Above all against everything romantic and as a frontal opposition to Wagner. It is rare that one can experience the stylistic diversity of this group in a concert, the different approaches and above all the handling of seriousness and wit.
The first part with Arthur Honegger’s “Pacific 321”, with the concertino for piano, 16 wind instruments and timpani by Louis Durey and the ballad for piano and orchestra by Germaine Tailleferre, could be assigned to the first group. Honegger’s musical depiction of a locomotive journey and the two solo piano works, like Durey’s Concertino, tie in with the music of the 1920s in a dreamy, contemplative manner. The ballad of Tailleferre, on the other hand, speaks the language of impressionism. The ideal interpreter for this was Jean-Philippe Collard, whose piano playing is characterized by precisely this fanning out of color worlds. Fine also Francis Poulenc’s “Pastourelle” as an encore.
French sonority
The second part included Georges Auric’s overture for orchestra, Francis Poulenc’s suite from the ballet “Les Biches” and Darius Milhaud’s indestructible “Le Bœuf sur le Toit”. The Orchester Lamoureux under Adrien Perruchon impressed with the greatest possible authenticity. In addition, there was a typically French sonority, which, on top of that, elicited the ideal timbres from these works. (wuss)
Source: Nachrichten
