Emotions and discovery at the opening of the August Musical Festival of Deauville

For its 24th summer session. In addition, the Deauville festival remains faithful to its policy of emotions discovery opening august musical discovering and promoting young musicians with a magnificent and eclectic chamber music concert summoning Mozart, Liszt, Strauss and crowned by the Quintet the sharp.

The evening opens with the Rondo for piano K.511 by Mozart (1787). Therefore, A famous work. Consequently, a little special and surprising in the Mozartian corpus by its tense harmonies, its painful chromatisms, its refined with a balanced rhythm, its ornaments full of elegance and its pre-romantic looks; A partition all immersed in deep distress after Mozart experienced the disappointment of the somewhat mixed reception Figaro wedding by the Viennese nobility. Moreover, With that Rondo Then begins for Mozart a period of doubt. loneliness (his friends move away, the subscribers are rare, Freemasonry does not seem to meet all its expectations of fraternity) emotions discovery opening august musical which will find its outlet in this pathetic Rondo of which Gabriel Durliat gives us a remarkable interpretation where technically flawless pianism seduces, even if we had preferred a game a nothing less steep, perhaps slightly less bright, more introverted, valuing, the shadow areas by more marked agogic variations (ribato) and more supported bass.

No reserve on the other hand as to the interpretation of the Bird preaching (1863). first of the two Legends From Franz Liszt, composed in Rome at the convent of the Madonna del Rosario Church and dedicated to his daughter Cosima. A real “symphonic poem” for piano where rustling of sources mix. chirping of birds and recitative in an atmosphere that is both poetic and mystical, heavenly, perfectly rendered by the fluid, delicate and virtuoso game by Gabriel Durliat.

Make way for the voice to conclude this first part with four lieder by Richard Strauss (thumx emotions discovery opening august musical the Brentano Leader. 68 n° 3 et 5 ; Mutterlany. 43 n °2 et Die Night. Additionally, 10) interpreted by Gloria Tronel recently noticed at the Paris National Opera for her demanding interpretation of Leticia Maynar. in the first French of The Exterminating Angel by Thomas Adès. It must be recognized that it is difficult to understand the surprising choice of these lieder in such a program … but let us include the beautiful interpretation of the young and promising singer. The two Lieder de Brentano (1919), ” Säus’le, dear myrtle! » et « Amor Who often make the honey of the colored sopranos (including Natalie Dessay. Diana Damrau) testify here of flawless vocal quality (stamp beauty, wide projection, well -shaped vocalizations, good diction) lined with a satisfactory scenic incarnation, but we will somewhat regret the lack of legato and sensuality of this interpretation for voice and piano, emotions discovery opening august musical From the opulent support of the Straussian orchestration that the composer will make secondarily in 1940. ” Mother dandelion On a poem by Gottfried August Bürger is superbly served by song. the piano, we appreciate the flexibility of the line, the sublime Legato as well as the acuity of the accompaniment of Gabriel Durliat. “” The night “(1885) is the oldest lied. composed by Strauss at the age of 18 on a text by Hermann von Gilm, of which Gloria Tronel delivers an infinitely poetic vision to finish in beauty of short recital abundantly hailed by the public.

But, the best is to come at the end of the evening with an exciting and overwhelming reading of Two -cell quintet D956 by Franz Schubert interpreted by Emmanuel emotions discovery opening august musical Coppey and Vassily Chmykov at the violins, Anna Sypnishwski at the viola, Stéphanie Huang and Maxime Quennesson with the cellos. Posthumous work. a true swan song, composed in 1828 contemporary with the Schwann singingcreated in 1850, probably one of the greatest masterpieces of chamber music with the last quartets of Beethoven and the Sextuor Brahms. Its particularity is due to its instrumentarium comprising two cellos. The second conferring on the partition an orchestral dimension, modifying the balance of the formation (in particular the stamps of which it exalts the effusion romanticism) which can play in unison, counterpoint, decorate and chant the line of other instruments. It includes four movements: the allegro my non -initial no too much is approached by these young musicians with a lot of lyricism. energy. We are immediately impressed by the clarity of polyphony. the complicity of the speakers, the richness in rhythmic and dynamic nuances, emotions discovery opening august musical the striking emotional impact, the beauty of the respective sounds and the melodic line (Dialogue Stéphanie Huang-Maxime Quennesson), as well as by the unfailing precision of the implementation. The elegiac adagio develops in a climate of tragic meditation punctuated by the superbly chiseled pizzicati. exchanged between violin I (Emmanuel Coppey) and cello II (Maxime Quennesson) in a movement that suspends time, an exceptional moment when silences become music and where the ego quickly gives way to the egregore. With a dazzling energy. virtuosity, the fiery Scherzo contrasts with a peaceful trio making a large place in the melancholy viola of Anna Sypniewski. The final allegretto with Gypsy flavors. facetious accents ignites assistance in a jubilant communion with the musicians one last time.

Emotions discovery opening august musical

Photographic credit: © Yannick Coupannec

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