Tag Archives: Jean-Ives Thibaudet

Scriabin & Bartok; Prometheus & Bluebeard- San Francisco Symphony

Part I:  A Happening at the SF Symphony – Prometheus, Poem of Fire

The SF Symphony presented extraordinary works by Alexander Scriabin and Bela Bartok at Davies Symphony Hall, March 1-3. Prometheus, the giant Titan in Greek mythic history, was a rebel. He stole fire from the gods and gave it to humans. He was punished by being imprisoned on a rock where a scavenging bird would forever tear out bits of Prometheus’ liver.

Scriabin’s Prometheus, the Poem of Fire, Op. 60 (1911) is the product of Scriabin’s belief that music could call forth visible colors, lights, and aromas. He wanted all those arts to be present in a grand Mysterium. Yes, it anticipated Happenings of 1968. He bought land in Darjeeling, India, and planned to have his ecstatic performances take place there. In the era of Scriabin’s work, there was exploration of spirituality, fabulous contact with unknown forces; Scriabin’s theater would enhance it all with “lights and mists.” His plans for the Mystery were never fulfilled.

Esa-Pekka Salonen, Music Director of San Francisco Symphony, Conducts Prometheus, Poem of Fire; Jean-Ives Thibaudet at the Piano, photo by Brandon Patoc

The project at Davies Symphony Hall was the result of collaboration among Esa-Pekka Salonen, composer and Music Director of the San Francisco Symphony, Jean-Ives Thibaudet, acclaimed pianist, and Mathilde Laurent, in–house perfumer of Cartier. The SF Symphony Chorus added human voices to the music. This threesome of all-star leading artists must have enjoyed creating a grand performance from the mystery which Scriabin had left in tantalizing suggestions. In recent years, the concept of Synesthesia has found proof that about 3%-5% of the population does see colors matching sounds. Scriabin believed it was within everyone, but that has not been shown, not yet. The performance was fascinating. The music, sometimes light or intermittent, was interesting and able to weave the lights, colors, and scent into unified senses.

Example of lights which changed with connections to music. Photo by Brandon Patoc

There is a circular design of colored lights above the stage. The program shows that six of them are directly connected to musical notes. For example, F sharp and G flat are both in one dark purple circle. A flat is alone in red. The six notes that do not have designated notes are different colors: dark brown, orange, light brown, light green, and two dark green circle lights. Luke Kritzeck is Lighting Designer.

Three perfumes whirled into the hall. Mathilde Laurent created perfumes specifically for moments of the Prometheus story. At the beginning, “Avant/Before,” expresses earthy existence: rain, thunder, ice, vegetation. The second perfume, “XIII Heure/ The 13th hour,” represents the climax of the story and the music: Prometheus gives the gift of fire to humans. The three collaborating artists consider that gift is the source of human creativity, the origin of the arts. The final scent, “L’Apres/After,” shows the creatures now fully human and must be masters of their destiny. Ms Laurent chose bergamot, verbena, fresh grass conveying light and warmth. Various arts become the whole art: Jean-Ives Thibaudet making music by playing the piano, Mathilde Laurent creating scents to express the developing character of human life, Esa-Pekka  Salonen to conduct and combine the arts and their artistry. Ms Laurent felt the scents sent forth the “joy and hope” Scriabin and his present collaborators hoped would move us all in a grand union.

Photos by Brandon Patoc courtesy of the San Francisco Symphony.

Thibaudet & Capucon: An Astonishing Performance

Gautier Capucon, ‘cello, and Jean-Yves Thibaudet, piano, presented a duo recital, December 2, 2018, at Davies Symphony Hall, which was in every way great. Each is technically above brilliant. Their musicality opens new experiences of being in the music. The program selections were outstanding, presenting sonatas that reflected the composers’ greatness and differing characters.

Jean-Ives Thibaudet

Gautier Capucon

Claude Debussy (1862-1918)  Claude Debussy’s Sonata No. 1 in D minor (1915) was an eye-opening visit to Debussy’s imagination and boundless invention.  Known as an “Impressionist” composer, a title which gives a false, gauzy idea of his music, this sonata was altogether more modern sounding than most “new” music of our current time. It demanded a wide range of technical mastery from the ‘cellist: vibratos, pizzicato, glissando. Watching the music being made grabbed the attention as much as listening. The pianist also changes technique and mood incredibly quickly. There is no point to guessing what comes next. Debussy changes the colors and the tonal direction of his music. The exhilarating final movement leaves the audience gasping for breath from this rapidly turning dance and also in amazement at the virtuoso music making.

Johannes Brahms(1833-1897) Brahms’ Sonata No. 1 in E minor for Cello and Piano, Opus 38 (1865) is a grand, musical landmark of music for the two instruments. It is fascinating in its combination of play with musical forms and the sense that an overarching meaning arises from what is built out of sound puzzles and structures. Brahms explores how many variations he can make with a five note phrase. In Brahmsian fashion, the music is sweeping, broad, embracing while it is, underneath it all, built so neatly. The second movement, Allegretto quasi menuetto, goes beyond its minuet inspiration. Brahms’ delightful dance opens up the view from the Sonata. Now it overlooks a vast, sunlit garden. It is a lighter and brighter dance than humans in Eighteenth Century clothing could jump into; Thibaudet and Capucon took over as though the music had been written for them. The final Allegro continues to explore the fugues of the first. It is powerful, all encompassing music. Yes, here we are with Brahms. The immense energy and technical power of the performers was astonishing.

Sergei Rachmaninoff (1873-1943)  

Rachmaninoff’s Sonata in G minor for Cello and Piano, Opus 19, is gloriously melodic, far reaching, and generally just gorgeous. It has drama, sadness, charm. The interplay between the ‘cello and piano is balanced as one instrument flies on lyrical wings and the other travels into distant lands created by diversity of sounds. Capucon and Thibaudet shared the world of this music with obvious respect and generosity. There is something about love and something about elegance revealed in the journey from the first movement, Lento-Allegro moderato-Moderato to the closing celebration of Allegro mosso–Moderato–Vivace. The audience did not stand, it levitated on Rachmaninoff’s music.

The artists responded to the cheering audience with three encores (“Oh, look, they’re coming back!”) Again, the musical choices were not only brilliantly performed, they also created a mini-program of stunning music and emotions. First was Rachmaninoff’s “Vocalise,” Opus 34, no.14; then, Shostakovich’s Scherzo (3rd movement) from Cello Sonata in D minor, opus 40. The artists sent us all home with Saint-Saens, The Swan, from The Carnival of the Animals. Exquisite.

Look for Mr. Thibaudet in San Francisco, April, 2019, on a program with famed violinist Midori. He and Mr. Capucon continue their partnership in concerts in Australia, Antwerp, and France. Each will perform around the US with symphonies from coast to coast. Don’t miss them.