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George Prêtre con la Filarmonica

Last night the venerable George Prêtre - will make the 87 springs in mid-August - is back to direct Philharmonic in a concert Cesar Franck juxtaposed with Ottorino Respighi . On this occasion he was awarded the title of honorary member of the Association, having been among the first to conduct the orchestra after his birth, back in 1982.

the Belgian composer has been carried out (relatively) famous Symphony in D minor . That is 1886-88, then the same age, just to name a few in the symphonic field, the Fifth of Ciajkovski, 's Dvorak's Eighth, the Third (the one with the body) and Saint-Saens Before the Mahler. Then, in the world of music program, Aus Italien of Strauss, Sheherazade by Rimsky. And even the Fauré's Requiem. But the opening words of the symphony comes directly from Walküre (Act II, Scene IV):

Then, still in the first movement, there are more or less clear signs of Tristan , demonstrating that the revolution had truly Wagnerian music infected the entire planet. As for the cyclical form, with the themes of the first two movements that come back, changed, last, was not new, but rather a real fashion (in the positive sense) of the time, as evidenced widely the works of contemporary and Ciajkovski Mahler.

The structure of the first time (very long, nearly 20 ') is freely interpreted sonata form: the opening theme in D minor comes in time Slow , then restated in Allegro not too . Then the process (Lento-Allegro) is repeated, but the key to raising F minor. Now Frank has a new theme, in F major , resulting in the famous peroration:

follows a complex development, again D minor and F major (where exactly can hear vague echoes tristaniane), contrasting the two issues, and that leads to a spurious recovery: the first theme is presented in Slow FA and lower by trombones and tuba, then Allegro by the strings in Eb minor . One more digression of the first theme in G minor , then enter the second in D major . We return to D minor by the tail, but the conclusion is quite unpredictable, with the initial cell of the first subject exposed in G minor , three times, imperiously to lead in the final D major , Accented by the F #.

Prêtre gives a reading of their severe, and those dark times kept to a German sound that many have criticized the appearance of the work.

L ' Allegretto - here Prêtre places the wand on the laws of shoulder and head with his bare hands - principles Bb minor, with the delicate issue of the English horn:

followed by another long melody in Bb major, first the return of the English horn, to a lesser, with the first theme. Here then moved an interlude, in which string and wind are exchanged fragments of the theme, but then suddenly emerge - excellent here in Prêtre Out - a new theme by clarinets, Eb major, full of chromaticism:

theme taken up and widely developed by the strings. Back to the first issue, even in the English horn, first in G minor , then again in Bb minor, as in the beginning, then mixed again with the second, closed to Bb major.

English horn of the protagonists here Duke Renato, well backed by the horn Roberto Honey: the first will, eventually, to be called by Prêtre for applause individual.

Master risfodera wand to attack by his par on the third and final (!) Movement, which opens with a theme to say the least, unrealistic, exposed by bassoons and cellos in D major on decided tremolo strings, after 5 dry winds of agreements:

theme that serves as scaffolding to this kind of sonata form, followed dal secondo, più dolce cantabile , in SI maggiore, esposto dalle trombe, con accompagnamento delle cornette e di tromboni e tuba:

Ripreso poi dagli altri strumenti, fino all'ingresso, in SI minore , del tema dell'Allegretto, esposto dal corno inglese e dai legni, cui subentra ancora il dolce cantabile , ora però più pesante, in tutta l'orchestra.

Si ricapitolano i temi principali, con modulazioni in diverse tonalità (LAb, SOL). Ancora il tema dell' Allegretto fa in minor head nell'oboe, then the main theme of the final re-emerging in D major , but that of ' Allegretto - always minor - explodes arrogant. We are truly a giant put-pourri where everything is just Wagner, summarized: back, Bb, the second theme of the first movement, then also the first to the counterpoint.

Finally it suggests the theme of the final leading to the conclusion, which reiterates here so well prepared, not improvised, the epilogue of the first movement, with a lot of F # to stand out in the positive agreement of D major.

Applause intense, but maybe not so crazy for this symphony, which obviously is still struggling to make his way in the consideration of pubbblico.

After the break (with a curtain of treasure hunt on the stage: some part missing?) Respighi here we are, with the first two of the three Roman tone poems , compounds over the years, between 1916 and 1928. First Fountains of Rome, which now appears in the second violins - to introduce the theme in the oboes debussy - a vague recollection Mahler:

are the first bars of Einsame Der im Herbst , set, incidentally, near a pond, where you can hear the slow splashing, which refers the soft drip of the fountain of Valle Giulia. Following two sections move with the patch of sunlight that floods the Triton in the early morning, and then the phantasmagoria of the Trevi fountains and waterfalls. It ends with the sunset of the Villa Medici, languid as the mirror of the circular water fountain, and punctuated by the tolling (as many as 29!) Of the bell.

Prêtre, who directed still no stick, just in time to drop the arms, which suffered some applause from the gallery part: it is almost caught him, then turns his head only to the first rows of the house ... finally does pick up the package of wood, for gratify the just recognition, before turning to pick up the applause, now roaring, around the theater.

then resumed his wand to close with Pines of Rome. Introduced by the English horn and bassoon, with the punctuation of horns that sing - to Villa Borghese - the folk Oh how beautiful daughters Madame Dore :

It is not the only rhyme that appears in this picture opening, shortly after here is in fact a couple of turning-circle, first introduced by the strings and woodwinds in the canon, the second from the oboes and clarinets:

that is repeated several times until it flows into the gloomy passage at Catacombs, with its crooked performance on 5 / 4, full of repeated notes.

In Pini del Gianicolo , at the very end (last 10 bars and a half) is expected to sing a real nightingale : no, not in a cage and feathers and bones, plus it would also accompany the trainer to give him the right ... In the score attack is seen as a tape recording (at the time the mp3 could be at most of the muskets) complete with product code, for those who want to buy a copy:

Often it mimics some bait quail, more than a nightingale ( smile! ) as here at 6 ': 39 ".

In concluding The Pines of the Appian Way, after a long solo English horn, appear six conches, especially unicorns huge marches that accompanied the Roman legions. Respighi - which also will feature three Roman Festivals - requires the score of flugelhorns (2 sopranos, 2 tenors and 2 basses), here replaced by two trumpets, two trombones and two tubes. The pounding rhythm of drums and bass drum, they are bringing all'enfatico epilogue of the work.

Great triumph for teachers and professors. From the gallery to the podium rain tulips in quantity (one centered in the middle of the ringleaders of the director!) That gives us a reception to thank his classic a : Entr'Acte et Barcarolle Les Contes d'Hoffmann by . And no one better than he knows how to offer it to touch the most sensitive strings of the listener!
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