Martin Sieghart



  • CD G. Mahler: “Das Lied von der Erde”
    ........Sieghart is also wonderful at drawing out a performance of quiet precision from his orchestra that does not merely reflect the myriad of instructions but also makes sense of them in a way that is not modernist nor uber-Romantic; neither is his approach timid or boring - "just" very carefully thought out. It is a sign of the care that Sieghart imbues to the score that instrumental lines are handed over and blended with a level of care of which Karajan would have likely approved. This is not to say that it is a mush of sound - far from it - rather that this is playing of a very naturally cultured style, not normally associated with orchestras outside of the "big 3" in this repertoire........
    ....Very highly recommended - it will take a very special release to supplant this one in my affections.
    John Broggio and

  • CD G. Mahler: Symphonie Nr. 10
    ........Sieghart's broader approach to the two scherzo movements also allows much greater characterisation of Mahler's ironic echoes of Knaben Wunderhorn songs and his obsession with the rustic ländler, making Rattle's faster tempos sound clipped and rather pressured. In the Finale, again about the young Alma and the composer's 'Madonna Complex', as Freud put it, Sieghart keeps the threnody fresh and flowing, so the music surges and breathes with the life-blood of Mahler's love. It becomes the echo of the composer's scrawls of 'Almschi!, Almschi!' (Mahler's pet name for his wife), scrawled across the manuscript at this point. At the end, Sieghart and his players reach a final great sigh of warmth and tenderness....
    .....This is a significant and deeply moving performance of the Tenth; Mahler purists will probably avoid it on principle, others will be rewarded with a telling musical journey.
    John Broggio and

  • Kritik auf:

  • Maestro Martin Sieghart conducted, in collaboration with the NHK Symphony Orchestra, a truly authentic "central-European" evening.
    In an interview the declared Bruckner- Specialist spoke of the affectionate and musically stimulating collaboration between him and the NHK-Orchestra when presenting the 4th Symphony on the 2nd of October. He added that he felt the orchestra mastered capturing the central- European quality of playing music perfectly. Experiencing the concert it became evident that many of the musicians were trained in Europe, specifically in central-European countries. One can tell how the prominent Bruckner- conductors the orchestra had been, and still is, collaborating with, have left a deep understanding of Bruckner's work with its musicians.
    Soloist of the evening was Julianna Avdeeva, winner of the Chopin- competition.
    She played Mozart (piano concert in C-Dur, KV 467) wonderfully clear and beautiful.
    Specifically she showcased her talent in her performance of the first passage. In addition the soloist and orchestra displayed an ideal sound composition.
    Continuing the interview with Sieghart about Bruckner's 4th he revealed that although he can not remember the exact number of times he performed this particular symphony he is certain it must have been more than 30 times.
    As the subtitle of the symphony is called 'the romantic', so Sieghart's approach is very romantic.
    Sieghart's is known for his calm and measured basic tempo, which leaves much room for a passionate expression of emotions. Even in the largest forte, the colorful and intense sound stays harmonious and balanced.
    His interpretation of Bruckner's work is not intellectually overloaded but is keeping in line with the musical manuscript.
    The maestro explains the importance of studying the manuscript down to the smallest detail but to react to ones heart and passion for music when conducting.
    The musical skills of the NHK-Orchestra's musicians made it possible to fulfil all of ones musical visions, which was wonderful to experience. When playing, the musicians and the maestro were under the same powerful creative tension and performed Bruckner's symphony with delight.
    Sieghart's performance was most impressive; foremost in his talent to structure the symphony to achieve a clear consistency in his interpretation of Bruckner's work.
    The grand chorales, specifically in the finale, were phonetically well balanced. The play of the trumpets and trombones was never realised at the expense of experiencing the play of the horns. One even felt as if the sound of the organ came directly from the legendary "Brucknerorgan" of St. Florian.
    Sieghart mentioned that it was important to him to view Bruckner not solely as the most important church musician but also as a deeply torn and neurotic being.
    This Sieghart achieved to convey. It was a deeply expressive performance.
    In the midst of Tokyo one felt surrounded by the spirit of central-Europa.