Symphonies Numéros 4 & 6 / Marche Slave / Hamlet

Description

The maestro Carlos Païta has always favored Beethoven, Berlioz, Bruckner, Brahms, Mahler in his concerts and recordings. He only seems to really take an interest in Russian music later on. At least in his recordings. The nature of this music based on color, the enormous dynamic contrasts, apoplectic crescendos, the development of second themes could only suit the maestro. He finds in this incandescent material the ideal to express his sonic options. In "Roméo," the blend of fire and tenderness is to die for! We are at the heart of a timeless drama, and with Russian brass! These brass instruments with their typically tangy sound, dry as a whip's crack. The trumpets!! Everything is hyper-dramatized and irresistible. The dynamics are explosive and the rhythmic breaks are terrifying fractures in the sonic fabric. Love, death, and unspeakable despair are signified like never before... Russian composers lose nothing; on the contrary, the saturated expressiveness that Carlos Païta brings to all his interpretations elevates this music.
With "Hamlet," excess is on the agenda: the grand entrance envelops the entire space, the real and the emotional! The prolegomena of the drama are set. The rest lives up to it.
The volcanic temperament of Païta, his mastery of instrumental colors gives us a "Pathétique" that truly deserves its name. Breathless, inhabited, moving. The Third movement will remain long in the memory of listeners… Max Trébosc