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Тема: Дирижер Гюнтер Ванд (Guenter Wand)

              
  1. #1

    По умолчанию Дирижер Гюнтер Ванд (Guenter Wand)

    Несколько последних месяцев слушая Гюнтера Ванда и испытывая потрясение, равного которому не могу вспомнить, потрясение, которое временами прорывается восклицаниями, потому что комок в горле проходит, тишина давит изнутри и хочется всему миру (который, конечно, уже давно с ним знаком) прокричать свой восторг, захожу на форум и думаю - почему здесь нет отдельной ветки, посвященной этому дирижеру?
    Его Брукнер по прослушивании более десятка имен остается для меня почти единственным, его Шуберт, его Бетховен - исключительны.
    !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

    !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
    Остается знаками отгородить форумное пространство, и с муравьиным трудолюбием нанести травинок и песчинок с отзывами, статьями, интервью, цитатами, картинками и новостями о записях!
    Возможно, кто-то из музыкантов играл под его управлением - добро пожаловать, личные воспоминания особенно ценны.
    Информативные посты приветствуются.

  • #2

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    Статья из журнала Gramophone (июнь 1987)
    GUNTER WAND by Richard Osborne

    Educated in Cologne and trained in the rigours of opera direction in provincial pre-war Germany, Giinter Wand, 75, is one of the last surviving examples of the well-schooled German Kapellmeister. Sadly, the term has been increasingly linked with diurnal drudgery and interpretative dullness, though not all Kapellmeisters have been dull dogs. Karajan learned his trade in Ulm and Aachen at much the same time as Wand was learning his in Detmold and Cologne. And nowadays whatever music Wand is conducting, lucidity, vitality, and structural integrity seem to be the watchwords.
    Unfortunately, Wand has never been much noticed by the ringmasters of the international record scene, though latterly collectors have been able to acquire a handful of performances of important standard repertoire works—the Schubert and Brahms symphonies (EMI) and remarkable accounts of such things as Bruckner's Eighth (Deutsche Harmonia Mundi—nla) in performances which many of us have not heard bettered in recent times.
    Meet Wand, and you encounter a tall, slightly stooping man who speaks selectively articulate English and who is above all an enthusiast for music. In private he is affable and energetic, the kind of old gentleman who cannot resist taking you by the sleeve and imparting some newly discovered truth or time-honoured advice in the best traditions of a long-lost uncle.
    On the rostrum Wand's stooping figure gives him something of the air of a bird hovering over his prey. But two prevailing characteristics, his scrupulousness and his enthusiasm, show through, his beat oscillating between economy of gesture and a certain expansiveness. It is as if Richard Strauss's conducting technique had been crossed with Furtwàngler's, though the results Wand obtains are more likely to remind British audiences of the work of the late Sir Adrian Boult, a musician Wand talks of with evident respect.
    Wand's loyalty to Cologne, where he worked continuously from 1939 to 1974, and latterly to cities like Berlin, Hamburg, Munich and London which boast first-class radio orchestras, perhaps needs brief elucidation in this age of super-star conductors and the endless pursuit of what Wand calls the Perfektions-orchester.
    Though Cologne has never rivalled Berlin or Munich as Germany's musical capitals, it has a distinguished history of operatic and orchestral performance. The great Brahms interpreter Fritz Steinbach worked there in the early years of the century, where he was said, like Wand, to be a conductor of 'life and impulse' with, according to Toscanini, a gift for making the music go as it should go. After Steinbach, Hermann Abendroth conducted and taught in Cologne for 20 years. Klemperer worked there and the Giirzenich Orchestra occasionally boasted in its ranks men of Feuermann's calibre. So Cologne was not a bad place to be pre-war for a musician learning the ropes.
    Then, in the war, it was devastated. Wand will tell you how 87,000 houses were destroyed and how the population was reduced (decimated is too limiting a term) fro'm 800,000 to 40,000. In 1945, it seemed as though there could be no thriving life in the city again; and yet a great rebuilding—of spirits as well as houses—was initiated, much of it inspired by Konrad Adenauer who Wand knew well. Trained as an opera conductor, Wand now set about learning the symphonic repertoire. There were no records and, initially, little of worth on the radio. But there were scores and the old orchestral musicians who had survived the war years. Some of them shook their heads at his whims and inspirations; but they respected his enthusiasm and good faith and helped him simplify and purify his interpretations. To this day Wand holds rank-and-file orchestral players in the highest esteem.
    During the Cologne years, Wand's repertoire was a catholic one. He played not only the big nineteenthcentury German repertoire but also a lot of Stravinsky and BartOk (he made a celebrated recording of the Music for strings, percussion and celesta, and the Divertimento) as well as music by Messiaen and Cologne's most important contemporary composer Zimmermann, whose music Wand, like Gielen and Rosbaud, conducted with loyalty and understanding. Though Wand moved away from Cologne in 1974, it was there that the BBC's then Controller, Music—Robert Ponsonby—heard a radio broadcast conducted by Wand which lead to Wand's first BBCSO concert and his appointment, in 1982, as the BBCSO's Chief Guest Conductor.
    Radio orchestras have always suited Wand's purposes for the simple reason that they can usually afford, and actively encourage, lengthy rehearsal time. To prepare a taxing Mozart and Tchaikovsky programme (the G minor Symphony, K550 and the Pathelique), Wand asked the BBC for eight full rehearsals. By contrast, the Berlin Philharmonic, many of whose players are keen to engage Wand, will baulk four. It is in this respect that guest conducting with the Berlin Philharmonic (something Rattle is reported to have declined) is a dangerous undertaking. What role has a conductor with a top orchestra that assumes it both knows and understands the music on offer?
