{"id":45698,"date":"2023-06-30T09:34:39","date_gmt":"2023-06-30T07:34:39","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=45698"},"modified":"2023-06-27T11:17:45","modified_gmt":"2023-06-27T09:17:45","slug":"osr","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2023\/06\/osr","title":{"rendered":"Piano concertos and exotic birds"},"content":{"rendered":"<figure id=\"attachment_45700\" aria-describedby=\"caption-attachment-45700\" style=\"width: 1601px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-45700 size-full\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann.jpg\" alt=\"\" width=\"1601\" height=\"1041\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann.jpg 1400w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-300x195.jpg 300w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-1024x666.jpg 1024w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-768x499.jpg 768w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-1536x999.jpg 1536w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-269x175.jpg 269w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-538x350.jpg 538w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-1230x800.jpg 1230w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/OSR_credit_Niels-Ackermann-920x598.jpg 920w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\" \/><figcaption id=\"caption-attachment-45700\" class=\"wp-caption-text\">The Orchestre de la Suisse Romande in the Victoira Hall, Geneva. Photo: Niels Ackermann\/OSR<\/figcaption><\/figure>\n<p>On its latest CD for Pentatone, the Orchestre de la Suisse Romande presents a successful compilation of works of classical modernism, whereby not only the selection but also the order of the recording is convincing. First up is Maurice Ravel's famous Piano Concerto in G major from 1931, followed by Olivier Messiaen's <em>Oiseaux exotiques<\/em> The \"trilogy\" concludes with Sch\u00f6nberg's Piano Concerto op. 42 from 1942.<\/p>\n<p>Under the direction of its chief conductor Jonathan Nott, the orchestra plays with great precision and versatility. In Sch\u00f6nberg's Piano Concerto, with its hidden autobiographical program, the four parts of the formal one-movement work are clearly audible: one example is the expressive gesture of the second section, which leads abruptly and movingly into the sombre and tragic third section, a kind of funeral march. However, the orchestra also has a first-class pianist at its side, Francesco Piemontesi, who has an excellent command of Sch\u00f6nberg's tonal language in terms of touch and interpretation.<\/p>\n<p>Somewhat less convincing are the <em>Oiseaux exotiques<\/em> turned out. The orchestra sometimes \"chirps\" a little too pompously, which is already announced at the beginning with the first two horn calls of the Indian Maina and reaches its climax in the large tutti of the main section. Piemontesi does, however, provide relaxation and finesse.<\/p>\n<p>If the works by Sch\u00f6nberg and Messiaen are completely tailored to Jonathan Nott's style of interpretation, Ravel's witty and varied piano concerto raises a few question marks. The first movement with its jazz overtones lacks a bit of sparkling esprit and the second the French lightness. The Presto, on the other hand, is highly concise and virtuosically played by Piemontesi, an ideal lead-in to Messiaen's exotic birds.<img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-45701 size-medium\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-300x300.jpg 300w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-1024x1024.jpg 1024w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-768x768.jpg 768w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-1536x1536.jpg 1536w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-2048x2048.jpg 2048w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-175x175.jpg 175w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-350x350.jpg 350w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-800x800.jpg 800w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-920x920.jpg 920w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-1400x1400.jpg 1400w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-250x250.jpg 250w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-150x150.jpg 150w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-100x100.jpg 100w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-24x24.jpg 24w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-48x48.jpg 48w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele-96x96.jpg 96w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/06\/07_crit_cd_Naegele.jpg 1000w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p><em>Schoenberg, Messiaen, Ravel. Francesco Piemontesi, Orchestre de la Suisse Romande, Jonathan Nott. Pentatone PTC 5186 949<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>Francesco Piemontesi and the Orchestre de la Suisse Romande play Sch\u00f6nberg, Messiaen and Ravel. <\/p>","protected":false},"author":29,"featured_media":45700,"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":[29,1420],"tags":[2636,2635,2639,2637,2638,2640],"class_list":["post-45698","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen","tag-francesco-piemontesi","tag-jonathan-nott","tag-messiaen","tag-orchestre-de-la-suisse-romande","tag-ravel","tag-schoenberg"],"acf":[],"yoast_head":"<!-- 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