Saturday, September 28, 2024
Berliner Philharmonie, Herbert-von-Karajan-Straße, Berlin
In 1908 Gabriel Pierné wrote music for a staged version of Pierre Loti’s novel Ramuntcho (1897). He later made two Suites, the first opening with an ‘Ouverture’ making use of Basque ditties for something soulful, lively, tuneful and enjoyable, as conducted with affection by Juanjo Mena, a Basque native. (Mena has recorded both Suites for Chandos.) Germaine Tailleferre’s exquisitely crafted, compact Concertino for harp is equally tuneful and enjoyable, rather Ravelian in places, more individual elsewhere, if consistently light, airy and even rarefied, ending with a toytown march (cueing subtle percussion), the orchestra small if varied, with Marie-Pierre Langlamet giving a consummate rendition of the solo part, personably accompanied. Langlamet, BP principal, joined by a harp colleague, then took part in Daphnis, a sensual and vibrant account, avoiding exaggeration and crudity, distinguished by wonderful solos and exacting ensemble, carefully considered timbres (timpani and bass drum strokes, for example), and eloquent vocalising from Rundfunkchor Berlin, with Mena conducting the slower music con amore while being no stranger to a sense of theatre, the Pirates faster than most without compromising clarity. Clarity also informed the woodwinds’ birdsong to signal ‘Daybreak’, spacious without doubting that the sun would never shine, Daphnis & Chloe now reunited, then a ‘Pantomime’ with Emmanuel Pahud’s luxurious flute contributions, and finally a delirious bacchanal, the singers “aah”-ing hedonistically. Brilliant playing.