After her current live performance of Bach, Berg, Haydn, and Vivier, Barbara Hannigan returned to the Barbican with the LSO in one other beautiful programme juxtaposing two of the Great Composers of our age (notes right here).
Messiaen’s L’ascension, his first main work for orchestra, * introduces his distinctive sound-world, opening with hieratic brass chords (E main!!!), closing with ecstatic sustained string writing—one other addition to my Messiaen sequence (beginning right here).
Majesté du Christ demandant sa gloire à son Père
AllĂ©luias sereins d’une âme qui dĂ©sire le cielÂ
Alléluia sur la trompette, alléluia sur la cymbale
Prière du Christ montant vers son Père.
In my Mahler sequence I’ve already written in regards to the 4th symphony at some size, that includes performances by Mengelberg, Walter, Barbirolli, Bernstein, Tilson Thomas, and Abbado. OK, I’m going on a lot about Indian raga and jazz and all that, however to listen to Mahler symphonies dwell is at all times overwhelming. I admired Ms Hannigan’s dramatic style, at all times cultivating the texture of chamber music, and the divine sluggish motion of the 4th was each bit as spellbinding accurately. As it ebbed away, mixing magically into the instrumental intro of the finale, Aphrodite Patoulidou walked on stage to sing—the type of consideration to element that makes a distinction— adopting simply the suitable tone, neither too soprano-like nor a parody of childlike innocence, the ultimate verse in a hushed E main.
The live performance (to be broadcast on BBC Radio 3 on twenty fourth March) made a transferring chapter in Ms Hannigan’s relationship with the LSO.
* He additionally made a model for organ—right here’s his personal efficiency (cf. La nativité du Seigneur, and French organ improvisation). Two drôle BTL feedback there:
I feel the important thing signatures are only for present…
Messi
WTF…
