Arnold Schönberg argued that his music, in fact, was not modern, but that it was misinterpreted. And the composer of the Second School of Vienna, father of atonality and dodecaphonism, was not ironic. This famous sentence lashed out against musicians who limited themselves to playing only the right notes, without paying attention to the details of rhythm, expression and speed indicated by the composer in the score. It is not difficult to apply this to Beethoven. And, more specifically, to your Violin Concerto (1806), a composition so misunderstood in its time as mistreated today. A fascinating musical fresco where the written notes are as important as the innumerable details of articulation, tempo and dynamics, with which the soloist and the orchestra must give them life. But also a suit as the composer of Bonn made for Franz Clement, a violinist whose sound stood out, according to an article of 1805 Allgemeine musikalische Zeitung, for its "delicacy, neatness and indescribable elegance, together with an extremely delectable tenderness and purity".
The same superlatives could almost be repeated to explain the interpretation of Vilde Frang (Oslo, 1986), this Sunday at the Kursaal in San Sebastian. This Norwegian violinist gave a lesson in musicality as a soloist Concert beethoveniano, within the start of the new Spanish tour of Gustavo Gimeno (Valencia, 1976) at the head of the Luxembourg Philharmonic. Frang, the youngest of a family of double bass players, whose father convinced her to play the violin, as it was the only thing that already fit in the family car, is another prodigy of the prestigious factory of Ana Chumachenco. She has developed, however, a natural inclination towards chamber music that breathes through all her pores.
Frang always seeks the connection with the orchestra, both in his musical comments and in the answers and accompaniments. Also at the most delicate moment of Allegro ma non troppo initial, when the development environment becomes melancholic in Si minor and the indication appears for the first time espressivo. And not only does he renounce the lucimiento in the cadence, where he played the one composed by Fritz Kreisler very shortened, but he raises, then, the most nude passage of the work to conclude the first movement. The Larghetto It was still superior. The Norwegian masterfully explained that Beethovenian license to interrupt the flow of variations twice to literally stop the heart, with those episodes cantabile. He renounced the cadence in the transition to Rondo final, admirably pronounced and with unusual dynamics, or summed it up in the final movement. And it was not a matter of doubting his technical capacity, as he demonstrated in the lyrical interpretation of the most difficult Allegretto little scherzoso (amabile) of the Sonata for violin solo nº 1, by Eugène Ysaÿe, who played as a tip.
Brilliant accompaniment of Gustavo Gimeno at the helm of the Luxembourg Philharmonic, who went further in the second movement of the Concert Beethovenian The Spanish director not only molded the tone of the string to the sound personality of Frang, who never spared the use of vibrato, but who wove an ideal carpet for the Norwegian to explore the work at will. It is clear that today the size of an orchestra is measured in its ability to play with extreme softness and without fraying its sound. But Luxembourgers also know how to radiate intensity. They showed it at the beginning of the concert in Nicht zu schnell, an orchestration of the first movement of the unfinished Quartet with piano, by Mahler, by Colin Matthews. This English composer, who collaborated with Deryck Cooke in his famous version of the Tenth symphony Mahlerian, gets the feat of finding the future Mahler in his first creative sketch. And Gimeno not only defends that approach, but praises it, to the extreme of turning the development of the work into a sketch of the future and impressive Sixth symphony.
But the psychological intensity of Gimeno's interpretations does not just work with Mahler at the lecterns. And his version of the Fifth symphony, from Tchaikovsky, was the best of the night. Gimeno weaves a version firmly subject to the very detailed staves of the Russian and without fear of the emotional consequences of transforming them into sound. He takes his time to start the engine in the introduction in E minor, with those dark forebodings about fate, which we find in the composer's diaries, and which some biographer has related not so much to homosexuality as to his addiction to the game . The absence of pause between the first two movements of the work praises the Andante cantabile, with some license. Gimeno accurately narrates all the vicissitudes of this movement, as the two violent volleys of fate that end in sinking with that solitary clarinet. For the third movement there is a pause, because the following is a change of scene in every rule: a charming waltz. And Gimeno starts the triumphant Finale with the same aplomb as in the introduction of the symphony, although now in a positive My Major. The flame is lit in the Allegro vivace and Gimeno is not afraid to unleash his orchestra on a trepidante road towards victory. But they did not lose their composure. And the concert ended with the elegant polonaise of the opera Eugenio Oneguin, from Tchaikovsky, as a tip.
The tour of the Luxembourg Philharmonic and Gustavo Gimeno with Ibermúsica will continue, this Monday, November 12, at the National Auditorium in Madrid, with the same program Beethoven and Tchaikovsky. Tomorrow, Tuesday 13, will play, at the Palau de la Música in Valencia, the Violin Concerto, of Beethoven, next to the Fourth symphony, of Mahler, with the Swedish soprano Miah Persson as a soloist. The Madrid Auditorium will once again be the scene of another concert, on Thursday 15, with the aforementioned Quarter, from Mahler, and the Violin Concerto No. 1, by Bartók. And it will continue on Saturday the 17th, in Oviedo, with Beethoven and Mahler, as the last stop of a tournée that began on November 6 at the Alte Oper in Frankfurt am Main.