    Yet actually playing the music is always going to be difficult, Wand argues. The evening I had supper with him at the Hyde Park Hotel (Klemperer's former lodging) he had spent two exhausting hours working with the BBC orchestra on the motivating rhythmic sub-frame of the first movement of the G minor Symphony. (He had done likewise some months previously to produce a brilliantly propelled account of Beethoven's difficult First Symphony.) This, in a concert which also included the very taxing Patheiique. Wand had chosen to twin them because they are for him examples of existential despair in music. Most symphonists are optimists, Wand argues, noting that even the grimmest-starting symphonies manage to end in the major. Which is why works like the Mozart and the Tchaikovsky and Brahms's Fourth have such a special impact. Yet to expose players to the Pathelique after the Mozart requires special preparation. The string parts in the first movement of the Tchaikovsky are endlessly demanding, after which there is the March, dangerous, machine-like music, psychologically draining, which also makes ferocious demands on players' concentration and technique.
    And then there is understanding. Conductors who are fond of exegesis and public expostulation get, by and large, a bad press from players. "Klemps, you talka too much!" was how one diminutive New York oboist put down the mighty Klemperer in mid-flow on some matter pertaining to the Zeitgeist. But Wand insists that even in basic matters players need to be able to discuss problems and voice concern. As for preparing a work like Bruckner's Ninth, here it is imperative that the players understand what it is that the conductor has in mind. It's generally agreed by those who were present that Wand's performance of the Ninth with the BBCSO last November was one of the finest things heard in this general line in the Festival Hall's already distinguished history. One of the clues to its greatness as a reading rests in the approach to the final climax, a shattering deployment of the chord of C sharp minor out of which is miraculously born a close of immense consolatory power. In rehearsal, Wand analyses the chord itself in close detail and then patiently explains the way Bruckner transforms it in the coda. He also explains in broadly useful metaphorical terms the impact of the music for him ("a great cry of humanity for paradise lost", and so on). He also settles in the players' minds the importance of the moment as the culminating point of both the symphony and the concert. There is here a great weight of exposition but also a determination in performance to ensure that the music plays itself, the conductor's persona behind the music, never alongside it or in front.
    Here we are back with Toscanini's remark about the music going as it should go. But there is a further point of approach which nowadays is in serious danger of being forgotten: how best to select and integrate tempos. In the old days conductors were brought up on the idea of mathematically related pulses: slow introductions taken at tempos mathematically proportionate to the succeeding allegro, and so on. (Klemperer's famous mono Philharmonia recording of Beethoven's Fifth Symphony has Scherzo and finale in an integrated dotted minim = minim relationship, hence the Olympian ease with which the players are able to move into the march after the transition on the drum.) Wand's performances are shot through with such devices. Listen to the superb integration of tempos in works as superficially different as Schubert's First Symphony (with its slow introduction returning in mid-movement) ' and Bruckner's Third, where Wand gives this flawed prentice piece an inner coherence achieved by no other interpreter. Wand was brought up to look closely for the right tempo for the second subject of a sonata form allegro and then accommodate the first subject to that and not the other way round as often happens in performance. Along with this eye for proportion goes a love for musicmaking that is vital and cleartextured. No wonder once you get into a movement on record conducted by Wand it is usually impossible to get out of it until the final chord has sounded.
    For all his catholicity of taste, Wand is not afraid to admit to blind spots and interpretative exclusion zones: Reger, predictably, does nothing for Wand, nor, more surprisingly, does Sibelius. Orchestras, Wand warns, know when a man's heart is in the music and when it isn't; so best avoid composers you have doubts about. Mahler he has always admired as a major influence on music and music-making in the early years of this century. Wand considers the first movement of the Ninth as being in every sense masterly; but, as with Brahms, though for different reasons, he finds the inner movements of the symphonies less interesting.
    All of which is a pointer to where Wand's own aesthetic preferences ultimately lie. Just as Schiller made a useful distinction between the naive and the sentimental, so Wand separates out those nineteenthcentury German composers who speak objectively—Mendelssohn at one extreme, Bruckner at another— and those for whom composition is an exercise in Selbstwirklichung or self-realization. Schumann (whose symphonies Wand plans to record) and Mahler come into this latter category, as does Brahms, though like Boult, Klemperer, Sanderling and Toscanini before him, Wand, the great elucidator, tends to stress the more objective elements in Brahms's make-up as anyone who has bought his electrifying set of the four symphonies mentioned above will know.
    But it is Mozart, Schubert and Bruckner whom Wand treats with the greatest awe. A good deal of the art of Bruckner interpretation, says Wand, rests in a willingness to set him in a line that has more to do with the medievals, Bach and Schubert, than with Beethoven and Wagner. Wand first worked on Bruckner when the new texts were coming into being in the 1930s; but he also remembers dedicated musicians like Abendroth struggling with the Fifth Symphony "criminally" cut and rescored by Schalk. Wand reveres the work of the editor Robert Haas and regrets that Haas's reputation was soured by politics in the Nazi period.
    Though Wand has recorded all the Bruckner symphonies, he would like to re-record a number of them: the Ninth, if it can be contained on record in suitable sound, though not the Second, whose slow movement he cites as one of his best performances on record, or the Eighth. Typically, Wand records Bruckner in huge movement-long takes. In the Sixth there was the possibility of issuing a continuous account of the slow movement with just a couple of small re-takes; but Wand and the orchestra told the producer that this wasn't their style. So they did the whole thing again: "something," says Wand with an impish grin, "that is perhaps not possible with the Vienna Philharmonic".
    Wand and his wife now live in Switzerland where he is able to commune, Bruckner-style, with peasants, mountains and stars. It is an environment which suits a musician whom Hilary Finch, in a short essay in The Times, has credited with "meticulous stylistic truthfulness and a sense of time and space". Granted time and perhaps a more urgent set of schedules from his record company, Wand could yet leave us a recorded legacy of performances that will enshrine the old German tradition at its cogent best.

    http://www.gramophone.net/Issue/Page/June 1987/29/848683/GUNTER+WAND
    Последний раз редактировалось 9999; 11.11.2011 в 13:11.

