{"id":30514,"date":"2017-02-28T15:41:40","date_gmt":"2017-02-28T14:41:40","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=30514"},"modified":"2024-06-28T15:46:40","modified_gmt":"2024-06-28T13:46:40","slug":"alban-berg-sous-la-loupe","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/critiques\/disques\/2017\/02\/alban-berg-sous-la-loupe","title":{"rendered":"Alban Berg under the microscope"},"content":{"rendered":"
\"\"
Alban Berg painted by Arnold Schoenberg in 1910 (detail). Wikimedia commons<\/a><\/figcaption><\/figure>\n

These reductions, by John Rea and Andreas N. Tarkmann, have a magnifying glass effect: being used to hearing these works played by a larger orchestral mass, one may find oneself surprised or even disoriented in certain passages, but they have the merit of focusing more attention on the details and texture of the scores. This is the speciality of Pierre-Alain Monot, until recently titular conductor of the NEC, who is renowned for his crystalline diction and transparent, precise legibility of the more complex polyphonies, which here highlights the modernity of Alban Berg's language.<\/p>\n

This recording also recalls the historical link between the town of Winterthur and the Austrian composer: in 1927, Alban Berg was the guest of Werner Reinhart, the famous patron and friend who, a few years earlier, had commissioned him to write reductions of Wozzeck<\/em> for piano. The conductor Hermann Scherchen, in 1930, represents the Three Fragments from Wozzeck<\/em>which we find on this recording, sung by B\u00e9n\u00e9dicte Tauran in a particularly successful arrangement: the sounds of the Ringel Ringel Rosenkran<\/em>z, from the final act, are magnificent.<\/p>\n

To accompany these Fragments<\/em>The recording also includes two other essential scores from Berg's catalog. The Three pieces for orchestra<\/em> (in John Rea's version commissioned by the Musikkollegium) form a magmatic work in which the boundary between chaos and sound organization is labile, just like that of the echoes of the valleys found in Reigen<\/em> and the nightmarish, expressionist maelstrom of the Marsch<\/em> finale. Finally comes the magnificent Concerto in memory of an angel<\/em>for violin and orchestra, here with the intimate playing of soloist Rahel Cunz. Alban Berg composed this masterpiece in 1935, still reeling from the death of Manon Gropius, daughter of his friend Alma Mahler, and in which he sought to reconcile dodecaphony and tonality.\"\"<\/p>\n

Alban Berg: Three Pieces for Orchestra op. 6, Three Fragments from Wozzeck op. 7, Violin Concerto. Rahel Cunz, Violin ; B\u00e9n\u00e9dicte Tauran, Soprano ; Musikkollegium Winterthur, Pierre-Alain Monot, Conductor. Dabringhaus und Grimm MDG 901 1913-6<\/em><\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

Pierre-Alain Monot, conductor of the Musikkollegium Winterthur, presents us with some of Alban Berg's masterpieces arranged for small orchestral ensemble.<\/p>","protected":false},"author":1,"featured_media":30516,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1615],"tags":[],"class_list":["post-30514","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-disques"],"acf":[],"yoast_head":"\nAlban 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