Am I alone in this vast area inhabited by distinguished music lovers and novices merely to myself for years I will not mention the number of modestly Peer Gynt not know that his two symphonic suites, I dare to admit. Am I alone in this vast forest planted robust or slender comments to myself disinterested throughout much time in the history of Peer Gynt, I dare to admit. The paradoxical explanation of this ignorance preserved over time perhaps is that my first encounter with awe-called classical music, which occurred in my "childhood" as they say, is the famous prelude "In the morning "that caused it, I do not know yet read or write, Frederic Chopin came later and it seems that Edvard Grieg was considered the" Scandinavian Frédéric Chopin "... A Proustian memory combines home that indelible sound shock ephemeral olfactory pleasure of a delicious meal prepared by a gentle and kind unknown lady in a strange house, my dear grandmother was her guest and she came flanked by her granddaughter , bless her. A childlike wonder is unforgettable. But it can paralyze curiosity because the child's memory immortalizes his wonderful memories as booty buried in the stopped time, how to prevent them getting older, we still wonder where the founder has occurred. So until there is little, have I known and loved tirelessly both symphonic suites from Peer Gynt, in two versions directed by Herbert von Karajan, both gorgeous, one with the orchestra of Berlin, the other with the orchestra of Vienna. This is the chance of playing very rich addition qu'unanimement laudatory comments published on this recording engraved by Paavo Järvi at the head of the National Symphony Orchestra of Estonia who introduced me to the unreduced version symphonic fragments Peer Gynt. It is this discovery that made me scrub undergrowth of my total ignorance of the history of stage music commissioned by the Norwegian writer and poet Henrik Ibsen to his young fellow musician and composer Edvard Grieg, well ... Equipped with the tools of discovery, I inquired about the folk drama, fantasy, poetic, philosophical and moralistic told by Henrik Ibsen and on the character of Peer Gynt, vain, cowardly and vile, oh my! Once entered, I thought that the Peer Gynt by Edvard Grieg created in 1876 was the younger brother, north side of the Arlesienne Bizet created in 1872, south side: when a music scene, supposedly the Accessory supposedly a main theatrical work, enters eternity while the theatrical work chu in a friendly oblivion ... But above all, my discovery of this recording has disrupted the cursor child memory. This work I thought I knew more than any other, and because I did not know or I knew that bad. These symphonic fragments arranged by the composer for the purposes of the reduction to two sequels, I have fully rediscovered here, placed in a musical and vocal context that gives them a completely different terrain, starting with the powerful orchestral introduction ever heard. And to complete - not end - the discovery that record closes with the sublime itself "Solveig's Lullaby", especially not to be confused with the "Solveig's Song" whose magnificent theme is repeated in the second symphonic suite. I had never heard this "Solveig's Lullaby" that accompanies the death of Peer Gynt, here sung by a beautiful soprano that I had not heard more, Camilla Tilling. Tender and mysterious malice of the clock vagabond life that immobilizes or exposes the hands of time by his free will, marvel provided by this lullaby properly sublime that I listened to "loop" tirelessly me brought in a strange house with the colors sepia, when a "morning atmosphere" for me was always amazed. Thank scholars commentators or ingenuous, oak or birch, who showed me the path of discovery, and I invite who reads me find home that I can not tell this fascinating and captivating recording of a Peer Gynt not reduced to symphonic fragments. Because the only reason for my review is to tell you that curiosity can all against ignorance ...