  • #3

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    kjsdh629 тема "Дирижеры-брукнерианцы" цитата из из книги "Дирижеры о композиторах"
    (Conductors on Composers. John L. Holmes - author. Publisher: Greenwood Press. Place of Publication: Westport, CT. Publication Year: 1993. )

    "GUNTER WAND compared Bruckner with Mahler, and saw the difference in that Bruckner did not suffer any private catastrophe. He was an anachronism; he was like "a primitive block of stone" from an earlier century, something quite impossible in nineteenth-century Vienna. In Mahler's world "everything is personal"; he is the world itself, and "everything is broken apart." Bruckner's music is beyond self. He is never self-centered, and there is a cosmic sense in him. In some moments everything is still: "It shows the self and what is beyond the self." Wand added that he cannot perform music that is all self, and that is why he does not conduct Mahler. "
    (http://www.forumklassika.ru/showthre...=1#post1013029)


    LULU, та же тема:

    "С Вандом играла и с NDR и BFO.Wand был конечно совершенно уникальный Брукнерианец! Абсолютнейший педант в точности исполнения текста.Никаких вольностек, или капризов дирижера на публику у него не предусматривалось.В Берлине он раньше всегда отказывалься ,потому что они не давали ему достаточное количество репетиций. А ему надо было- неделя и не больше не меньше.Результат был просто сногсшибательный.Все сразу шло на пластинку.Я думаю -один из немногих дирижеров,который без всяких штучек- дрючек думал только о музыке. Все остальное ему было плевать.Музыка звучала как волшебство- сурово ,страстно,на концертах все впадали в транс.Кстати он был абсолютно не согласен с трактовкой Йохума,говоря ,что у него слишком много отсебятины,т.е. несоответствия авторским указаниям.Ванд как никто преследовал 100процентное следование тексту.Я могла бы еще многое рассказать ,но это потом!" (http://www.forumklassika.ru/showthre...ll=1#post44023)

    "Ванд был интересной личностью.Во-первых я не встречала еще такого педанта- в хорошем смысле.Авторский текст был для него наиглавнейшее.Ванд вообще был просто фантастически предан музыке и чужд всяким внешним эфектам ,как к примеру Эшенбах-который себя просто обажает! Для Ванда вообше не существовало ничего ,кроме музыки.И своего он добивался железно. Фанатик был неимоверный. Самодеятельности не разрешал. Все у него было обдуманно и все репетиции и концерты вел наизусть.
    Очень любил оркестр НДР.Некоторых солистов из НДР заставлял приглашать в другие оркестры, когда он там дирижировал.А в НДР тоже играли для Ванда только определенные солисты.Он тщательно обсуждал состав перед каждым концертом.Его репетиции были просто изумительные.
    Помню как в Берлине довел их чуть ли не до ручки своими требованиями.Но концерты были просто потрясающими.Почти все записи у Ванда -концертное исполнение.
    С Вандом я играла много и не только Брукнера.Так что в коротеньком постинге всего не расскажешь." (http://www.forumklassika.ru/showthre...ll=1#post45570)



    Вышедший на этой неделе в продажу новый диск ICA Classics
    BRUCKNER Symphony No.5 BBC Symphony Orchestra
    http://www.icartists.co.uk/classics/...ds/gunter-wand

  • #4

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    REPUTATIONS (Michael McManus) Gramophone, март 2005

