What concerts are you looking forward to? (Part II)

[ChamberNut]

(I'm not Bunny, but... )

The Third (as well as the Fourth the next night) seemed to fare better than the Second, which doesn't seem to be in synch with Boulez's temperament at all.  But the Third seemed a fairly good match; I thought the outer two movements were the best of the evening.  VERY fine work from Michelle DeYoung, who has just sounded splendid so far (along with Thomas Quasthoff and Dorothea Röschmann).  The orchestra was still struggling a bit, with some bobbles here and there.  (Someone suggested that jet-lag may have been a factor, which I'd be inclined to allow, since they seem to be getting better with each concert.  Few musicians would be at their best, playing at the equivalent of 4:00 in the morning!)

If I were to judge solely on audience reaction, Barenboim's Fifth yesterday afternoon may have won the prize (so far).  Although one could nitpick about tempi and some balances, it was a very exciting, visceral performance.

--Bruce

Thanks Bruce!    So......does that mean the 6th is tonight?   

[karlhenning]

Easy, Ray! Give the fellow a breather! 

[ChamberNut]

Easy, Ray! Give the fellow a breather! 

I guess I'm overly excited....as I am hearing the 6th myself on Friday (albeit in Winnipeg). 

[bhodges]

Thanks Bruce!    So......does that mean the 6th is tonight?   

We have a one-day break.  Well, "some" have a break, since I'm going tonight, too (): Barenboim and members of the orchestra are doing an all-Elliott Carter program of chamber music.  Then the cycle resumes on Tuesday:

Tuesday: No. 6 (Boulez)
Wednesday: No. 7 (Barenboim)
Thursday: No concert, Bunny and Bruce catch up on mail, clean house, etc. 
Friday: No. 8 (Boulez)
Saturday: Das Lied (Barenboim)
Sunday: No. 9 (Barenboim)

Ray, I will be very eager to hear your comments on the Sixth, which sometimes I think is my favorite of the entire lot.  It has my favorite Mahler slow movement, and is packed with drama, among many other things.  It is incredibly difficult to play, requiring heroic musicianship, and therefore lots of fun (well, "fun" might be slightly inaccurate  ) to watch.

--Bruce

[karlhenning]

We have a one-day break.  Well, "some" have a break, since I'm going tonight, too (): Barenboim and members of the orchestra are doing an all-Elliott Carter program of chamber music.  Then the cycle resumes on Tuesday:

Tuesday: No. 6 (Boulez)
Wednesday: No. 7 (Barenboim)
Thursday: No concert, Bunny and Bruce catch up on mail, clean house, etc. 
Friday: No. 8 (Boulez)
Saturday: Das Lied (Barenboim)
Sunday: No. 9 (Barenboim)

For balance, Bruce, there really ought to be another all-Elliott Carter program on Thursday . . . .

[ChamberNut]

For balance, Bruce, there really ought to be another all-Elliott Carter program on Thursday . . . .

Oh.....darn!!  I have a lot of housework to do that evening.  Can't make it. 

[Bunny]

How was the 3rd, Bunny? 

(I'm not Bunny, but... )

The Third (as well as the Fourth the next night) seemed to fare better than the Second, which doesn't seem to be in synch with Boulez's temperament at all.  But the Third seemed a fairly good match; I thought the outer two movements were the best of the evening.  VERY fine work from Michelle DeYoung, who has just sounded splendid so far (along with Thomas Quasthoff and Dorothea Röschmann).  The orchestra was still struggling a bit, with some bobbles here and there.  (Someone suggested that jet-lag may have been a factor, which I'd be inclined to allow, since they seem to be getting better with each concert.  Few musicians would be at their best, playing at the equivalent of 4:00 in the morning!)

If I were to judge solely on audience reaction, Barenboim's Fifth yesterday afternoon may have won the prize (so far).  Although one could nitpick about tempi and some balances, it was a very exciting, visceral performance.

--Bruce

Well, I am Bunny!  

I agree with Bruce, the Third was head and shoulders above the 2nd, which in my memory is getting worse and worse (what a playful thing memory can be. )

I think the brass continued to struggle a bit in places, but aside from a very slight biff, the posthorn solo (off stage) was delivered beautifully.  I think that solo must be fiendishly difficult because I've never heard it done perfectly except on a recording, and I don't know anyone who's heard it done without a hitch, either.  I've two friends who play horns (one French horn, the other trumpet), and I will ask them about it when I get the chance.

