Re: Jonathan Nott

Psanquin 4/10/2009, 20:46

FGT escribió:debería ser la de Bernstein con Berlín, con los riesgos que acarrea considerar una versión de Lenny como referencia. Pero es que esa sinfonía, creo yo, está en el vector más puramente emocional de Mahler, y allí Lenny (y nosotros con él) se mueve a sus anchas...

Muy jugoso tu mensaje FGT. Cito esta frase por que me parece especialmente atractiva. Coincido en esos riesgos que citas y que también a mi me producen reparos para considerarla referencial. Pero lo cierto es que en su estilo Lenny es sin duda referencial

Felicitaciones a Moreno por tan buena aproximación a esta versión de Nott. Yo creo que todos quedamos a la espera de su reseña (¿por qué no para la página?, me atrevo a preguntar).

Que bueno. Hemos pensado lo mismo y así se lo hemos pedido. Moreno, es ya por aclamación popular Very Happy

Moreno 4/10/2009, 23:30

Psanquin escribió: Que bueno. Hemos pensado lo mismo y así se lo hemos pedido. Moreno, es ya por aclamación popular

Evidentemente que acepto la posibilidad que me dan de escribir una crítica para gustav-mahler.es y más de una novena como esta, para mi de verdad que es un honor. Ya mismo me pondré a study

Psanquin 5/10/2009, 01:32

Te tomamos la palabra entonces brindis

Moreno 20/10/2009, 17:52

Psanquin escribió:Te tomamos la palabra entonces

Labor cumplida Very Happy

¿Alguien más ha escuchado la Novena interpretada por Nott y la Bamberger Symphoniker?
¿Alguien me podría dar su sincera opinión?
Quien no lo haya hecho les repito: ES UN PORTENTO DE INTERPRETACIÓN Jonathan Nott - Página 2 367260

. Corred a la tienda más cercana, corred por Internet a Amazon o a DIVERDI. Después cuando ya no se consiga no me vengan a decir nada. Jonathan Nott - Página 2 552758

Yo de momento ya tengo claro la mejor grabación mahleriana del año y cada vez que la escucho de nuevo estoy más convencido. Twisted Evil

Robertino Bergamasco 20/10/2009, 23:02

Moreno 21/10/2009, 00:17

Robertino Bergamasco escribió: Por cierto Moreno, felicitaciones por la reseña

Muchas gracias Robertino. Very Happy

Muy interesantes tus apreciaciones sobre esta Novena, que quieres que te diga que ya no haya dicho antes, me tiene enganchado. Mientras más la escucho más me gusta. En esta interpretación todos esos infinitos detalles de los que hablas se refractan de una manera maravillosa, cada detalle, cada intensidad, cada pincelada. Todo eso sin perder el equilibrio general de la obra, profundamente analítica pero sin perder una pizca de emoción, de picardía, de ironía. Lo que cuentas en cuanto al final me parece interesante, yo también he observado esa expresión panteísta o "pastoral" como bien dices, lo que sucede es que con varias escuchas, sobre todo al ir descifrando el significado del primer movimiento que guarda estrecha relación con el último, ese movimiento final también se puede mimetizar de un modo desolador, es complejo el tema. Esta Novena es profundamente ambivalente y es en eso en lo que también me satisface ya que la música de Mahler en general es muy ambivalente, pero no todas las interpretaciones, o mejor dicho, casi ninguna logran de una manera tan clara ofrecer esa ambivalencia.

FGT 21/10/2009, 04:48

¡Me uno a las felicitaciones! Jonathan Nott - Página 2 367260

Ignorante 21/10/2009, 12:38

Moreno, ¡¡¡ te han traducido al inglés !!!

http://gustavmahlerboard.com/forum/index.php?topic=1012.0

Está claro que este foro es lo mejor de lo mejor.

Moreno 21/10/2009, 15:06

Ignorante escribió:Moreno, ¡¡¡ te han traducido al inglés !!!

