etc. Discutámoslo: Raised in the Germanic tradition, Toscanini creates an artificial hierarchy of melody and accompaniment, exaggerating the dynamics in search of saturation Wagner, crucial in the formation of performance style. The secret ingredient of "sound Toscanini " was revealed by examining its dotted (log) scores, which was rewritten two full pages (stays in the spirit of music) and as he himself agreed with Debussy; (Lebrecht accused of privately said: " Change all you want, but do not tell anyone ). In any case, the composition is structured with precision crystallographic and sobriety bordering on abruptly, a virtuoso display of epic grandeur. From a bold drama in tempi , the score is brutalized, opening a wild perspective (which squeaks with the famous anecdote which to explain his vision of the work flip a silk handkerchief and looked triumphant as slowly dropped to the ground). The only passable BBC Symphony Orchestra (EMI, 1935) falls under her spell, with a thick sound of the wind, and little vibrato considerable flexibility in fast passages. Apart from making dynamic sound compressed, with flat frequency extremes, is the restless and tosferítico London audience. There are other records of the work with the NBC Symphonic Orchestra (RCA, 1950) and (Guild, 1953), more control and finesse, but none are as unique magnetic, intense anger, threat. For patients have added a few minutes of trials in which the teacher yells at will (" Vergogna, vergogna per noi ...").
Sviatoslav Richter claimed that the most beautiful record ever recorded was that of Roger Desormiere directing La mer to the Czech Philharmonic Orchestra (1951). Perhaps the distinguished Russian pianist had a vinyl pressing the Parliament better than I have, or maybe the cd edited by Dante Lys is not a model of reprocessing. Despite the sad willows sound, it can throw a sensitive and elegant phrasing, and a sense of drama to prelude to Stravinsky.
" The vast expanse of water opened up and drew a thousand conflicting channels, burst suddenly into a frenzied convulsion-curling, boiling, hissing, and turned in gigantic and innumerable vortices ": In this inland sea tormented and Dimitri Mitropoulos Mahler plays his way dynamic indications prescribed by Debussy. Tempi swift in concert 1950 of the New York Philharmonic (EMI).
Toscanini said that when he listened to his protégé Guido Cantelli seemed to be listening to himself. At least in the part that concerns us I am not able to pry the less parallelism in this relaxing recording with the Philharmonia Orchestra (Testament, 1954), which wisely uses the metal damper to suggest depth and perspective.
Charles Munch available in U.S. withdrawal from a Boston Symphony Orchestra at its technical peak in all sections. Brightly colored Fauve pendulum with force, vibrating misty with sensuality, grace and delicacy on the responses of the sentences. The smooth tempo transitions can appreciate learning when he was concertmaster at the orders of Furtwängler. Maybe too sparse percussion. Making noise nearby, with a slight background hiss denoting age (RCA, 1956) .
The Salzburg Festival 1957, presented to George Szell conducting to the Berliner Philarmoniker (Orfeo, 1957) in an intellectual approach, clarity of timbre and rhythmic discipline. A prophecy is revealed in Boulez.
musician, philosopher, mathematician, Ernest Ansermet interpretation as conceived a form of humanism, concise and neat. In the line of dissection sound, objective, clear, consistent, without rubato, something distant and overly controlled and planned, without the intense spark of his admired Toscanini. The Orchestra of the Suisse Romande may not have the level of other major continental formations, but the occasional stridency de los vientos quedan soslayadas por la precisión cartesiana con la que se imponen la duración de las notas. La vacilación en las marcaciones soutenu (leídas frecuentemente como retenu ), y la inserción de pausas no previstas por el compositor, son una especialidad de la casa. La excitación brilla en el uso opcional del glockenspiel en lugar de la más suave celesta. Las cuerdas palidecen lentamente en la grabación Decca de 1957.
stickler for accuracy Fritz Reiner by the metronome, dynamics and agogô went beyond the inhuman discipline. A haunting orchestral mastery, but somehow mechanical, without some of the subtleties required (vitality, drunkenness). The recording, made with one microphone in the wonderful acoustics of the Chicago Symphony Hall (RCA, 1960) is bright and powerful.
hands in the pious Carlo Maria Giulini La mer embers is thought-Germanic symphonic tradition of S. XIX. adamasquinado body of the Philharmonia Orchestra (EMI, 1962) provides an appropriate priority to the wind, full of lyrical charm and emotional involvement. Lightweight effusive, tumultuous in tempi . Amazing how the harps echo without establishing a regular pulse. Recording produced by Walter Legge, that is, bordering on perfection, with a sound takes slightly detached perspective which preserves the sense of mystery without damaging the detail. The late approach with the Royal Concertgebouw Orchestra (Sony, 1994) loses the spell bright and hot.