    GUNTER WAND celebrates a career that was far broader and far longer than many admirers of the conductor might have realised
    When he died, on St Valentine's Day 2002, Gunter Wand's reputation seemed set. In his glorious Indian
    Summer he had at last been widely acknowledged as a master in the so-called AustroGerman 'core' repertoire — Mozart and Beethoven, Schubert and Bruckner — that he loved so much. His recordings from Hamburg and Berlin had earned lavish praise and numerous prizes and it was said he had become the best-selling living conductor in Germany. Indeed, despite the very limited repertoire that he had committed to disc, he was apparently the second-highest selling conductor of all there, behind only Herbert von Karajan.
    In respect of his personal qualities, however, Wand was seen in a less favourable light. In his later years he certainly did not become any easier to work with, and the few orchestras he still conducted became used to cancellations, stressful rehearsals and the day-to-day difficulties of looking after a frail, often anxious old man.
    Both of these reputations are riddled with canards. Wand was not just a Grand Old Man who remained undiscovered until his senescence and whose repertoire was confined to the mainstream of the 18th and 19th centuries. He had a long and distinguished career, right across Germany and beyond; and for decades he carried a torch for new music. Nor was he the peevish, self-centred imp portrayed by his malefactors. Like so many others, I always found him to be the most generous and engaging of hosts, once he had recovered from the physical and spiritual strains of the concert podium. So much for reputations.
    It is perhaps worth getting the personality out of the way first, because it does provide the key to the music. Most musicians who worked under Wand understood it was his perfectionism that made him so difficult. Like George Szell, whose work he much admired, he sought to 'rehearse the inspiration', always addressing the orchestra as liebe Kollegen' Near colleagues'). Bela Dekany, leader of the BBC SO for many Wand-led concerts in the 1980s and '90s, explains 'he needed and demanded long periods of rehearsal...as he had a firm, strongly held view of how the music should go, and on that he was completely unable and unwilling to compromise.. .with such intensive artistic work, it was inevitable that occasionally tension built up'. Wand also overcame bouts of severe depression, a broken leg sustained in his eighties and a major stroke that would have felled a lesser man.
    There was never any mistaking Wand's sense of utter humility in the face of the transcendental genius of the great composers. He described Mozart as his 'guiding star' and, as a lifelong and devout Catholic, said it was above all his works, plus those of Schubert and Bruckner, that reaffirmed his belief in the existence of the Almighty. Their wishes — as expressed in their scores — were his command and, however much he was feted, he never felt worthy of his own calling. After one of his astonishing Berlin Bruckner performances he tapped me gently on the hand and asked, with a gentle smile, 'did you find that satisfactory?'.
    Wand's intention, particularly in his performances of Bruckner's symphonies, was to realise, so far as possible, the composer's original intentions. He was an awesomely well-read man, who would immerse himself in the historical context of a work, reading autobiographies, biographies and letters. This helped him wipe away what he described as Traditionsschleim (the 'slime of tradition'). However often he had performed a work in the past, he would always prepare totally from scratch for a new performance — the score being his principal point of reference. The thought of a conductor imposing his or her personality upon the score made Wand feel 'physically sick'. Such subjectivity offended him deeply, which also explained why he excelled in the symphonies of Bruckner but found those of Mahler totally unappealing.
    Perhaps his favourite works of all were the unfinished symphonies of Schubert and Bruckner, which he liked to perform on the same concert programme. He did not regard them as 'unfinished' in any meaningful sense, once pointing out to me that both composers had plenty of time in which to complete the works. He was convinced they simply could not improve upon what they had already created. Listen to Wand's final recorded thoughts on both pieces and you may well agree.
    Wand loved audiences to share his sense of awe and respect for great music. He once told me of a performance he had given of
    Bruckner's Symphony No 9 in the Basilica of the Benedictine Abbey at Ottobeuren in Bavaria. The audience of several thousand people listened with complete concentration to the piece and, at the end, sat in silent contemplation for several minutes. Then, without a word or the tiniest ripple of applause, they gradually rose and began to leave, all in complete silence. Wand said this was the most moving experience of his entire musical career — 'they really had understood'.
    Wand studied in Cologne and Munich and learned his trade 'from the bottom up', combining precocious talent with the ability to work hard, as a composer of incidental music, repetiteur and even scene-shifter in provincial opera houses, also conducting operetta. Despite never becoming a Nazi Party member, he spent most of the Second World War as first music director at the Cologne Opera, where his repertoire was astonishingly broad. Sadly no recordings from his tenure survive.
    THREE RECORDING CAREERS
    Wand did, however, go on to have three recording careers. The first began in 1954, when he made the first of his 30 recordings for the subscription-only Club Francais du Disque, all but three with his Gurzenich players from Cologne. Nobody could pretend the quality of the orchestral playing matches that on his last few records, but the records do provide an unusual insight both into Wand's consistency of approach as a conductor and into the kind of sound a decent, but not firstrank, West German orchestra was making in the post-war years.
    This cycle of recordings is important for two overriding reasons. First, they give the lie to any suggestion that it was only as an old DATES FROM A CAREER 1912 Born in Elberfeld (now part of Wuppertal) 1918 Begins piano lessons 1924 Attends performance of Gypsy Baron and decides to become a conductor 1929 Begins conducting lessons with Franz von Hoesslin 1932 Repetiteur at Wuppertal Opera 1933 Conducts his first professional performance (Robert Stolz's Venus in Seide) 1934 Kapellmeister at Allenstein (now Olsztyn) 1936 Wuppertal premiere of Wand's Rilke-Lieder, with Elisabeth HOngen 1938 First Kapellmeister at Detmold 1939 First Kapellmeister in Cologne 1944 Cologne Opera bombed out — becomes music director of the state theatre at Salzburg 1945-48 General Music Director, Cologne 1947-74 Music director, Gurzenich Orchestra, Cologne 1958 First West German conductor to guest-conduct in the USSR 1974 First conducted (and recorded) his 'Symphony of Fate' — Bruckner No 5 1981 Chief Guest Conductor, BBC Symphony Orchestra 1982-91 Chief Conductor, NDR Symphony Orchestra, Hamburg 1989 US debut, Chicago SO 1995 Resumes relationship with BP° 2001 Final concerts, in London, Hamburg, Frankfurt and Wuppertal 2002 Dies at home in Ulmiz, Switzerland, at the age of 90 man that Wand mastered his calling. Second, they also provide the first solid evidence of the breadth of his repertoire when he was at the height of his powers. Even most Wand aficionados may be surprised to learn that he conducted the first performance in Germany of Vaughan Williams's Symphony No 5 and world premieres of pieces by contemporary composers such as Bernd Alois Zimmermann and Hans Braunfels, also introducing to Cologne major works by the likes of Poulenc and Stravinsky. He also led the German premiere of Messiaen's Trolly petites Liturgies.
    Testament has now released most of Wand's Gurzenich era recordings on CD and has an option on the remainder, including tapes of Brahms, Schumann, Webern's first cantata (with Wand's devoted wife Anita as soloist) and some BartOk. Perhaps the most interesting of those currently available are a collection of Haydn symphonies, a Creation with the young Peter Schreier, and a fine Missa solemn's. There is also a Beethoven Ninth, in preparation for which he amended the heavily marked-up scores and orchestral parts from the Gurzenich archive in line with Beethoven's own original manuscript.
    Wand's second recording career has, until now at least, never been available for exploration. Even before he left Cologne in 1974, he was regularly engaged by orchestras across Germany not only for concert appearances, but also for radio recordings in studio conditions. It is these performances that Wand's biographer and amanuensis, Wolfgang Seifert, has been unearthing in recent months on behalf of FHnssler Classics. We are promised a mouth-watering and seemingly open-ended selection of releases in the months and years ahead, as the vaults of various former West German radio stations are opened up.
    Wand's third and most familiar life on disc was for Deutsche Harmonia Mundi and RCA/BMG after he left the Gurzenich Orchestra in 1974. It centres on his work with the Hamburg-based NDR Symphony Orchestra. A fruitful collaboration between the NDR engineers and BMG generated excellent studio cycles of the Beethoven and Brahms symphonies and then a series of now almost legendary live recordings.
    All of them deserve praise, but I would single out the gorgeous pairing of Schumann's
    Third and Fourth Symphonies as perhaps unexpected treasure. Wand loved these works, just as he abhorred the composer's first two symphonies, and the Fourth in particular has an energy, a driving rhythm at its heart, that could almost redeem the composer's battered reputation as a symphonist all on its own.
    Bruckner's Symphony No 8, recorded live in a reverberant but evocative Lubeck Cathedral in 1988, is also a classic, as are two discs of 20th-century works — pieces by Stravinsky, Martin, Webern and Former and Pictures at an Exhibition paired with excerpts from Debussy's Martyrdom of Saint Sebastian, from Wand's first concert in charge of the NDRSO, in 1981. It is now possible to see Wand in charge of the orchestra one more time, both in concert and in an interview, on an impressive new BMG DVD. Further DVD releases may follow, featuring the conductor's annual concerts at the Schleswig-Holstein Music Festival — a tantalising possibility.
    Wand's Indian Summer also brought him back onto the podium of the Berlin Philharmonic Orchestra, which in 1996 honoured him with its Hans von Billow medal. All the concerts were recorded and all the CDs are worth exploring. Even Wand himself conceded that he did give freer rein to his 'musical emotions' in later years and there is ample evidence of that in these recordings. Nonetheless, their greatness is founded in simplicity and integrity, not in artifice.
    Above all they encapsulate the sense of beauty and timelessness which characterised this humble, devout man — a devoted servant of the music doing his best to clear away every tasteless or inappropriate accretion, so that its genius might be seen with clarity, unalloyed and pure. A true servant of the music? A fine epitaph, surely, and a welldeserved reputation.

