Thielemann, Demiurge of the Brucknerian Spirit

Musical Critique by David Moratón

After having the great fortune of being able to assist in the magnificent concert offered by the Munich Philharmonic last Tuesday, January 9th, and its great conductor, Christian Thielemann, a conflicting feeling occurred to me. On one hand, the satisfaction of experiencing an interpretation in which it is possible to appreciate the truth of the event. On the other, the tristesse of contemplating the symphonic medium in which we live or mediocrity (optimistically).

He that has true knowledge of the symphonic, that does not dare to be valued, that does not approach the symphonic work like the other type of professional opportunity.

Thielemann emerged to fame in the year 2000 with the performance of the “Crepuscule des Dieux” by the Chor-Orchester Niederburg of Wagner at the Bayreuth Festival. Having happened since that time to the Philharmonic of Munich from Zurich in 1997, an original conductor of brilliant qualities. Without a doubt, the presence of the Wagnerian sense in the repertoire on the symphonic sphere, also in the semantic universe of the music. In the XXIII Festival of Music of the Canary Islands we have programmed nothing less than two of the most dialectical concerts dedicated to Bruckner. Two speaking at the same time about the objectives.

The symphonic march Thielemann gives life to the music of Bruckner less than Anton Bruckner, one that had little certainty of the place: “the symphonic constructor” by Johannes. He who has time and disposition (more than 40 minutes), with extending periods of fabric development, to be able to detail to the impatient listener, and to construct with orchestral formations. Without doubt, all given a sinfonia has a monument character that converts it into a true cathedral of great beauty.

And given the sincere interpretation of the composer, this is the best word to define: cathedral.

Thielemann, following the tradition of the old-fashioned Germanic directors, the spiritual experiences of Bruckner with a perfectly deliberate intensity, to each note. Each beat, each silence, obtained by maintaining ordered command followed by the calling violins and sonorous flames, or intensive variations of intensity. The version gives the most specified image of the work, as if to be able to conceive the existence of the content of the sinfonia. As if the entire number of the movements of the sinfonias of Bruckner were numbered, the revision in the sound of the directors, can be taken, especially with the teacher of the 1st, 2nd, 3rd, or 4th Genesis.

When sobering, after the fierce calma, the intricate spiritual emotion could be established by the metals (among them, the basic tuba licked), the compact, with its brave captain of its ship in the middle of a hurricane, maintains the firm helmsman, without excess, without arrogance, but this apparent lack of control and the beneficial conjunction with the orchestra. The truth of Thielemann is strongly transparent from its strong character. I do not only honor the effective direction, but they have an example, as in the pauses between the first and second movements of the music. The truth of Thielemann is that the essence according to a suppressed command, it is evident that he does not doubt to break the silence.

Colossal Interpretation of the 8th Symphony by Bruckner, with the Munich Philharmonic, within the XXIII Festival of Music of the Canary Islands

The defiant, waiting for them to finish. Not only with the basic directed, but also the sound of the Munich Philharmonic, the first note. Since the homogeneity and the convenient presence of the Munich material. The course of this large but entirely emotional sinfonia offers us numerous evidences of its extraordinary professionalism. In the same way, the work, to a great extent, is the fruit of the influence of the expression.

After the magnificent finale of the conductor, the gesture and the silence was stilled for a moment during the seconds, in an instant that seemed to congeal, until finally the long applause exploded, almost prematurely. It must be the impression that Thielemann maintained for some more time, perhaps out of respect for a genius that, curiously, was hardly well during his life. Through many critics, it is precisely the signs of an extraordinary march and the grandeur of the expression.

Beethoven about Bruckner (above all that the most profound mark of the Novena Symphony, that left him a profound mark) and supposedly by Wagner, the quest for the fundamental idea. Without doubt, he remained faithful and original to himself. The work of Bruckner is among the most recognizable, and that our knowledge of the coherence of the style. The movement of the 8th Symphony, very moderate, has a mysterious character of what emerges gradually from the silence, as if there were an instinctive scherzo, which was taken by Thielemann with the necessary fuerza and brilliant, but not too much force of the third movement absorbs to the subject of the harmonic tones, chorus of metal that maintained the coherence and the categorical ideas of an indistinct fortress, and lastly, the immense beginning of the fourth movement has the elemental feeling of the triumph that leads to the specifically colossal. The beginning of this fourth movement has the tremendous feeling implanted by the content of the energy that resumes from all eternity and the conquest of the consciousness to undertake monumental tasks, perhaps nothing has been created since that. Thielemann demonstrated an excellent medium to support this load, channeled and transmitted, as in the interior music that realizes the musical energy in sound.

After the magnificent finale of the conductor, the gesture and the silence was stilled for a moment during the seconds, in an instant that seemed to congeal, until finally the long applause exploded, almost prematurely. It must be the impression that Thielemann maintained for some more time, perhaps out of respect for a genius that, curiously, was hardly well during his life. Through many critics, it is precisely the signs of an extraordinary march and the grandeur of the expression.

El Dia, Tenerife, Spain
11 January
2007