Por amistad with Albert Recasens, director of conjunto de música English former La Grande Chapelle and label manager and advocacy agency Music Lauda, \u200b\u200bwho has representation in our country for several sets, I could access, for some time, enjoy the pre-trial a concert at the Auditorio Ciudad de León - one of my favorite groups: the Belgian outfit Huelgas-Ensemble, directed by Paul Van Nevel , as is well known.
As I consider this a very interesting experience and not everyone has the opportunity to witness, I decided to tell thee in this space.
was with a little respect, it is well known character, something peculiar and sour, Paul Van Nevel, now suspended such tests or missed many people who are not to your liking, but hey, at the end there was no problem. In the only trial we were, the manager of the whole, the right hand of Van Nevel, Albert and myself, which, as you can imagine the feeling I was being there at the time (honestly, I felt a real privileged).
Unlike many other groups, "The Strike" usually go to a city you have to act for about four days before the concert (many tend to go a day earlier and even the same day), if they have dates in days continuous obviously. Leon's case was that, since the group had spent four days in our city. But the real surprise of this set and more taking into account their level of interpretation, is the number of sessions of trials conducted to date and that amount, no more and no less than seven per day. Yes, you read correctly, this group tested seven times each day and very large sessions. The test I had the opportunity to witness lasted an hour and a half and as I said, still had another small study of "review" before the concert, which began at 20:30 hours.
The test involved the interpretation of certain parts of the masses that were to interpret "the program that was played in the three Masses that have occurred on his last album for Harmonia Mundi, La Quinta essentia - , movements fragment was Van Nevel indicating its singers. Following the indication of concrete movement (in three languages, as I watched him talk to his players in English, French and German), Van Nevel was the pitch. The Belgian master of not giving the whole series of notes corresponding chord, even gives a shout to pick them up above the other, Van Nevel hit his pitch and placed it on the lectern to make it sound and hence each took his note. Van Nevel is extremely conscientious and if he did not like any detail, I had no qualms about starting again. He always took the pitch after the end of any piece, to make sure everything went right.
The singers, who were always up, sat on the parts that were not involved, to get back up again to intervene. The silence was total and absolute, without a moment for jokes, I recall that there was only a moment, about ten seconds long, which laughed. This earnestness and obstinacy by the pure drudgery surprised me a lot, because you always think that people are not so prepared requires much effort to get those results so delicious that after listening. Throughout the hour and a half of trial was only a short break of five minutes, between a mass and other singers who took to move a little, but nobody talked! And five minutes without being told anything, the singers were already placed on your site, ready again to 100%.
pleasantly surprised me see the good feeling that existed between the singers themselves, despite the terrible seriousness of the test and those with Van Nevel, despite the comments of his genius, which is not a noticeable relaxation of the mimes but is a special complicity during performances. Van Nevel had moments of smiles for his singers, tips and guidance, consistent indications, but not stop the music, but above it, anticipating the parts that could be trouble. Thus, their sssssshhhhhh! , when passed with the intensity of certain lines or recurrent Text! , in the parts that did not like the pronunciation. Also, I loved to see how, from time to time, came the odd suggestion of his singers, a suggestion which was taken into account, a completely natural way, by Van Nevel.
The Belgian has a very delicate gesture, subtle at times and is quite detallista, siempre muy pendiente de las entradas, prestar atención al texto, los fraseos y las dinámicas de acuerdo a estos, el sonido de la sala, el equilibrio entre líneas, cada voz de manera individualizada -no tiene reparos en "echar broncas" de manera personal a un cantante-, en definitiva, está en todo. Me quedé impresionado del increíble ritmo de ensayo que llevaban, que ya me parecía tremendo antes de saber que hacían lo mismo siete veces al día.
Pero bueno, también alivia comprobar que no todo es tan perfecto e e inhumano como parece, puesto que estos profesionales también se equivocan, entran a destiempo y se bajan en ciasrtos momentos, aunque claro, esos fallos son subsanados at once and never again repeated. How quickly fix errors that fascinated me and I guess that is what distinguishes a good number of other excellent.
Finally, noting that, could not help but think about some things and wonder how could someone of that quality rehearse the rhythm, with that seriousness, that concentration and patience that seven times a day. On whether or not this rate of testing, we can speak at length. To me it seems really excessive and more for a set of these features (however, it sounds like it sounds like ...). I think working seven times a day for a large number of days the same repertoire, is dangerous because it can detract freshness to the performances and turn them into something mechanical, if not highly concentrated. However, it is clear that this does not happen to this group, according to what is seen, but I think it's really taken into account. You can also tired to finish, if one is not committed to the full with the project and can cause internal problems-indeed, some of it happens to Van Nevel with his group, the template has changed on several occasions, such problems, as I said.
In short, a fascinating experience which I highly recommend to anyone who can access it as it is in these moments where you have before the true essence of the whole-in a recording session is also true, and will keep forever in my memory, waiting to be repeated, with this or another set.
two tracks I leave the disk in question on the issue in the trial and post-concert for the enjoyment of all the followers of the Belgians, who I know are many.
Ashewell Thomas (c.1478-c.1513): Gloria, Missa Ave Maria 6.
Album: La Quinta essentia.
Huelgas Ensemble - Paul Van Nevel, dirección.
Harmonia Mundi 2007.
Giovanni Pierluigi da Palestrina (1525-1594: Kyrie, Missa Ut re mi fa sol la 6.
Album: La Quinta essentia.
Huelgas Ensemble - Paul Van Nevel, dirección.
Harmonia Mundi 2007.