    http://www.gramophone.net/Issue/Page...41/REPUTATIONS

  • #5

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    PURE MUSIC Gunter Wand talks to Stephen Johnson (январь 1992)

    I met Wand at his home near Bern in Switzerland last November. The conversation covered a wide range of subjects: his experiences during the War and the subsequent rebuilding of Cologne, musicians and composers he had heard and known, the problems facing the conductor in the age of "the career"; but the subject to which he returned again and again was music itself, and particularly the music of the Austro-German symphonic tradition in which he has been absorbed throughout his adult life. Often he would delve into details—scores were produced at the smallest prompting —but there was nothing in the least pedantic or fetishistic in this. Wand's conservation as he lead me through passage after passage had a quality I have come across rarely in making GRAMOPHONE interviews—a quality which I found in very different ways in listening to Pierre Boulez and Robert Simpson. Listening to them one senses that questions of tempo, harmony, orchestration, thematic change and so on are not abstracts but facets of a living process—ideal yes, but at the same time very real. Towards the end of our talk, Wand picked out a page from the Adagio of Bruckner's Seventh Symphony—the moment (figure S) where the theme retums for the last time to build to the great cymbal-topped climax. For a while he simply ran his finger over the first violin part and smiled. Some words of George Herbert came to mind: "A man that looks on glasse, On it may stay his eye; Or if he pleaseth, through it passe, And then the heav'n espie."
    Nevertheless, the conversation began with matters practical.
    In your recent records you've moved away from the studio in favour of the live concert recording.
    It wasn't planned. It was a discovery. A producer at Hamburg brought me a tape of a broadcast I made of Bruckner's Sixth Symphony. I realized listening to it that it was quite good enough to publish. More importantly, I still thought it was good when I heard it again, some while after the concert. I had often wondered how to get the atmosphere and the inspiration of a concert performance, and now I knew. If you have to make allowances—if people will say "oh but of course it's live"—that's no good at all. But this recording showed me that it is possible to record a concert with the technical excellence of a studio production.
    There must be special technical problems.
    Not when you have a good, attentive audience—as we usually do in Hamburg. Sometimes you get a cough right in the middle of a wonderful pianissimo (do these people have scores, I wonder?), but the way we do it is to take three concerts on consecutive evenings, so you can do a little editing if necessary. If the performances are as close as that then the interpretations will be virtually the same.
    A handful of conductors have been said to possess "perfect pulse"—a memory for tempo as accurate as others' for pitch. Do you have this kind of memory?
    No. It's as Luther said, ich kann nicht anders—I cannot do otherwise. It's not some fantastic memory—it's more biological, something almost secret. If you listen to the first movement of my Eroica you will think that the tempo is absolutely steady all the way through. But if you follow it with a metronome you will see that it is always changing. This too is a biological process—tension and relaxation. This means subtle changes, but there is always a ground pulse. Doctors say we all have our own ground pulse—somewhere around 70 to 80—and that there are faster pulses in moments of excitement, but they all relate to that one basic pulse.
    It seems that Beethoven often took pains to establish proportional relationships between his metronome markings.
    The trouble is that it's not certain how these markings came to Beethoven, and some were dictated to his nephew, Karl, and I think there are times when he must have got them wrong. But when he wrote dotted minim=60 in the Eroica . . . for me what matters here is that it is to be felt in one bar. That is the pulse—the heartbeat of the music. It is a different kind of movement from three in a bar. Two conductors could start out with the same metronome speed but if one thinks in single bars and the other as a very fast three it will be completely different. Think of the Allegretto of Beethoven's Seventh Symphony. It is 2/4, but it is first beat tenuto, second beat two light quavers, second bar no tenuto and now with a slur. The speed is not what counts. What matters is whether you make both bars stressed or do what Beethoven says and feel them as a big strong-weak pattern. The expression, the movement —everything changes when you do it this way. Now you have the dance. This is the character of the pulse—what I call biology. It's not just a beat—it's expression. Pulse can become louder, more emphatic, more intense, or softer, more tranquil, floating—what you will.
    This is important. Talk of tempo—or pulse—is too often dismissed as intellectualizing, but you are saying ...
    . . . that it is the life of the music—that it is a question of human existence. Speed is relative from age to age. In Mozart's day the mailcoach was fast. Now we can go everywhere in no time. Heartbeat is not relative. It is God-given. The pace of life today does create problems, however. There is too much stimulation, either by light, noise, speed, TV . . . For many the small changes in music are not perceptible anymore because they are so much used to the bigger stimulations.
    Has this affected the performances too? There is too much talk nowadays of a lost golden age of interpretation ...
    Yes, but ... When I hear music I do not want to feel that someone is interpreting it—that they are teaching me something. I cannot bear it. For me it is like the emperor's new clothes—underneath it is naked. There is a wonderful story told by Toscanini. After he had done Brahms's Second Symphony in London, an old man who had emigrated from Austria wrote to tell him of his memory of hearing Brahms conduct the same work—and how the music "went just like that". No interpreting. And it was the same when Toscanini did it. That is wonderful. Wonderful.
    I have to ask at this point how you view Furtwangler? For some he represents the pinnacle of the con ductor's art; for others ...
    Before the War I heard Furvangler conducting Beethoven—Leonore Overture No. 3. I found it tremendously inspiring. For years I treasured this memory. Then I heard him again after the War, when he had permission to conduct again—in Berlin. My wife Anita and I went together. I kept telling her, "You are going to hear the most fantastic things!" He did Beethoven's Fifth Symphony. And at the end Anita looked at me as though to say, "Are you mad?" It was terrible. The next day I was rehearsing with the Berlin Philhamonic, and in the break the principal cellist came to me and said, "You must admit, it's not possible to do it better than what we heard last night!" So I said, "Before the finale there are four bars' crescendo, with quavers in the strings. I saw you make a big tremolando, and the timpani makes a roll and you wait and wait and then . . ." He said, "Oh yes, perhaps the Doctor makes too much there." And before long there was "perhaps this" and "perhaps that". And this man had said that it couldn't be better. But Furtwangler couldn't leave these "big moments" alone. He used to add a drumroll, crescendo, before the cymbal in Bruckner Seven, Adagio. Schweinerei! It is shameful!
    Furtwanglerians would probably say that this was the composer in him—that he wished he had written this music himself.
    Who wouldn't have wanted to write this music! But it is vital to recognize your calling. If you are a composer, you create. If you are a conductor you are there to serve—to serve the music, not your own ego, no matter how much of a genius you think you are. Otherwise it is vanity. Megalomania.
    Going back to Bruckner, it's con- ventional to identify the spirit of this music as religious—bearing in mind Bruckner's intense, and rather strange, Catholicism. Is that an adequate description?
