The interpretation of the first movement reminded me that of Georg Solti in Chicago for his voluntarism, his vision, his consistency, his thirst evidence ... even sacrifice some nocturnal mystery.
The measurements are similar, except a more moderate introduction here: anapaestic the exhibition begins at 3'36 (3'10 with Solti). Within the development (8'03-), the US leader is less contemplative than his colleague in the episodes "gemessener" (9'02-, 10'22-) and still catches up ground at the wrap (13 '36 -). The two men at the same time cross the threshold of Grandioso (16'38-) that addresses MTT ardently even violence (the timpani rolls!) It then negotiates the return of the second subject (now ground 18'00-19 '16, 465-486 measurements) with a burning intensity.
As with Solti, the "frisch" section is reached at 19'23, here treated with this stunning brilliance that guide the approach of the US chief: motor skills, insight, or an excess of externality -quoique most rhythmic and dynamic nuances are respected.
We find similar qualities in this heady performance of the Serenade where relevant choice of tempi and phrasing clarity to a clarification of the climate of this first Nachtmusik.
Some mild regrets? The first theme to insufficiently characterized horns (1'26)? the Alpine bells that tinkle without great poetry (5'52) and too close that prescribe the stage directions ("in weiter Entfernung")? The oboe would they had to dig the expressiveness of the third theme (7'36)? However, the introductory dialog appears ideally spatial me.
The tone of the two Trios turns wisely discerned: fluid cello, singing, light, for the first in A flat major (3'49, measure 83); clogged horns instill nostalgia for the second incident in F minor (6'39-).
Greet also the balance between desks is 190, when the cello soloists are watermarked by oboe and English horn.
Under Swiss musicologist Jean Matter ("Knowledge of Mahler", Lausanne 1974), the Scherzo evokes a dance of shadows and evil spirits. The allusive approach MTT defends watch more sensitive to this first aspect -the magic blafarde-, at the risk of underestimating the grotesque and perverse elements of this piece entitled Schattenhaft.
From the outset, claudications punctuated by pizzicato and timpani seem too timid. The complaint oboes and flutes (0'43) could protrude with more caustic. The waltzing third subject (1'00-) could animate more insidiously: resumed (2'08-) However this better qualified through bows sautillé (cellos, basses) that accentuates the head like a collar effect legno.
Consequence of this sweetening: soft appearance of the first trio (in D major, 3'17-) attenuates the contrast must oppose opening phantasmagoria.
Compared with Solti (taken not as a model but as a benchmark), the tempi of the three main parts (exhibition, trios, recapitulation) are slower here and homogenized: Black 163 (-3'17), 171 (3 ' 17-5'16) to 153 (5'16-10'19) for the American. Respectively 175, 203, 164 for the Hungarians.
Certainly in detail, MTT respects the partition of wills (sforzandos the tuba to the measure 326, 6'34), but the processes that appear more calculated service differentiation of these deleterious tables. Shortly before the coda, the theme of the third listless recovery by the cellos (9'15) helps minimize the impact of this very realization, too neat.
Although the maestro does not drags the second Nachtmusik, it spares a haven of tranquility compared to Kurt Masur and above Kiril Kondrashin, each vying excessive speed. It thus sketch an elegant Serenade and steeped in tenderness, almost euphemistic.
We will observe the exquisite softness of London ropes in the episode graziosissimo (2'06), their noble deep into the second section of the second theme in E flat minor (7'06).
Nevertheless capable of when to activate: the dotted rhythm for 2 violins "etwas drängend" (5'14), the excitement for the "aufgeregt" (11'19).
Cellos brittaniques do not force the lyricism early in the second theme (6'04), but like all of this delicate interpretation of the fourth movement, let flourish the suggestive range of emotional nuances that calls this Andante amoroso.
Certainly there are fears the worst when he heard this irruption jostled by early Finale Mallets, but the head then ensures discipline his troops and is attentive to the constant mood changes what qu'enchaine Rondo adventures.
Without that we reported here of the countless sequences, only saying that his wand knows when to slow down: at 12'17 to chisel the graceful minuet, with 14'42 for the solemnity of Feierlich to 17'08 for the peroration gehalten ...
With the help of engineers who provide a gleaming miking, the maestro knows surprise (at 14'52 it jumps!), We build (the chimes of the measure 360, 10'42- is of colossal magnitude!)
The virtuosity does not refuse to impress. These include for example dexterity fast as lightning horn players who come rocket boost chromatic strings (401 11'37).
Conclusion: despite the disappointment incurred for too warm Schattenhaft, this is an excellent version of this work here directed with sensitivity, thoroughness and skill.
We would have liked to and fro under premeditation, a higher overall vision, more soul that dominates this album Tilson Thomas heir of her charismatic mentor Leonard Bernstein and his contribution inscribed at the top of the discography.
POSTSCRIPT: I am sorry I can not answer questions that are put to me on this site in chat rooms since this right was taken from me. I therefore take this review to point out that I still remain available at e-mail and on the facebook account (pseudonym: "melomaniac Amazon") which are listed on the My Profile page, in the left cartridge .