Como se mueve el jefe Cool

, vaya tela marinera silent

, de donde habrá sacado al traductor Suspect

, me recuerda a Aznar en las Azores tratando de comunicarse con Bush Razz

Aprovecho la “traducción” para también traerme del gustavmahlerboard.com, una crítica de Andrew Achenbach y un comentario de John Kim.

Mahler
Symphony No.9 Bamberg Symphony Orchestra
Jonathan Nott

Recorded 15-19 September 2008 in Sinfonie an der Regnitz, Joseph-Keilberth-Saal, Bamberg

CD Number
TUDOR 7162
[2 SACDs]

Duration
83 minutes

The Bambergers continue to flourish under the stewardship of Jonathan Nott, as this utterly engrossing, big-hearted Mahler 9 readily attests. Not only is the painstaking preparation evident in every bar, Nott’s enviably lucid, scrupulously observant and pungently characterised interpretation seems to gain in stature on each new hearing – definitely a good sign! Nott plots a formidably sure-footed course through the towering first movement; I like the absorbing sense of organic growth, shrewdly graded dynamics and acute awareness of the bigger scheme – all achieved without any sacrifice in terms of edge-of-seat drama or emotional force (witness those stentorian trombones and explosive timpani from 19’35”). As ever, Nott’s adherence to an ‘old-school’ orchestral layout is entirely beneficial (time and again, the antiphonally placed first and second violins impart an added grit to Mahler’s riveting contrapuntal workings), and he has a flair for unearthing detail in a way which consistently ignites the imagination. In the second movement you’ll encounter some irresistibly ‘vocal’ winds (plenty of tangy local colour here), and Nott gauges the music’s mounting instability with genuine mastery as the initially gawky and playful mood turns grotesque, macabre and ultimately downright nasty. He brings a comparable rigour and perception to the ‘Rondo-Burleske’, whose malevolent coda he whips into quite a frenzy. Underpinning everything, though, the keen sense of architecture remains: there’s never a whiff of flashy showmanship, and Mahler’s muscular fugato passages have an exhilarating grip – the counterpoint really does leap off the page. The finale is most moving in its unexaggerated intensity and firm control, the Bamberg strings responding with an honesty and tireless application that more than compensate for any last missing ounce of sumptuous tone by the side of the ‘big boys’ in Berlin, Vienna or Amsterdam. During the transcendent coda you can intermittently hear birds twittering in the rafters of the Joseph-Keilberth-Saal (the effect is oddly touching – I think the composer might even have approved). Otherwise, the production-values in this joint venture between Tudor and Bavarian Radio leave no cause for complaint. This is a most impressive release: another feather in the cap of this personable and stimulating partnership. The two SACDs retail for the price of one.
............................................
John Kim:

Ultimately, it is Nott's analytical ability without sacrificing the emotions that carries the day for this recording.

How many time do we get to hear so many details audible and yet are still shattered emotionally? IMO, only Chailly before Nott had reached that same level of achievement. Again, throughout the recording Nott and his orchestra display a perfect combination of balancing, dynamics, tempo, and details. At the same time, his reading is incredibly sensitive, subtle and powerful, not like Gilbert whose recording on BIS may create a big impression on the first hearing - thanks to the superb playing and sound quality - but will eventually wear you out with such a one-dimensional and monotonic approach.

Psanquin 21/10/2009, 16:58

The following table shows, by way of general in State is the mahleriana production information current, it symphonies relates, the three teams in question...

Me temo que los programas de traducción todavía están en un estado muy verde... Rolling Eyes

Moreno 21/10/2009, 19:50

del Río escribió:[Ahora tendremos que decir "te habían traducido al inglés".
Mensaje borrado por el pobrísimo inglés de la traducción.