As usual with Herbert von Karajan's conception may be questionable, exceptional performance ever (DG, 1964): aristocratic perfume of Wagner, by exaggerating the romantic nature of the climax, amplifying brands provided on the ropes and practically ignoring diminuendi in the accompaniment. His tempi are very close to the speeds indicated in the score (however, when requested Debussy in testing prior to release what was the correct tempo said: " I do not feel the music the same way every day ). The sixteen cellos that luxury Berlin Philharmonic allows wealthy are able to give a patina to the divine and water sound (dark, round, without angles). The cavernous acoustics of the Jesus-Christus Kirche Berlin adds its distinct color and atmosphere to the translucent recording. Subsequent approaches to the work (1977 and 1985) are far and the point of spontaneous combustion.
Los más de 90 años de Leopold Stokowski no fueron obstáculo para su afectada imaginación, ralentizando y romantizando las espesas texturas que saturan de colores los atriles de la London Symphony Orchestra (Decca, 1970). Impactante toma sonora de este perverso enfoque a lo big band .
El Debussy de Jean Martinon debe ser considerado como su más fiel legado: “ El mar es un niño, juega, no sabe lo que hace realmente… tiene long hair, colorful, and soul ... comes and goes constantly changing. " Of expressiveness in the best French tradition to the old, full of tips and hints in the subtle accents. Tentative, plastic, ethereal textures, c Limax are blurred almost before it began. Truly powerful entry of the trombones, after the passivity of the interlude (m. 132). commanding the Orchestre National de l'ORTF (EMI, 1973) l to recording sound like a warm and deep, while the harps shimmer on the surface of the strings.
director Bernard Haitink is a road, technique and sober incisive. In some respects resembles Van Beinum, but it has the rare spirituality and mysticism of it, is more prosaic and accurate, more expeditious and decisive. It also goes further in his objectivism although it has inherited some of the magical balance of his predecessor. Qualities that have helped maintain an admirable all sound values, balance, equality, the smoothness arches, the sweetness of wood, metal power the Concertgebouw Orchestra of Amsterdam, which appears as a final set of camera in the perfect filling. The false sense improvisatory engaged by a refined and detailed control that it becomes dizzying. A base line on a metal ellipsoid constructed one of the most shocking conclusive climax of the whole discography. Significantly Haitink choose the whisper of the celesta, rather than the brilliance of the glockenspiel. N atural making analog sound, superb at the time (Philips, 1976). Attention: the commemorative edition of the director handled the stereo channels are here invested.
very personal reading of Giuseppe Sinopoli leading a virtuous Philharmonia (DG, 1988). Pointillism painting, rough sea, cinematic, without respecting the excitement rises peu à peu as requested by Debussy.
warring Winds, metals strident turbulent strings, timpani insane ... welcome to contemporary music: Leonard Bernstein sings as showcases the various rhythmic and timbral layers, pushes, holds, supports the tempi. members of the Orchestra dell'Accademia Nazionale di Santa Cecilia (DG, 1989) put all their effort to please his master ring . The delirious mixture of microphones to three tracks.
Sergiu Celibidache should have known that the construction of a vessel intended for the Mediterranean (short, fast wave) is substantially different from a boat for the Atlantic (high amplitude waves and deep sinuses). And it has never sounded more La mer ocean. The teacher deliberately exposes Romanian supremacy on the timbral texture tempo, emphasizing each blade of foam, each beauty of the orchestration with mild attacks, accent tiling, blurry atmosphere, alternating turbulent climax wild colors and sensual cadence sumptuous. The Münchner Philarmoniker (EMI, 1992) in a passionate lyricism hallucinatory attack hides the unexpected drama under the endless legato lines . Melancholy, sadness, seriousness, time suspended, a feeling of unfinished work, including oil paintings painted and repainted over and over again by Antonio López. Barely audible percussion as an example of the search for balance between instrumental sections. Sensational recording, spatially bound, round in serious, almost tactile presence of the mystery. The beautiful and sinister.
Pierre Boulez in 1967 went through a sea ice studded with icebergs, perhaps recording (CBS) the New Philharmonia Orchestra -cutting, submerged bass-avails itself of this perception. With nearly thirty years of experience, you capitain set sail in the same direction: Scrupulous, analytical, dehumanized Ortega: "The most important a masterpiece dusting." The accuracy (rhythm, dynamics) has always been the hallmark of Cleveland Orchestra (DG, 1995), Boulez adds his naval discipline, rigor and lucid logical, a refined and flexible conviction. Ruthless precision and astringent, clear on the details and the underlying currents, phrased in long pulses, which combines balance with the revelation in all its freshness of the structures (perhaps the greatest weakness of the work), making sense of continuity through the naturalness and fluency of transitions: " The orchestration reflects not only musical ideas, but the kind of writing for her to realize ." The sound, the vast dynamic range, transparent score.
Away from the mist to the antiqua maniera , Mariss Jansons presents a dark sea and the port of dense waves, unstoppably heavy, metronomic precision, with no room for rubato. If great is the contribution of wind, no less so is the emergence of an ethereal chorus of white by the second violins in the third movement. The acoustics of the Concertgebouw is incomparably warm, the spatial extent and richness of detail taken from the Royal Orchestra in this live recording (RCO Live, 2007), superb.
Discovering Music on BBC Radio 3 and consider the music historical context in detail to Debussy's La Mer . A must.
