The triumph of non -recovery

The peak of the Moscow concert season was passed - 4 concerts played the most legendary orchestra of the world, Vienna Philharmonic in the Chaikovsky hall. In recent years, he has been in Moscow with Gergiev and Barenboy, but in this case we are talking about incredibly duty - five -day - presence and very serious statement. Thanks to the organizational talents of the Musical Olympus Foundation, Moscow has replenished the list of cities-senior cities, who received a full cycle of Beethoven symphonies, this corps of sacred classical musical texts, with the first-handed by German conductor Christian Tilemane behind the remote control.

"Exemplary German" in modern Europe sounds a dubious compliment. A strong, chic-broken 54-year-old Tilemann, who managed to work as an assistant Karayan, is the current chief of the Dresden Staatspellla, an idol of the dynasty Wagnerian Bayroit than a native multicultural Berlin, lost in a battlefield with a barenboy. As they say, he brings with him a portrait of Frederick the Great everywhere. Only the Golden Austral-German classics recognizes, in which he is God. Beethoven, Brams, Brookner, Wagner, Richard Strauss. Well, that's enough.

"Fascist or isn't it a fascist?" -It was fun discussed in the intermission and crawled on Facebook after the first concert that ended in the fifth symphony (the symphonies did not go according to chronological order, but in accordance with the concert-program logic, and the first day final-so fate knocks on the door "to please the sponsors). How else to explain this non-alternative pressure of pre-major chords, this confident and pleasant stability, this undisguised proud joy, is the lack of signs of questions, quotes, postmodern reflection and triple subtexts?

Nine Symphony Beethoven after Nikolaus Arnoncura with his archaeological surveys, ancient instruments and saving ecology! After Paavo Yarvi, who turned Beethoven inside out, like a modern director in classic operas! After Maris Jansons, who performed the full Beethoven cycle mixed with modern, specially composed opuses! Yes, you never know after what. And here - as if from the time of Karayan nothing had happened worthy of attention. But at the same time - with such a possession of the form and with such a sense of the orchestra that the entire skepticism is swept away.

An amazing planet flew past us - without plastic, nanotechnology, telluric nails, political correctness and Chinese. Aryan appearance orchestra of transcendental quality, four women in which are a minor concession to the current equality of sexes and at the same time - so that there is someone to give the conductor the flowers presented to him. The violins and alt, hanging during the performance behind the first remote control in case (suddenly the string bursts), sort of spare wheels, the limit of perfectionism and orchestral snobbery, the branded chip of the crowns. In the middle of the cycle - one expensive day for rehearsal: quality is more important than prices in a five -star hotel. Miracle duplicates are more than one composition-they are cherished, not used for wear. The first violinist Rainer Kyuhl with a reference balding and wise eyes with condescending ethnographic interest studies the delighted Aboriginal audience of Tchaikovsky’s Hall, and with a conductor, during the game, excludes with such an understanding, equal smile that it is impossible to look away from them. Restrained smiles flash on the faces of other orchestrandants. Viennese Philharmonics, an orchestra without the main conductor, famous for their complex character and arrogance, are clearly found with a tileman (all symphonies, by the way, by a well -being) a common language.

In general, the fascist is not a fascist, but four concerts of the crowns and Tilemann - as a pilgrimage to the challa bowl, an experience with which it is not easy to compare any other proposal of the Moscow posters. Surprisingly, the audience on the crowns gathered quite Philharmonic. Although tickets for a full cycle, say, for two - it is not just expensive, it is a solid investment (it was considered a great success to buy 7,000 rubles). With the exception of the day Sunday concert, they didn’t clap between the units, they almost never called the mobile phones, the flowers were carried and carried, and in the end they arranged a standing ovation with a whistle and for a long time did not let go of their beloved Tilemann, hurrying to the aircraft.

For me personally, the most important points of the Beethoven route were: the cheerful fifth, the third with a convincing mourning march, the sixth with wonderful pastoral rollbacks of the winds. During the first and second, the achievements of authenticists were still remembered. The seventh frightened with straightforwardness.

But everything outweighed the ninth, the completed the cycle (choir of the Popov Academy of Art and the poster-international team of soloists: Soprano Sun Yang CEO, Matszo-Soprano Svetlana Shilova, tenor Steve Davidlim, bass bariton Robert Hall). Tilemann made almost impossible. The music of Olympiads, anniversaries and mobile phones, blurred and long turned into a monument to itself, spoke to us again. Her main event, in my opinion, was the third, slow part - with its impossible, aristocratic, harmonious and leaving beauty, which you want to do not want - you have to say goodbye. And then - a sharp contrast, all these torments of a hatching, inevitable, oblique new world, where millions are hugged under Schiller's poems. And the army bravado of plates and piccolo flute does not hide some barnity of what is happening. And everything is very loud, quickly and cheerfully flies somewhere in tartarara. I don’t know, maybe all this was frightened to me, but it seems that here, during the most sacred for modern Europe, the Beethoven text, Tilemann nevertheless allowed himself a little postmodern irony.