Boulez is a very careful man.  He is fastidious, elegant, detail oriented and above all extremely logical.  His third manages to make sense of everything.  What he lacks, however is heart.  Or, I should say, his emotions are carefully restrained.  The orchestra's play that night was the best it had been, and the heart of the symphony was contributed by Miss DeYoung.  What a wonderful Mahlerian Mezzo she is!  My admiration for her grows every time I hear sing.

The fourth on Sat. night was exquisite, probably the best that Boulez has done in the series so far.  With this symphony, restraint and delicacy really help, and more than even the third I think Boulez is very well suited to conduct it.  It is his elegant restraint the kept it from being too maudlin and sentimental. Moreover, for the first time the brass seemed to be a part of the orchestra, and the problems with ensemble and ragged play that were very evident in earlier nights were not in evidence.

The first movement started a little faster than I expected, more nicht schleppen than Bedächtig; nicht eilen.  But, by the time the violins entered with the first theme it was at a pace that was leisurely enough for the lines to breathe.  The tempos were I think still on the faster end of the spectrum, but never uncomfortable.  In the Scherzo Boulez conveyed just the right amount of satire, and cold menace.  The concert master, which ever one it was, did a great job on the solo.  I watched as he carefully picked up each violin, quietly plucking a string to make sure he had the correct instrument -- I always admire anyone who doesn't get those violins confused.  Both first and second movements were like faceted and polished crystal: very transparent and gleaming.  The Ruhevoll, however was the best movement of the three, and the tempo was more leisurely.  The crystalline quality of the first two movements yielded to a softer, more yielding sound.  In my imagination it was like veils of mist and cloud floating across the moonlit face of an alp.  It set up the Lied extremely well.  It had just the right quality of dreaminess with just a hint of darkness: a silver cloud with a dark lining which is how I like it.  Which brings us to the Lied.  

The first half of the concert consisted of a selection from des Knaben Wunderhorn, sung beautifully by Miss Röschmann.  What a special voice she has, very silvery and yet powerful enough to rise above the sounds of the orchestra and fill the hall.  I've heard two Mahler 4ths where the vocalist was poorly chosen: one who couldn't be heard, and a mezzo who had too mature and womanly a voice.  The ending of this symphony, with that deceptively simple song is imo the perfect ending, and the whole performance can rise and fall on the choice of soprano.  No one in the audience could have been disappointed with the way Dorothea Röschmann sang.  

[bhodges]

The fourth on Sat. night was exquisite, probably the best that Boulez has done in the series so far.  With this symphony, restraint and delicacy really help, and more than even the third I think Boulez is very well suited to conduct it.  It is his elegant restraint the kept it from being too maudlin and sentimental. Moreover, for the first time the brass seemed to be a part of the orchestra, and the problems with ensemble and ragged play that were very evident in earlier nights were not in evidence.

...

The first half of the concert consisted of a selection from des Knaben Wunderhorn, sung beautifully by Miss Röschmann.  What a special voice she has, very silvery and yet powerful enough to rise above the sounds of the orchestra and fill the hall.  I've heard two Mahler 4ths where the vocalist was poorly chosen: one who couldn't be heard, and a mezzo who had too mature and womanly a voice.  The ending of this symphony, with that deceptively simple song is imo the perfect ending, and the whole performance can rise and fall on the choice of soprano.  No one in the audience could have been disappointed with the way Dorothea Röschmann sang.  

Agree completely with the comment on Boulez above and his match with the Fourth.  And Dorothea Röschmann has been the revelation for me of the series so far.  I have seen her on a number of recordings but don't recall hearing her before--wow, what a singer.  And I couldn't agree more: the Fourth can absolutely plummet in the last movement if the singer is wrong. 

--Bruce

[Bunny]

Bruce, I should ask you if you had your Barenboim moment yesterday?  That was a wonderful 5th that he conducted Sunday, and without the score!  It came as no surprise to me because I heard him conduct the 5th with the Chicago SO in either 2005 or 2006 (his last year in Chicago), and it was also an electrifying performance with one of the best Adagiettos ever.  That Chicago performance had memorable brass playing (as usual for Chicago), but the silkiness of those strings lives in my memory.