Para agradecértelo en ingles he utilizado el mismo traductor que utilizaste tú, mira lo que me ha salido:
Gracias de Río, era lo correcto. Caso cerrado = Thank you to the River, was right. Case closed. Shocked

Psanquin 21/10/2009, 20:27

Yo le metí una frase mítica en el foro: "Fabio Luisi es el mas grande" y me dio esto "Fabio Luisi is the most large". No es peligroso ni nada el microsoft éste Razz

Moreno 7/11/2009, 13:14

Les apunto una muy breve crítica de la Novena de Nott, prestando más atención en lo que a la grabación y sonido se refiere, por algo la página se llama www.hificritics.com

11.08.2009 - Hifi Critic
Mahler Symphony No. 9
Bamberg Symphony Orchestra/Jonathan Nott
Tudor 7162 (2 SACDs)

Englishman Jonathan Nott enjoys much success in Europe, not least with the Bamberg Symphony Orchestra of which he has been Principal Conductor for several years (visits by this partnership to the Edinburgh International Festival and BBC Proms have been notable).

They also have built-up a distinctive catalogue for Tudor, the Swiss recording company (www.tudor.ch), which includes music by Bruckner, Schubert, Stravinsky and contemporary composers, and an ongoing Mahler symphony cycle. The latest is a superb Ninth that thrills in its emotional power and impresses in its technical prowess.

Nott digs deep into the music's potential and is aided by a superb recording that marries space, perspective and clarity ideally; a natural explicitness that is carefully prepared and detailed, and then given its impassioned head with no inhibition caused by the presence of microphones. This engrossing performance enjoys the all important use of antiphonal violins(the standard seating is Mahler's day) as well as a real sense of the musicians setting down something special.

Indeed, this may be Nott and the Bamberger’s finest recorded achievement to date (and that's saying something); certainly it is a truly moving experience, quite draining, and texturally revealing. A few more seconds' gap between movements would have been welcome, and placing one SACD on top of the other in the jewel case is not a good idea. Nonetheless, a terrific release.

by Colin Anderson
11.08.2009

Moreno 17/11/2009, 14:24

Como era de esperarse Nott ha extendido su contrato con la Bamberger Jonathan Nott - Página 2 367260

que felicidad Laughing

En virtud de esta prórroga he decidido cambiar mi avatar por una semana Very Happy

Chief Conductor Jonathan Nott To Extend Contract With Bamberg Symphony Orchestra Until 2012; Robin Ticciati Named Principal Guest Conductor

With formal approval granted by the Foundation’s Council, it is now official: Jonathan Nott, Chief Conductor of the Bamberg Symphony Orchestra – Bavarian State Philharmonic since 1 January 2000, is extending his contract until the end of the 2011-12 season. As Intendant Wolfgang Fink said on Monday at a press conference in Bamberg, everyone involved is delighted that this partnership, hailed as a success both at home and abroad, will continue for three more seasons. “The exceptional artistic standards attained by the Bamberg Symphony Orchestra under Jonathan Nott over the past nine years have created a unique situation within the German orchestral landscape today.”

Just before the Orchestra leaves for its twelfth tour of Japan at the end of this week, and days after Bamberg’s concert hall reopened following its extensive renovation and redesign, Jonathan Nott and Wolfgang Fink previewed the artistic projects planned for the forthcoming years, especially the Mahler cycle, to be performed during the Mahler years 2010 and 2011, and associated CDs, to be released in co-production with Bavarian Radio and Swiss label Tudor. Since its release in July, the latest disc, Mahler’s Symphony No.9, has garnered an array of spectacular reviews in the press and was promptly awarded the International Toblach Composing Hut Record Prize for 2009.

It has also been announced that Robin Ticciati is to be the Orchestra’s Principal Guest Conductor for three years, starting with the 2010-11 season. Born in 1983, Ticciati is very well known to the Orchestra: since their first recording together for Bavarian Radio in 2005, he has regularly conducted the Bamberg Symphony Orchestra. In the words of Intendant Wolfgang Fink: “Within a very short time Robin Ticciati has grown into one of the most interesting of young conductors. He clearly has a special affinity for the Orchestra which is fully reciprocated. It was high time to put this relationship on an official footing and so lay the foundations of a developing and highly promising artistic partnership.“ The partnership’s first CD, of works by Brahms for choir und orchestra, was recorded last spring with the Bavarian Radio Choir and will be released, again by Tudor, in spring 2010.

