Pablo Heras-Casado (Granada, 1977), the wayward baton, which not only covers a wide repertoire but also collects orchestras all over the world, today presents its Falla project in the Auditori together with the Mahler Chamber, the Ferrari of chamber orchestras. With them he has recorded two pieces in ballet:
The love wizard Y
The Three-Cornered Hat
, a co-production of L'Auditori and Harmonia Mundi that Ibercamera has included in its season out of subscription, today, April 10.
It is not the first chapter of the joint venture between the director from Granada and L'Auditori. It precedes the project of the symphonies of Mendelssohn with the Freiburger Barockorchester. And in fact in two weeks it completes its integral with a CD that contains the Symphony no. 1 in addition to Concerto for piano no. 2, with Kristian Bezuidenhout. And in September he recorded with the Orchester de Paris the Consecration of the Stravinsky Spring.
The Orchester de Paris, the Munich Philharmonic, the Bayerischer Rundfunk, the Staatskapelle in Berlin, the London Symphony ... What's your thing with orchestras is a polyamory?
I have a big family spread all over the world where I come back, yes. And it's a great polyamory because I have them of all kinds and of all genres. I have Baroque, Chamber, German, French, American ... everything.
But there is no firm commitment to any of them. What will happen to abandon this polyamory and feel the head?
Well, continuing with the simile, I would have to find the love of my life.
You pike high, it has been seen with the top ten. Does it have to be a Berlin Philharmonic that asks you to marry you?
It does not have to be that, there are many fantastic orchestras that do not have to be at that level.
"That model is more risky, of more uncertainty. But I'm happy to handle a lot of different instruments and languages "
Does this model of non-commitment generate instability or a certain fear?
It is more risky, there is more uncertainty. I've been setting up that model for years now, so no one is surprised that I do so many different things. I have established relationships with many and the best baroque orchestras, doing opera or premieres of contemporary music. But it means being much more alert and being very flexible so that you can constantly change your repertoire. But for me it is very satisfying to handle a lot of different instruments and languages. Now I am in the Real often, which is my house, and we are with the Ring of the Nibelungo of Wagner and doing a Brucknerian repertoire. And apart from the four Germans I am with the Tonhalle of Zurich, with the Saint Cecilia of Rome, and I go every year to San Francisco, Chicago, Los Angeles ...
Today he directs Falla in Barcelona as the culmination of the tour with the Mahler Chamber. Is it the composer that you have the most internalized, even if it is by affinity of Granada?
Not especially. I have no affinity with Falla. And even now, rehearsing this music and having directed it all over the world, my attitude and feeling is not different from when I direct another contemporary composer to this type of aesthetics. I've always had this relationship with that music. There are very close things, certain rhythms, but it is an advantage to keep a distance, in order to give objective light to the composer, without getting carried away by personal or sentimental questions.
What do you think the Mahler Chamber expects from you with this repertoire on the lectern?
That he knows that music well, that he has it internalized. They want to live and breathe through this music. But I insist, they know that I'm from Andalusia and that Falla is a Spanish composer, but I have also chosen them because they play and take risks with the same passion and reach the last recess and the last indication that if they were playing any other repertoire. And that is the advantage. not to have prejudices, not to be led by certain prejudices of what Spanish or Italian music should be, etc. And with that attitude you take surprises and you can rediscover interesting things.
"For me Falla's referential recording is that of Josep Pons: it took away the edges and especially the merengue that sometimes has that music"
The recording he made of Falla Josep Pons, with the Orquestra del Teatre Lliure - and with that of Granada afterwards - is considered referential. What would you contribute?
Precisely, for me, the referential recording has always been that of Pons, since I met her when I was about 20 years old. Before even knowing in depth the musical literature of Falla, that kind of Pons reading was already something that fascinated me, an open reading, which puts Falla as a composer of modernity, revolutionary, who writes in a way of his time , contemporary, close to the world of Bartók, Stravinski and the international avant-garde. Only that he used his own folklore material, but also the same ones that I just named. But that's something anecdotal, it's a starting point. And what Pons did with the Orchestra of Granada was to get rid of the edges, to get rid of all the merengue that comes with that music, to keep the essence. And he earns a lot.
If Pons already returned Falla to its essence, then you have come to do with this new recording?
To achieve that an orchestra of very first and that I know well continue that line that Pons initiated, very interesting and renovating, a way to hear the music of Manuel de falla, but without traditionalisms that come from another time, without folklorisms. And above all, without that pile of common places, which we find in all the repertoires. But when a score like that is so meticulously and obsessively detailed and controlled, with the precision of a twentieth-century composer, you can not take whims. Because when the author wants to do it, he says it clearly. And rewriting things and tempos is something you do not do when you see the attitude that the composer has towards writing and music. The intention is to return the music of Falla to its essence.
"Everything that a composer of a certain time wants to do to get out of the way leaves it written"
And why is Falla so precise that he is the victim of these more folkloric interpretations?
It is that this happens with all the composers, with Beethoven and with everyone. What happens is that now there is a way of doing that is called historically informed. Now we know the interpretative practice of the time, aesthetics, technique ... It is important to be informed. And that has happened with Beethoven and continues to happen, as with Schumann, with Mendelssohn, with even Mahler's music. Composers who do not know why but are still interpreted on a whim.
Is the twenty-first century the time when essences are returned to the great repertoires of the past, even the most recent?
I think so. The essence has soul and is human, of course, but there has to be an objectivity, a criterion, a return to the essence, to the origin, to the novelty of each composer. And the novelty is in the radical, it is in the new and in the accent, in the staccato, in the tempo ... in the message. And the message is in the score. Everything that a composer of a certain time wants to do to get out of the way leaves it written. What is not, it is not necessary, it is understood.
Is that search for the essence, is it the greatest challenge or the greatest pleasure?
Both things, because it is something very intimate. You go through the score, which in the end is a code, parts of it in a thorough way. And it is a challenge also when you travel from one orchestra to another all over the world, with orchestras that have traditions installed with certain repertoires and that it is a challenge to take them out of that rail almost marked by fire.
The public also has its own rails marked by fire. Does the public protest?
In general, no. Sometimes with the opera, where the public is more conservative and wants to hear the version they know. But that can not be. Because otherwise the artist has died. When you imitate someone and follow a trend, do not forget that someone created a trend with a different criterion, idea or impulse. And if from there others can only do the Heroic of Beethoven or the Rigoletto of Verdi following this wake we became mere officials.
"Sometimes the public wants to hear the version they already know. But that can not be, otherwise the artist has died "