    For years Bruckner has had this image—a very pious, naive Catholic peasant. It makes me so angry. I have always thought that Bruckner's music is . . . well, all great music has a philosophical background. But the ways people 'explain' it! I remember when people used to find all this nationalistic pathos in Beethoven. Hans von Billow used to add trombones to the coda of the Eroica and he wrote a text for the theme—/n eisern fest, in treuer stark, "In iron clad, strong and true"—Bismarck! Some still make this association. Terrible. And it's similar with Bruckner. Some friends of mine cannot listen to Bruckner because they have been told it's all about Catholicism. Bruckner is absolute music. When you approach it as music, then you find the truth that is hidden behind the notes—but not if you force upon it these ideas. Beethoven said that music is more than all philosophy and science—and that is just as true for Bruckner.
    But there are works in which the programmatic, autobiographical element has to be considered. Some see Bruckner's Ninth as a more personal kind of drama.
    There is no private catastrophe in Bruckner. That is what makes him so utterly different from Mahler. When you consider the time in which Bruckner wrote, he seems to me like an Urgestein—a primitive block of stone from centuries earlier. In this burgerliche world of nineteenth-century Vienna he just seemed impossible. When you come to Mahler everything is personal. The world is himself. Everything is broken apart. As Goethe's Egmont says, Himmelhoch jauchzend—zum Tode betriibt, "rejoicing to the heavens—cast down to death". Bruckner is never like this. In him is nature, the cosmic sense. There are moments in him when it seems everything is still, but really it is moving very slowly, like watching the movements of the stars in the feeling—there must be—but the music is never self-centred. It shows the self and what is beyond the self. Music that is all self I cannot do—that is why I never conduct Mahler. And even when I did new music, I always did only music that convinced me. The music on my new "Modern Pictures" disc is music that has particularly convinced me over the years.
    Are you quickly convinced, or do some pieces take time to reveal themselves?
    That's quite a question! For a long time when I started I was only an opera conductor. In my first season in Cologne I had more then 20 operas to conduct. We began with Flying Dutchman, Donna Diana by Reznicek, Humperdinck's Konigskinder. Until then I had done five or six operas in total. Later when I began with the Gurzenich Orchestra I had to do the Matthew Passion, Haydn's Harmoniemesse, Beethoven Choral and Missa solemnis—all works I had never done before. There was no radio, no records, it wasn't possible just to go to the next big town to hear other performances. So all I could do is take the score to the piano and shut the door and learn them—totally alone. I'm sure I made mistakes. But for me it was so exciting—so convincing to discover music like this. This independence fom the possibility of comparison was so important. I had only what the composer wrote. I must say that the musicians were marvellous with me—they really responded to my ideas. And the encouragement and help they gave to me—fantastic!
    What kind of condition was the orchestra in after the War?
    Before the War there were 110 players, afterwards 65. But that is nothing compared to what happened to the people of Cologne-780,000 before, 40,000 after. More than 87 per cent of the city was destroyed. We had to play in the University Hall, there was nowhere else. It was an unbelievably hard time. The winter of 1946-7 was terribly hard. There was nothing to eat, nothing to make heat with. When we did the Choral Symphony, there was paper in the windows instead of glass. The audience were all heavily wrapped up. The musicians shivered. When the chorus sang you could see their breath like a great cloud. But it was fantastic. Afterwards I met an Englishman who said that this performance had made more of an impression on him than all the devastation of Cologne. Those years after the War—you cannot imagine what happened then. It was like a rebirth.
    The orchestra itself must have needed rebuilding—spiritually and in terms of sound—after the War.
    During the Hitler years modern music was not played—it was forbidden. After the War we were free again to discover these important pieces —Bartok, Stravinsky—it was a new adventure. I always say that if you know Stravinsky you will conduct Beethoven differently. So for us working with modern music was like a filter. So Beethoven doesn't come from Brahms any more—it isn't romantic Beethoven, but a Beethoven seen with washed eyes.
    There is a noticeable movement away from the 'late romantic' Beethoven nowadays, and not just amongst the period instrumental- ists. Sir Charles Mackerras described his Choral as an attempt "to represent Beethoven's Ninth Symphony rather than Wagner's".
    But in those days everybody played the Ninth from parts where you couldn't read the original for what had been written over them. Wagner, Mahler, Weingartner—they all made their `improvements to Beethoven. So I made up my mind to do what Beethoven wrote. I had to wait until after the currency reform in 1948, but then, even though I had very little money, I bought the complete material for the Ninth Symphony and put it on the music stands—with no alterations. The musicians were astonished. But I said, "I have a request. Please play for me just once what Beethoven wrote—I only want to hear how it sounds". And of course Beethoven won them over. And when we made our record this was the first time it was done with not one note changed. Not even added octaves. I'm very proud of that.
    Such an approach is no longer quite so unusual. Many more discrepancies between what has been played and what is written have emerged, and then there's the period instrument movement. Do you feel any affinity with what its exponents are trying to achieve?
    On the whole I think it can be good if they don't make a religion out of it—then it's dangerous. People become very narrow and dogmatic. They say we must do Bach with th numbers he had, but we have letter from Bach in which he begs for more instruments and singers. Yes, it is very interesting to hear something like the sound these composers heard in their day, but it would be infinitely more valuable to have a recording of an improvisation by Beethoven or Bruckner. It would be there that you would find the information that matters—and of course it's impossible. The trouble is that it's too easy to be different, to question a tradition, and not look in the heart of the problem. That is very much of our time. And then there are these people who base everything of the artist's life—who say that Schubert's music is explained by his syphilis or Bruckner's by his sexual frustrations. The life does not explain the music. If anything it is the other way round. But these sniffers—they are so typical of our time.
    Mention of Schubert brings u nicely to your new recording of the Great C major Symphony. This is your second version, yet I understand that you came to the world rather late.
    I did it first when I was 60 year old. It was like the Fifth of Bruckner—I heard it often but I was never happy with it. And now they are both great loves of mine.
    Have your ideas about Great major changed at all?
    In the first movement, where the introduction moves to the Allegro, no longer do this Furtwangler accelerando. I stay in tempo until the Allegro begins. But for that first tempo itself my thinking is now quite different. The introduction is not 4/4 but alla breve. If you can't imagine it is two then it's wrong. Again it's not matter for the metronome, but you must feel it as two steps. It's the same with the Adagio of Bruckner Five—again alla breve. You must feel the swing of the crotchet-triplets—like a pendulum—otherwise the two against-three later on doesn't work. When it swings the rhythms almost play themselves. And it's the same in the Schubert. When the horn theme is taken up by the woodwind and the violins decorate it in triplets, if you take it in two them suddenly these figures flow. I have also made the second movement a little more free—but that is less easy to explain.
    Your reputation outside Cologne and Hamburg now rests largely on your recordings of the Viennese repertory—Beethoven, Schubert, Brahms, Bruckner. Do you feel they give a representative picture?
    There is no opera there, so how can it be? And I have done so much new music in my time—and when I took up Webern in the early 1950s he was largely unknown. Only now is a document of this appearing on Compact Disc. And yet my three greatest loves are Mozart, Schubert and Bruckner. Beethoven is a giant of course—he is for me the essence. But . . . I can see how he worked, how he struggled and why it is great. I can't see how they did it. There are so many things in their music—the ground, and the colours and lights of the forest as we can see it now, red, gold . . . That is beyond understanding.