Jonathan Nott - Página 2 Bambergersymphoniker

Moreno 18/11/2009, 09:56

del Río escribió:aunque si lo piensas bien la noticia no es tan buena como parece. Lo mejor sería que hubiese "fichado" por una gran orquesta. Por ejemplo la Concertgebouworkest -seguro que lo hace mejor que Jansons-; o la Berliner Philharmoniker -así nos desacemos de Rattle-: o la Chicago Symphony Orchestra -y nos cepillamos al abuelete- etc...

Pues no te creas del Río, hay algunos directores como Celibidache, Kubelik y Gielen que, aunque de vez en cuando hayan dirigido a lo que tu llamas una gran orquesta pale

, se encuentran mucho mejor y desarrollan su labor con más éxito en orquestas de “segundo orden”. Curioso pero Nott también ha dirigido alguna de esas grandes, pudiera ir por el mismo camino de los tres arriba nombrados. Y curiosamente muchos de estos directores han aportado lo que hoy llamamos discografía de referencia, no solo en Mahler sino también en Brahms, Bruckner, Dvorak y paremos de contar. En realidad no tengo esa intensa necesidad por escuchar a una de las “grandes”, más de una vez me he llevado un fiasco, seguramente también me han dado muchas satisfacciones pero lejos de todos estos prejuicios orquestales lo importante es la simbiosis entre la orquesta y el director.

Espero que te recuperes lo antes posible de ese resfriado Jonathan Nott - Página 2 552758

Moreno 20/12/2009, 17:48

Jonathan Nott? A Fine Mahler Conductor.
December 11, 2009

Jonathan Nott is a British conductor who has been the music director of the Bamberg Symphony for some time now and has been drawing very positive reviews for his concerts there as well as with his recordings with the orchestra. This is the first of his CDs that I've gotten, largely because the Mahler Ninth is one that I have a particular affinity for; I own more than a half dozen recordings of the symphony. This does not make me a Mahler expert by any means but I do tend to have ideas about how the symphony should go. Nott and the Bambergers have recorded about half of the Mahler symphonies now and it is clear that they have the Austrian composer's style in their bones.

The Ninth has a somewhat unusual form. It has two slow movements surrounding two faster inner movements. It culminates in one of the great movements in all of Austro-German symphonic literature, the devastatingly moving Adagio. The opening Andante comodo is done at just the right tempo and is replete with richness of texture and individual instrumental solos. The second movement, a peasant's Ländler, beings with it some relaxation of tension via rough geniality. The Bambergers get into the spirit of it with ease; surely this is at least partly because the musicians themselves have heard music similar to this all their lives in their own south Germany. The Burleske is some of the gothic Halloween music that Mahler is so famous for. If there is any weakness in this performance it is in this movement which seems a bit restrained compared to, say, that of Gergiev (whose Ninth otherwise is, IMHO, negligible). And indeed when Nott gets to the Burleske's coda his musicians really let loose for a wild-eyed peroration. One can hear in this movement Nott's penchant for fine analysis of a work's structure, as one also does in the opening movement.

The Adagio is, of course, the summum bonum of the work, perhaps of all of Mahler's symphonies (although I should expect to get some argument about that from some Mahlerians). And here Nott is at his very best. This performance is moving in the same way that Karajan's and Abbado's are. The angst and resignation of the movement are not overdone, but in their very restraint are all the more powerful. The intensity is almost unbearable. I will admit that each time I heard this movement I ended up in tears.

In sum, then, this is a marvelous recording of the Ninth. Although the very last degree of instrumental sumptuousness may be missing when compared to that of the Berlin and Vienna Philharmonics or the Concertgebouw, it is still among the best I've ever heard. The rich SACD sound is a distinct plus.

An easy recommendation.

Scott Morrison
www.classicalmusicguide.com/

Hades 14/1/2010, 21:54

Entrevista a Jonathan Nott (dedicada a Moreno, a Robertino y al resto de fans de este director Jonathan Nott - Página 2 552758

)

http://www.diverdi.com/tienda/dosierd.aspx?id=469

Moreno 27/1/2010, 17:56

Dudaba si transferir esta crítica de Scherzo (01/2010) a este hilo o al de Gilbert, debido a que Nott ya está por estas tierras he decidido publicarla aquí.