Barenboim's Mahler is really special because he is so totally Zen about it.  He is completely in the moment when he conducts, and I think he lifts the SKB to another level.  They can play amazingly well for Boulez when they are "on." But they also can deliver a completely flat performance as they did with the Mahler 2nd.  They had similar problems with brass and raggedy play the first night with Barenboim, but it all came together so electrically that the flaws became unimportant.  Does Barenboim create magic on that stage?  I think so.  Going to his concerts can probably be very dicey because he gambles, big time, with the music.  But those times when it works become something very special.  On Sunday, it worked, both for the Ruckert Lieder with Quasthoff, who is as you so rightly term, a force of nature; and later with the 5th symphony which can either come together as majestic or fall into pieces of bombast if the brass isn't handled exactly right.  Sunday's performance also had some of the best orchestral playing we've yet heard from the SKB.  Yesterday's concert set a very high standard for tomorrow's Mahler 6th.  Boulez can really deliver with this symphony.  One of my father's friends used to talk about hearing a Boulez Mahler 6th back in the 70s when he was conducting the NYPO that was for him an incredible experience, so I know that Tuesday night has the potential of being a real high point.  I've still go my fingers crossed.  Crossing them has paid off so far - big time!!

[Renfield]

And I couldn't agree more: the Fourth can absolutely plummet in the last movement if the singer is wrong. 

--Bruce

Quoted for emphasis!


Good to hear the intégrale is working out. I would hardly expect such an achievement from Barenboim; but he seems bent on proving me wrong.

I'd still probably opt for Boulez doing all ten any day, though...

(Even with the very real potential for performances overly on the chilly side of the excitement spectrum.)

[ChamberNut]

Ray, I will be very eager to hear your comments on the Sixth, which sometimes I think is my favorite of the entire lot.  It has my favorite Mahler slow movement, and is packed with drama, among many other things.  It is incredibly difficult to play, requiring heroic musicianship, and therefore lots of fun (well, "fun" might be slightly inaccurate  ) to watch.

--Bruce

It is becoming my favorite as well, Bruce.  At least....it feels that way when I'm listening to it.    Although it's got some stiff competition from the 2nd, 5th and 1st for me.

Will the middle movements be Scherzo/Andante, or vice versa? 

[ChamberNut]

Thank you Bunny and Bruce for your thorough reviews! I hope you enjoy the 6th!! 

[bhodges]

Bruce, I should ask you if you had your Barenboim moment yesterday?  That was a wonderful 5th that he conducted Sunday, and without the score!  It came as no surprise to me because I heard him conduct the 5th with the Chicago SO in either 2005 or 2006 (his last year in Chicago), and it was also an electrifying performance with one of the best Adagiettos ever.  That Chicago performance had memorable brass playing (as usual for Chicago), but the silkiness of those strings lives in my memory.

Barenboim's Mahler is really special because he is so totally Zen about it.  He is completely in the moment when he conducts, and I think he lifts the SKB to another level.  They can play amazingly well for Boulez when they are "on." But they also can deliver a completely flat performance as they did with the Mahler 2nd.  They had similar problems with brass and raggedy play the first night with Barenboim, but it all came together so electrically that the flaws became unimportant.  Does Barenboim create magic on that stage?  I think so.  Going to his concerts can probably be very dicey because he gambles, big time, with the music.  But those times when it works become something very special.  On Sunday, it worked, both for the Ruckert Lieder with Quasthoff, who is as you so rightly term, a force of nature; and later with the 5th symphony which can either come together as majestic or fall into pieces of bombast if the brass isn't handled exactly right.  Sunday's performance also had some of the best orchestral playing we've yet heard from the SKB.  Yesterday's concert set a very high standard for tomorrow's Mahler 6th.  Boulez can really deliver with this symphony.  One of my father's friends used to talk about hearing a Boulez Mahler 6th back in the 70s when he was conducting the NYPO that was for him an incredible experience, so I know that Tuesday night has the potential of being a real high point.  I've still go my fingers crossed.  Crossing them has paid off so far - big time!!

Yes, that Fifth might have been the best so far, along with Boulez's Fourth the night before.  I do think overall, (and I adore Boulez) that Barenboim is perhaps better suited to deliver a more satisfying Mahler reading, just observing this "mini-experiment" here.  I wish I could remember the exact words a friend said after the Second, something to the effect of: "Boulez sees the Second and admires its concepts, its orchestration, its revolution--but has no idea how to get to its ecstatic heart."  I sort of felt that way; it wasn't an awful Second, just not one that gives goosebumps.  It should leave you with your eyes watering at the end.

The friend going with me to the Sixth tomorrow night has heard Boulez do it before, and said it was one of the high points of her concertgoing career, so I'm trying not to get too excited.  The orchestra definitely was sounding better in the last two concerts, so perhaps they truly just needed a bit of a ramp-up.  But it's a really hard piece.

Will the middle movements be Scherzo/Andante, or vice versa? 

If the program notes are any clue, it looks to be "Andante/Scherzo."  (I think I prefer the other order.)

