Yannick Nezet-Seguin

LRotterdam Philharmonic Orchestra, Yannick Nézet-Séguin – Tchaikovsky: Pathétique (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:32 minutes | 1,06 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

Yannick Nézet-Séguin first heard Tchaikovsky’s Pathetique symphony live in Montreal at the age of eight. It was the work he chose for his debut with both the Orchestre Me´tropolitain du Grand Montre´al and the Philadelphia Orchestra. Conducting this quintessentially Russian music with the Rotterdam Philharmonic acknowledges his predecessor on the podium, Valery Gergiev, as well as showcasing the depth and refinement of the Dutch orchestra’s rich textures. Yannick Nézet-Séguin admires Tchaikovsky not just as a composer of heart-breaking melodies but also as a master symphonist. “The point for me is this work’s pervasive lust for life, and the lack of faith in humanity which is the implicit message of the end.”

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Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin – Strauss: Ein Heldenleben (2011)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:09:13 minutes | 571 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BIS

The first recording by Yannick Nézet-Séguin and the Rotterdam Philharmonic Orchestra for BIS centred on Berlioz’ Symphonie Fantastique, a work which stands squarely on the threshold between Classicism and Romanticism. Nézet-Séguin’s interpretation brilliantly demonstrated this ambivalence, as the reviewer in CD Review on BBC Radio 3 remarked: ‘A Fantastic Symphony that relishes in the transparency and the delicacy of Berlioz’s scoring while remaining true to its vivid imagination and dramatic punch’. On the follow-up to that exciting release is another work that straddles a musical divide, namely Richard Strauss’ Four Last Songs. Composed in 1948, these late blooms of an unabashed Romanticism stood in the midst of a musical landscape which featured the twelve-tone serialism of the Darmstadt School, John Cage’s prepared piano and the first examples of musique concrète. In accordance with Strauss’s wish, it was the dramatic soprano Kirsten Flagstad who first performed the songs, but they also became closely associated with Elisabeth Schwarzkopf. On the present recording, it is Dorothea Röschmann, one of today’s foremost Mozart sopranos who lends her voice to what is often regarded as an expression of the composer’s acceptance of death’s inevitability, at the age of eighty-four. We meet Strauss in a completely different mood in the disc’s opening work – the large-scale symphonic poem Ein Heldenleben (A Hero’s Life) composed fifty years before the songs. By casting himself in the role of the Hero, Strauss managed to provoke generations of music-lovers for years to come. A study of aggressive egotism, the work has been called, as well as the most conceited piece of music ever written. But it is also widely regarded as one of the most brilliant, and virtuosic, orchestral scores in the history of music, displaying the possibilities of a large symphony orchestra to the fullest.

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Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin – Strauss: Ein Heldenleben (2011)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:09:13 minutes | 571 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BIS

Approximately 50 years separated the composition of Richard Strauss’ Ein Heldenleben and the Vier Letzte Lieder, a period in which world events dramatically changed his career and his perception of himself. The hero of the semi-autobiographical tone poem is in part a reflection of the optimism and boldness of late 19th century Europe, an age of expanding empire and Nietzschean egotism, when the youthful Strauss was at the peak of his powers; whereas the introspection and resignation of the four songs show the composer in the aftermath of World War II, subdued, nostalgic, and approaching the end of his life. The pairing of these works reveals some thoughtfulness in the programming, and the performances by Yannick Nézet-Séguin and the Rotterdam Philharmonic Orchestra are fully attuned to the different sides of Strauss. The reading of Ein Heldenleben is lush, expansive, and full of the passion and assurance that make the work believable, while soprano Dorothea Röschmann delivers the lieder with sympathy and serenity and projects beautifully over the orchestra’s radiant accompaniment. This SACD captures the music’s richness and warmth in spacious multichannel sound and a wide dynamic range, and the clarity of the parts is superb in the DSD recording. Highly recommended for Strauss fans and as an introduction to his larger-than-life, late-Romantic style.

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