Jonathan Nott - Página 2 Sc0018ef7dn

Moreno 13/2/2010, 22:55

Ha salido recientemente la crítica de la Novena de Nott en “music web International”, la traslado:

Gustav MAHLER (1860-1911)
Symphony No. 9 in D (1910) [83:33]
Bamberger Symphoniker/Jonathan Nott
rec. 15–19 September 2008, Konzerthalle Bamberg, Joseph-Keilberth-Saal.
TUDOR 7162 SACD [45:25 + 38:08]

Jonathan Nott’s Mahler cycle has now reached the fourth instalment. Recoridngs have already been issued of the First Symphony (see review and review), the Fifth Symphony (see review) and the Fourth (see review). This is the first in the series to come my way.

Before considering the performance I think a few words about the recording itself may be helpful – I listened to these hybrid SACDs as conventional CDs. When I first started listening I thought that the sound appeared almost too close. In fact, I found that my ears soon adjusted as the performance continued and that I didn’t find the closeness to be as much of an issue on further hearings. I suppose the effect is rather akin to sitting just a few rows back from the stage in the concert hall. The orchestra sounds very ‘present’. There certainly seems to be a good spread of sound from one side of the platform, as it were, to the other but I’m less sure that there’s adequate front-to-back perspective. Another feature of the recording is that Nott has divided his violins left and right – of which I heartily approve. However, until the finale, where the strings dominate the scoring for much of the time, I couldn’t hear much of the viola, cello or double bass lines. In fact the strings as a whole are too easily swamped by the wind and brass sections in the first three movements.

For comparison I put on Simon Rattle’s Berliner Philharmoniker recording, which I so much admired in 2008 (see review by Tony Duggan). Here too the recording is fairly close but much more inner string detail is evident. I strongly suspect that the Tudor engineers have used a limited microphone array in an effort to present a truthful concert hall sound image whereas the EMI team have probably used multiple microphones placed within or above the orchestra in order to capture much more detail. I think the Tudor sound does indeed present the sort of sound that you’d hear in a concert hall – and Mahler’s scoring is very often wind- and brass-heavy – and it depends whether you want a recording for home listening to give you a concert hall perspective or whether you want as much detail as possible.

So you might want to sample the recording before purchasing. However, even if the sound is not quite your ideal – and, as I say, my ears adjusted quite quickly – sonic considerations aren’t everything here for Nott leads a fine performance of this magnificent, complex symphony.

He takes a fairly spacious view of I. In fact, at 29:46 his is one of the longest performances I know. Rattle is slightly quicker overall (28:56) but it’s interesting to note that some, though by no means all, conductors of the previous generation have taken less time over this movement. Barbirolli, for example, took 26:53 in his famous EMI Berlin recording, while Kubelik’s live 1975 reading (Audite) took 26:44. The celebrated 1938 Bruno Walter recording flashes by in 24:47. Have Mahler performances broadened over the years?

Nott may be spacious but throughout the movement his control and concentration are impressive. His reading isn’t as passionate as Rattle can be at times; it’s more patient. There were one or two occasions when I thought his speeds were just a little bit too measured but as a whole his reading is impressive. The climaxes are thrust home – at these points one has the impression that the orchestra is playing flat out – but the quiet passages often impress. For example the ghostly passage between 8: 01 and 9:47 is imaginatively presented with lots of good detail – I like the distanced muted horns, for instance. I think it would be fair to say that sometimes the violins sound just a little thin in alt and the string bass line is certainly underpowered – no doubt because one is so used, with many other conductors, to hearing the cellos and basses prominently through the right hand speaker. But, set against that I must say straightaway that much of the playing is vivid, the orchestra’s response is totally committed and there’s a lot of fine solo playing to admire. I have heard more dramatic, angst-ridden accounts of this amazingly rich movement but drama isn’t the whole story by any means and Nott’s account is very convincing and never less than wholly musical. He seems to see the whole movement in one long sweep and I admire his way with it very much.

