Intégrale de l’œuvre orchestrale

Description

There is a genuine empathy between the composer and oboist Heinz Holliger (born in 1939) and the music of Robert Schumann. In fact, he received the "Robert-Schumann-preis" from the city of Zwickau in 2016 for his "...lifetime commitment to defending the composer's work." He discovered the violin concerto at the age of 15 (by Hansheinz Schneeberger), recordings with Alfred Brendel (Romances op. 94, 1979), and more recently op. 94 and 56 with ECM (2014). He provided a raw and objective interpretation closely tied to his work as a composer. This six-disc box set reflects the work done between 2013 and 2016 with the Cologne Symphony Orchestra, chosen to record the complete orchestral works (Symphonies, overtures, concertos, concert pieces). The overall impression that emerges from the collection is well summarized by our English colleagues: "a miraculous transparency of the orchestral texture without sacrificing the intensity of expression" (BBC MusicMag). One admires the meticulous work of the conductor on the scores and orchestration with a focus on streamlining the music, making it more authentic. Thus, the interpretation of the symphonic corpus is of perfect homogeneity, sumptuous smoothness, and without any drop in tension. The sections are perfectly positioned, a sparkling small harmony, precise attacks and phrasings, an unstoppable construction. All of this is enhanced by a sumptuous sound recording. However, the success is somewhat diminished by the concertos. One hears a hesitant accompaniment from a watchful conductor. Patricia Kopatchniskaja combines silliness and affectations, while Hölliger heavily emphasizes his baton (Im kräfigen... pachydermic not to mention the Langsam!). Op. 54 sometimes presents a striking discrepancy between the piano playing of the soloist (Dennes Varjon) and the conductor's beat. In contrast, op. 129 led by cellist Oren Shevlin demonstrates a greater rapport between conductor and soloist, as do the concert pieces (op. 134 and 92) with Alexander Lonquish and op. 86 which calls upon the four wonderful horns of the orchestra. The volume of overtures is superbly mastered and testifies to the deep understanding between the conductor and "his" orchestra. A valuable collection to acquire in any case. (Jérôme Angouillant)