Daniel Harding appointed new chief conductor by the Orchestre de Paris

[richardfinegold]

I've seen him guest here twice. One time he did the New World Symphony. That piece is fairly indestructible although I remember thinking there was nothing particularly remarkable about the concert. The other was excerpts from Berlioz Romeo and Juliet which I did think was very well done. I haven't heard any recordings
He sure will have a nice new Concert Hall in Paris

[Stanfordian]

Perhaps I should have given rational for my comment.

I've heard him three times with the LSO and each time was disappointing. The first occasion in Bruckner's sixth symphony, where, imho, he managed to make the orchestra sound very second rate. The brass were encour aged to play as loudly as possible, the timpanist sounded as if he had foresaken sticks for a couple of half bricks, and Harding appeared to be more concerned with striking poses than bringing players in. (He waved at the 'cellos at one point, causing the principles to raise his shoulders in the time honoured 'not yet guys - just follow me). In all fairness, he conduct a good Bartok second concerto with Lang Lang.

The other two concerts were works where he simply skimmed over the top.

However, for me, his greatest crime was the Dvorak 'cello concerto with Isserlis where the result sounded as if he hadn't bothered to open the score before the sessions.

Now I admit this is only my opinion but I feel my opinions are just as valid as anyone else's here.

Hiya pastoralguy.

"...sounded as if he hadn't bothered to open the score..." That's some opinion! I've seen Harding conduct twice, once in Berlin with the Berliner Philharmoniker and the other occasion in Dresden last month with the Swedish RSO. On both occasions I must admit to being impresssed with his approach and results. I have a number of his recordings and have no problems with those either. He certainly seem to divide opinion.

[Lento]

In The Times Harding says he had a bad experience conducting the OdP 20 years ago but he and they have changed since. He also comments on the puzzling acoustic of the new hall, needing tweeking. He lives in Monte Carlo, apparently, but his ex and children live in Paris.

[Richard Tarleton]

I'm intrigued by his choice of dress shoes in the photo in The Times - he's wearing patent leather slippers with bows on. I don't normally notice conductors' footwear.

[Sir Velo]

I'm intrigued by his choice of dress shoes in the photo in The Times - he's wearing patent leather slippers with bows on. I don't normally notice conductors' footwear.

Clearly a bit of a d'Indy but we won't hold that against him.

DH was definitely thrown early into the limelight and it's not surprising that some performances have fallen short of the mark. However, the fact that many of the world's leading orchestras are queuing up to work with him suggests that he's not without talent.

[Nick Armstrong]

Clearly a bit of a d'Indy but we won't hold that against him.

... not to mention Manuel Ponce, as I'm not sure he's into Mexican.

[bluestateprommer]

Mediocrity is everywhere...

Actually, "mediocrity" is much, much too kind to Lebrecht . Preening arrogant narcissist is more like it.

Plus, interesting that no one thought to put a link to the OdP's own announcement, to direct web traffic properly there and away from the worst 'journalist' in classical music.

The one time I've seen Harding, as a guest with the Chicago Symphony, I wasn't that thrilled. He does indeed divide critical opinion, not to mention musician opinion that I read about, given multiple reports of his arrogant attitude to some orchestras. Of course, that might be a consequence of "too much, too soon, too young", in being taken under the wings of Abbado and Rattle at so young an age. But if nothing else, at least the OdP took action to find a new music director, rather than dragging it out like Berlin. Whatever one may think of the choice of Harding to the OdP, and Gatti to the KCO, for that matter, at least both orchestras acted relatively promptly.

[ferneyhoughgeliebte]

... multiple reports of his arrogant attitude to some orchestras.

That might also be a result of working with seasoned professional orchestras who can be merciless to young conductors - Colin Davis pointed out that he was similarly "arrogant" when a young man, before he learnt how to get the results he thought the composer wanted by more civilized behaviour. I notice that the report mentions that the OdP enjoyed his "collaborative" way of rehearsing - perhaps he's just grown up nowadays?

[jayne lee wilson]

Always intrigued by conflicting opinion, I listened to the 24/96 Hyperion download (as WAVEs in Audirvana+) of the famous B Minor Dvorak Cello Concerto, with Isserlis and the Mahler CO led by Harding.

It's a very fresh, volatile and exciting account, with the more agile chamber-orchestral forces bravely following Isserlis' almost improvisatory, speech-rather-than-song-like articulation of the solo part. Harding's accompaniment is strikingly quick to follow the frequent, subtle changes of tempo, phrase and mood, really revitalising a piece than can easily become a large-orchestral Romantic cliche.

BUT - and it's quite a big but - the recording (in the 890-seat Teatro Comunale di Ferrara) is far from ideal: rather close, cramped and dry with little depth, and sometimes inadequate separation of cello and ensemble. The orchestra has explosive impact and bite into the big tuttis and climactic passages, but tends to harden and brighten into them. Exciting, yes, but seductive tonal beauty is not on offer here!
I often felt that Isserlis' cello loomed a little large in the soundstage; I sometimes wanted to tame the level when he came in, and boost it when the orchestra reared its roaring head again...

Finally I was able to find an enjoyable level for this - musically it can be thrilling, but it's not always easy on the ears, and could prove difficult to enjoy under many playback conditions.

Performance - 9/10, Sound - 6/10....

[Hornspieler]

Always intrigued by conflicting opinion, I listened to the 24/96 Hyperion download (as WAVEs in Audirvana+) of the famous B Minor Dvorak Cello Concerto, with Isserlis and the Mahler CO led by Harding.

It's a very fresh, volatile and exciting account, with the more agile chamber-orchestral forces bravely following Isserlis' almost improvisatory, speech-rather-than-song-like articulation of the solo part. Harding's accompaniment is strikingly quick to follow the frequent, subtle changes of tempo, phrase and mood, really revitalising a piece than can easily become a large-orchestral Romantic cliche.

BUT - and it's quite a big but - the recording (in the 890-seat Teatro Comunale di Ferrara) is far from ideal: rather close, cramped and dry with little depth, and sometimes inadequate separation of cello and ensemble. The orchestra has explosive impact and bite into the big tuttis and climactic passages, but tends to harden and brighten into them. Exciting, yes, but seductive tonal beauty is not on offer here!
I often felt that Isserlis' cello loomed a little large in the soundstage; I sometimes wanted to tame the level when he came in, and boost it when the orchestra reared its roaring head again...

Finally I was able to find an enjoyable level for this - musically it can be thrilling, but it's not always easy on the ears, and could prove difficult to enjoy under many playback conditions.

Performance - 9/10, Sound - 6/10....

Very interesting Jayne.

I think it's a question of "Horses for Courses" Some composer's music suits some conductors and they are able to excel themselves. Those with sense leave the other composers alone. For instance, I would rate Sir Alexander Gibson superb in Sibelius or Elgar, but I never felt that he had much to offer in the subject of Beethoven or Brahms - or Mahler for that matter.

I think that Mr Harding is one of those conductors who make very good and sympathetic accompanists - Jimmy Louchran is another example.

It's what they are good at and possibly the confidence which comes with maturity can allow them to achieve more than just that; Just as Louchran did.

Is Mr Harding's elevation a 'bridge passage too far'? We shall see, but I think its a bit early. Let's hope he proves me wrong.

[MrGongGong]

I've only been to the pub with him once
and seen him conduct several times (and a couple of rehearsals)
Nice bloke and not full of the cr*p that many stick wavers have
and I was impressed by his conducting as well