The two inner movements go very well. There’s a good deal of sharply etched, piquant playing in II. Nott paces the music very well and he judges the many tempo modifications expertly. His reading of III is dynamic and thrusting. He and the engineers bring out a great deal of the teeming contrapuntal detail in the score. The trio (from 5:55) is taken at a suitably relaxed pace. This is nostalgic music but I like the fact that Nott never wallows in the sentiment; on the contrary, forward momentum is nicely maintained – and praise too for the solo trumpeter, whose silvery tone is just right. When the Rondo resumes (10:23) the music is turbulent and exciting right to the last bar.

The strings come into their own in the finale. The opening paragraphs are full-toned but the emotion is not overdone – Nott doesn’t play his cards too soon. The string playing is very good, the tone just weighty enough - and now we do hear a satisfyingly strong bass line. One rather special moment occurs between 4:05 and 4:54 where Nott obtains the most atmospheric playing imaginable from his strings. At this point the bass line is spectral with a wafer-thin violin line on top.

Nott unfolds the finale compellingly and the Bamberg strings and horn section in particular do him proud. Once again, this isn’t perhaps the most overtly emotional reading I’ve heard but the patience – perhaps even a degree of reserve? – brings its own rewards. Nott’s ability to take the long view and to build the movement incrementally means that when we reach the sustained ardent passage that lies at the heart of the movement (14:18 – 17:03) the effect is all the greater. The closing pages of this movement are always a huge test for players and conductor alike. Here the test is passed very successfully. During the last four minutes or so, starting with the second violin entry at 21:07, the music gradually winds down, all passion spent.

This Mahler Ninth is a very fine achievement. A host of great conductors and leading orchestras have essayed this symphony on disc over the years and though the seventeen versions on my own shelves don’t quite go from A to Z they do go from Barbirolli to Walter. This new version can certainly contend with the best of them and it’s one to which I’m sure I shall be returning frequently in the future.

John Quinn

http://www.musicweb-international.com/classrev/2010/Feb10/mahler9_Nott_Tudor7162.htm

parte 26/2/2010, 17:27

Psanquin escribió:Aquí están Quinta y Novena En el Zip van con las portadas y contraportadas que en su día les hice, por si te merece la pena conservarlas.

http://rapidshare.com/files/284268649/Nott_5.rar.html

http://rapidshare.com/files/284268808/Nott_9.rar.html

hola.
soy nueva.
yo tb. estuve en el concierto de valladolid. salgo en alguna foto de las que colgasteis aquí. he dado con vosotros buscando discos de nott. desgraciadamente los links están muertos. podríais reanimar el enlace de la 5 sobre todo?

Psanquin 26/2/2010, 18:29

Bienvenida Parte!Que casualidad que salgas en las fotos.Nos trae magníficos recuerdos ese concierto y esa sala.Hasta el lunes no podré subir los archivos.Sí no lo hace nadie antes cuenta con ellos el lunes.

parte 26/2/2010, 18:56

bueno. me encontré en alguna foto de las de la sala donde hay un montón de gente, sé que estoy sólo porque sé dónde estaba sentada. no se me reconoce. menos mal.
sí, el concierto fue maravilloso. habíamos tenido algún otro concierto bueno de la 5ª , el de petrenko dirigiendo la orquesta de castilla y león (hace dos años) , pero éste fue fuera de serie!
muchas gracias anticipadas por actualizar los links. no hay prisa. pero sí quisiera tenerlo.

encantada de haberos encontrado. parece que hay verdaderos expertos! y grandes aficionados!

Robertino Bergamasco 27/2/2010, 00:29

Robertino Bergamasco 27/2/2010, 01:10

Robertino Bergamasco 27/2/2010, 01:23

ciertamente colaba como una grabación-versión de Bruno Walter de los años 40.

... es lo que tenemos los nostálgicos, que hasta las grabaciones nos salen así Razz

Pero el cacharro no da más de sí. Son grabaciones sin valor, yo las guardo como documento, no le doy otro uso Jonathan Nott - Página 2 552758

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