DHis musical thinking Nicholas Hanoncourt Always on the move, looking for contradictions and corrections. Conductor, actor and genius imitator Teodor Krechis slammed reporter Susan Benda on the head in an interview with the Stuttgart Evening News: “I command Tchaikovsky in the same way, I am correct Direct him”—he would never cross his lips. After eleven years of stunning complete recordings of all nine Beethoven symphonies with the European Chamber Orchestra in 1990, Hanoncourt became restless again in 2011. In Beethoven’s fifth symphony “Symphony of Destiny”, he discovered something he wanted to convey to the public through several orchestras.
When he does Berlin Philharmonic After the proceeding, the audience was stunned in shock. It did not hear the victory of liberation in the finale, nor did it hear the bright cheers, but it heard something else: the tortured person defeated the tormentor, did not justify the new human being, but became The savage outbreak. The violence itself radiates from this Gleissnerian C major. Hanonkut drew the impetus of the revolution from Beethoven: from brilliance to terror. The repeated confirmation of the often ironic ending of Erik Satie in his “Sonata Bureaucracy” is no longer absurd in Hanoncourt’s work. He staged a chord prepared by frantic acceleration as a choreography of blood poisoning-jumping like two feet on the head of a loser: “Dead! Dead! Dead!”
No one has ever heard the meaning of Siegen so terrible, especially because everything seems to come from the convincing evidence of the music itself. Hanonkut also succeeded in revealing the terrifying aspects of the logic of the consequences that Beethoven trumpeted.
Regarding the concert also held at the Zurich Philharmonic in the fall of 2011, Peter Hagerman, the former music editor of the New Zurich News, wrote that there was a “shocked silence” after the concert. “The earthquake has occurred, and the tremor has penetrated the bones.” The text can be found in an unusual double-layer CD booklet called “Zurich Farewell” (Prospero / Note 1). It provides a recording of the conductor’s last concert. He died in 2016 at the Zurich Philharmonic, the orchestra of the local opera house. He has been in contact with the orchestra for nearly four years. His wife Alice was in The concert actively helped Master Harnoncourt’s research on performance skills and performance practice for the musicians to convey.
In addition to Wolfgang Amadeus Mozart’s “Gran Partita” (Gran Partita) and Wind Serenade KV 361, the recording also contains a commentary on Beethoven’s fifth and fifth songs. This exciting, outrageous reading. In Mozart’s introduction, you can hear the beautiful breathing sound between the tutti chords, a completely free rubato wind solo. On the other hand, in the first movement of Beethoven’s fifth and fifth movement, people panic about unpredictable continuous hail events, and the oboe solo is a respite from the pain of breathing difficulties. Suddenness as a quality of aesthetic experience, as described by the recently-departed Karl-Heinz Poller, a sudden attack is elevated to a state of emergency here.
The CD also provides excerpts from Harnoncourt’s rehearsal of the second and third movements of Beethoven’s fifth movement. “For long notes, you have to look at me,” he told the musician. “I made countless different rhythms in these bars. There is a real danger in this sentence, it will slow down where it shouldn’t be.” He hates the rigidity of the metric system, which is incompatible with natural language. He felt-abrupt! -Regarding the unpredictable recovery in a well-known work: “People should not be prepared for what happens.”
