Klaus Mäkelä’s webcast concerts at the Orchester de Paris, of which he was appointed musical director at the age of 25, showed us a temperate conductor, very attentive to harmonic tension (sound fullness), where one expects a young chef that he “rushes into the crowd”. ” Poor old ! » laughed Joël Le Bigot when we learned that this is the kind of style or aesthetic that we find in chefs in their sixties. This integral is therefore the opposite of that which Decca recorded with Lorin Maazel in Vienna. The latter was clear, lively, sharp, cut with a scalpel. That of Mäkelä, which rests on a powerful foundation of strings, is tempered, almost misty and serious. The start of the 5and Symphony is rather static and its construction patient. Mäkelä hardly sees the light behind the mist. This choice obviously suits first and foremost the 4and Symphony. We will not buy this integral if we look for the wild epics (Final of the 6and) or the sublimated transparency of the integral Vänskä, of which Mäkelä also takes the opposite view.
To see in video