    http://www.gramophone.net/Issue/Page...RE#header-logo
    Последний раз редактировалось 9999; 14.11.2011 в 15:55.

  • #6

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    Цитата Сообщение от 9999 Посмотреть сообщение
    Его Брукнер по прослушивании более десятка имен остается для меня почти единственным ...
    Очень интересно !
    Для меня Брукнер ещё совсем неизвестен, но имя Гюнтера Ванда знакомо и ещё я знаю, что Ванд записал несколько комплектов Брукнера, какой именно, Вы бы посоветовали для начала?

  • #7

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    Цитата Сообщение от Ёрик Посмотреть сообщение
    Очень интересно !
    Для меня Брукнер ещё совсем неизвестен, но имя Гюнтера Ванда знакомо и ещё я знаю, что Ванд записал несколько комплектов Брукнера, какой именно, Вы бы посоветовали для начала?
    Записи с кёльнцами мне не очень нравятся – уровень оркестра не очень высок, что не может не сказываться. Записи с Berliner Philharmoniker - оркестр, конечно, высочайшего класса, и возможно, в этом проблема (для меня) – ощущение собственной воли оркестра и какой-то инерции исполнительства, отличной от мысли Ванда (что , сами понимаете, чистейшая фантазия с моей стороны). Впрочем, я слышала только 4,5 симфонии. Есть еще 7,8,9 с ними.
    Очень неплохая коробка с DSO Berlin, хотя мне там нравится больше не Брукнер, а Шуберт и Бетховен:
    http://www.amazon.com/Wand-DSO-Recor...1084710&sr=1-5
    С мюнхенцами неплохие записи, но все же…
    Лучшие записи – с гамбургским NDRSO, которым он руководил с 1982 года. Такого уровня взаимопонимания, такого слияния и такого качества исполнительства я больше не встречала. Чистая музыка, вдохновенная и строгая – без швов, без видимых стыков музыкальных фраз, без мысли об интерпретации, о труде музыкантов, о темпах, динамике и музыкальной мастерской (о чем говорил Ванд в вышеприведенном интервью ). Коробки, конечно, соблазнительны, но отдельные СD заслуживают не меньшего внимания.
    Есть коробка с записями в Японии – надо поискать, не видела ее в продаже, я переложила ее с рутрекера на файлообменник - послушайте!
    http://s011.radikal.ru/i315/1110/b7/00c4230ab149.jpg
    http://s017.radikal.ru/i434/1110/f8/65e0d3d8a5f7.jpg
    http://s11.radikal.ru/i183/1110/6b/15f2d2219ab9.jpg
    http://s017.radikal.ru/i420/1110/be/ee2b87c2f789.jpg
    http://i076.radikal.ru/1110/17/818ad1206ffd.jpg