--Bruce

[bhodges]

Thank you Bunny and Bruce for your thorough reviews! I hope you enjoy the 6th!! 

PS, I am also doing full reviews of each for MusicWeb, and if you want to check my blog I'm testing out Twitter (in the upper right corner, "Microforest"), to give brief, one-sentence comments on each concert.

--Bruce

[Bunny]

If the program notes are any clue, it looks to be "Andante/Scherzo."  (I think I prefer the other order.)

--Bruce

Sigh. Sadness here. 

Mahler changing the order of the movements just before the performance reminds me of the stories of students taking the SAT who change an answer just as the bell rings.  Statistically, we are told, the first choice is usally the correct one. 

If Boulez is putting the Scherzo third, then this had better be the best darn performance ever.  Otherwise I will be very disappointed. 

I wonder if Barenboim would put the Scherzo second? 

[ChamberNut]

Sigh. Sadness here. 

Mahler changing the order of the movements just before the performance reminds me of the stories of students taking the SAT who change an answer just as the bell rings.  Statistically, we are told, the first choice is usally the correct one. 

If Boulez is putting the Scherzo third, then this had better be the best darn performance ever.  Otherwise I will be very disappointed. 

I wonder if Barenboim would put the Scherzo second? 

I've never yet heard it Andante/Scherzo, and my mind is having a hard time imagining it heard this way.  I'm happy that the performance I'm going to on Friday has the Scherzo/Andante order. 

[Bunny]

I'm hoping the program notes are not accurate.  Apparently Boulez recorded it with the Wiener Philharmoniker with the Scherzo second. 

[stingo]

I got to hear Berlioz' Damnation of Faust at the beginning of the month. Simon Rattle conducted, Magdalena Kozena sang Marguerite, Thomas Quasthoff sang Mephistopheles, Eric Owens sang Brander, and Gregory Kunde sang the title role. An excellent performance all the way around, but I was most impressed by Kunde, as I've not heard of him before (whereas the other two leads I've heard/heard of) but he did a wonderful job with Faust. I ended up purchasing an EMI recording so as to better familiarize myself with the work, but it's not like hearing it live in the concert hall. Good times indeed.

[Bunny]

I'm hoping the program notes are not accurate.  Apparently Boulez recorded it with the Wiener Philharmoniker with the Scherzo second. 

Joy tonight!  Scherzo second.  Brass continue to have some problems, but Hammer gives great thunks. Exposition repeat observed, 2 hammerblows. Boulez knows how to do drama, and this was DRAMATIC.  Boulez was more animated on the podium than he has been this whole series, he actually moved his arms around, even waving an extended arm!  The orchestra took notice, and delivered an intense perfomance.  SKBerlin has a terrific 1st Violin and a treasure in the oboist.  If only the cowbells were a trifle more prominent, especially in the Andante, however, on the whole an excellent performance. 

Biggest criticism is not to Boulez and SKBerlin: Carnegie Hall usher seated a late couple in the front of the Parquet between first and second movements.  Made the orchestra wait and broke the concentration.  Bad move.  Boos and hisses for Carnegie Hall staff.  If they came late, tant pis.  No excuses, a terrible thing to do to Boulez, the SKB and me.

[Lilas Pastia]

Great post, Bunny !

I'm not sure about how the the 6th's cowbells ought to sound (which is another way of saying I have my own idea in the subject ). A IIRC the experience of hearing cowbells up in the mountain pastures struck him deeply. as it did with me, but I heard them from above, looking down below. We were having a snack in the Allgauern Alpen, nach Obertsdorf . Cowbells were heard very distinctly, startlingly reminiscent of the 6th symphony - I mean, although I had a long time ago read about the 6th's genesis and Mahler's love of nature sounds, hearing those in situ came as quite a shock. After a few seconds, my attempts to locate the grazing herd was fruitful and I noticed a dozen cows in the shadow of a tree, about 1000 feet below in the valley. Their sound was coming very distinctly from down there, although they appeared as tiny as ants from my viewpoint.

Now, Mahler has precisely described this section as "the last greeting from earth to penetrate the remote solitude of the mountain peaks." Well, we were quite far from the mountain peaks, so my hunch is that, if Mahler's sensations are to be translated in sounds, then the cowbells ought to sound from as far as possible - an almost ethereal feeling (as in "ether"). 'Closeup' cowbells bring me closer to Chicago's meat processing plants than to the Alp's pastures.

Not that it's a defining factor, but I'd like to know wich 6th have particularly distant cowbell sounds?