Riccardo Chailly celebrates Beethoven: Exhilarating for those who perform and for those who listen

Two hundred and fifty years from the birth of Ludwig van Beethoven , and all to celebrate it. But it is not a return of the flame. He is always in the repertoire. "To present the nine symphonies, although it is not a discovery to the public, make happen something exciting in those who perform and listen: it is as if the scores would be renewed thanks to the location of the proposed integral led every time by orchestra and conductor". Word of Riccardo Chailly , and with the Filarmonica della Scala, and this journey already has begun in the early autumn. Ends in June, after having touched upon some of his other orchestral. To the Scale until January 19, with the Fifth, Eighth, and overture to Egmon, then immediately on tour: Cologne, Antwerp, Essen, Paris, in may, Hamburg, Nuremberg, Munich, Freiburg. On the 1st of June in Warsaw, where the Ninth solennizzerà the centenary of John Paul II. "Now the Philharmonic, to the depth of the sound texture and timbre, is recognized abroad as an orchestra mitteleuropea," says Chailly, that the guidance from the five-year period. "It means that it is not a novelty to hear her perform Beethoven, or Brahms, and Mahler. The many tour recent and the "Diapason d'or" conferred on it by the French critics, and prove it".

To every wand these symphonies appear as a challenge. For Chailly's more, given that his Beethoven that stands out for filar via quick as a Ferrari, sometimes putting a strain on the performers. This is not arbitrary: it is matured in over half a century of occupation, since the teenager Riccardo, a student at the Conservatory of Perugia, he found himself at the head of a group of peers in the First symphony, but since there were no musicians enough, the teacher played the piano parts of the light. "Is the composer the same to cause the interpreters, which requires the courage to follow metronomes, he indicated in the score," explains the maestro. That is to say, marks with accuracy the speed often speditissima with which the podium must drive all. "Before, only a few orchestras philological followed these requirements, because the ensemble smaller allows for greater flexibility. But with modern orchestra of eighty elements, how to do? Certain times of the Fifth and the Eighth are close to the unenforceability, given that in the music of Beethoven is continuously exacerbated, the contrast between the human and the metaphysical, poetry and conflict".

The solution at the Gewandhaus in Leipzig, some ten years ago. "In that orchestra, of which I was the director of the stable, handed down from the time of Beethoven the way of suonarne the symphonies. To the instrumentalists I explained my vision founded on the will of the author, and they immediately excited. The result is a recording which became a point of reference for some." On the other hand the truth of Beethoven is inside the pentagram. The rest - deafness, revolutionary spirit, love-hate relationship to Napoleon - it remains confined to the anecdote. "His greatness is independent of political thought. A genius is completely inscribed in the invention of music, which transcends the biographical events. The public is not required to rely on the emotion of listening". In fact, some of his themes are exploited in advertising or turned into techno music. "Here Beethoven would be in line with Puccini, who liked to hear their melodies brought in the square by the band: considered a social link between different people". And of the Hymn to joy from the Ninth promoted to be the anthem of Europe, what do you think Chailly? "The Ninth depicts a journey allegorical of the dark to the light. The "ode to joy" marks the culmination of a climb slow, painful, towards the absolute. Therefore, from the context, cannot be extrapolated without that if he loses the symbolic sense".

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