    3-я - http://www.megaupload.com/?d=JI1RTX3F
    4-ая - http://www.megaupload.com/?d=2GWWEMTY
    5-ая - http://www.megaupload.com/?d=TAIKLIJK
    6-ая (1988 год) - http://www.megaupload.com/?d=WCPZNRSQ
    6-ая (1995) - http://www.megaupload.com/?d=780V6UJH
    7-ая - http://www.megaupload.com/?d=EMOFG00R
    8-ая - http://www.megaupload.com/?d=ZELQ2PUC
    9-ая - http://www.megaupload.com/?d=KQ5SU7VR
    Исключительные записи (DVD) сделаны на музыкальном фестивале в Шлезвиг –Гольштейне, в Любеке : 6, 8 – шедевральны. 7,5 очень хороши , только 9-ая симфония записи июля 2001 , на мой взгляд, неудачна - 89 лет дирижеру (хотя в том же концерте 8-ая Шуберта исполнена без всяких скидок на возраст – гениально).
    http://www.amazon.com/Gunter-Bruckne...1084710&sr=1-6
    http://www.amazon.com/Gunter-Boxset-...1084710&sr=1-8
    Возможно, у кого –то другое мнение – высказывайтесь
    Последний раз редактировалось 9999; 16.11.2011 в 14:00.

  • #8

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    Ух ты !

    Есть над чем поработать ...

    Большое спасибо, для начала, закажу ка я DVD на Амазоне.

  • #9

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    из буклета:

    "In a radio conversation with the author of this lines, Gunter Wand once admitted "it took me a very long time not just to recognize the magnificent arches of the architecture of Bruckner`s works – even that took me a long time – but to achieve the necessary calm to convey them in performance. In Bruckner`s work, in these gigantic blocks from which the architecture of his symphonies is fashioned, the thing that moves me – in (I might almost say) an unreal way – is something like the reflection in the music of a cosmic ordering, something which I feel is not measurable in human terms. And I would love to try to let this background to Bruckner`s music, this reflection of divine order, become obvious, to make it clear."

    Wolfgang Seifert

  • #10

    По умолчанию Re: Дирижер Гюнтер Ванд (Gunter Wand)

    Gunter Wand - Some thoughts on Bruckner`s Ninth Symphony

    "Concern with the primitive forces of rhythm, the conflict of odd and even in the dimension of time, is a characteristic of all the symphonies of Anton Bruckner. It plays an important part in the shaping of themes where duplets and triplets follow one another, taking up an equal length of time. It is even more important in the form of rhythmic counterpoint, when forces which by nature repel one another are at length compelled to coexist in the same period of time. This rhythmic dualism is quite peculiar to Bruckner and it represents a driving force in the mighty beat of his symphonic style, coming from within and setting all aglow. We are dealing now with a content which points far beyond the techniques of rhythm in music. This dualism seems to have a symbolic force, standing for the irreconcilable elements in human nature and for the longing to transcend them. It is Bruckner`s firm grasp upon the interdependency of time and space which forms the mortar binding together the blocks of primitive stone out of which his symphonic cathedrals are built. The architecture of Bruckner`s music is different from that of the classical symphony in which the thematic material underwent development. In Bruckner`s music it means the confrontation of thematic blocks and the achievement of satisfying balance between them, a balance both in terms of tone-colour and in terms of time-space dimensions. The confrontation of odd and even rhythmic values and the attempt to fuse these together in the same period of time can lead to tremors and eruptions which are truly volcanic and, indeed, seem not far removed from cosmic events. Sometimes note value are doubled or trebled as, for example, when triplets in quavers are transformed directly into triplets in crotchets and minims. The effect of this is not so much to slow down the tempo as to increase the feeling of space (cf. the finale of the Fourth Symphony).
    There are passages in Bruckner`s music where the laws of tension and relaxation seem no longer to obtain. Different rhythmic impulses of a similar quality are formed into layers, some of which then move at double the pace of the others. A strange phenomenon is produced, the form has musical motion, yet the effect is static. It is like viewing the stars of the nightly firmament, which take their courses but seem to stand still. It is only for moments that Bruckner`s music moves into such dimensions. The « development» in the first movement of the ninth and the ppp stretto in the fugal finale of the Firth are examples.
    In all this we do not have the feeling that such affects of rhythmic energy are studied or calculated – as if they were a display of particular subtlety on the composer`s part. (For that, we may look to the oboe`s 4/4 departure from the prevailing 6/8 metre of Mozart`s Oboe Quartet). On the contrary, the compelling power of this inspired passages in Bruckner seems formed by nature and totally in keeping with the natural form and beauty of those unique themes.
    The Ninth is rougher in sonority in comparison with the earlier symphonies and sometimes it seems as if Bruckner were consciously dissociating himself from them. It is due to his completely uncompromising treatment of polyphony, something which offends some ears at first hearing. It expresses renunciation of the world and inner truthfulness which, after so many ecstatic visions of glories beyond the grave, is not afraid to expess the dissonances of the deepest chasms. This fearful cry, in which man`s weeping for paradise lost seems to echo on to the end of time, can find of its own no solution, no deliverance. Silence follows. Then the step is taken towards the security of the faith. The music seems to throw off the bonds of matter, and from now on until the transfigured conclusion the music pulses in the certainty of the non confundar in aeternum."

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