Opening of Workshop "Music, Mind, Invention"

At the evening before the workshop "Music, Mind, Invention" began (held at The College of New Jersey in Ewing), a concert was given in the Center for the Arts, where pianist Joanna Chao performed music by mostly contemporary composers. Here is the program she played:

Joshua Fineberg: "Tremors" (1997)
J.S.Bach: Aria to Goldberg Variations
Fred Lerdahl (2004, 2009): "Three Diatonic Studies", with the movements "Chasing Goldberg", "Cyclic Descent", and "Scalar Rhythms"
Robert Young McMahan: From the "Six Miniatures for Piano" (2011-12) the first two: "Andante" and "Crisp, Strident". This was a world premiere.
Joshua Fineberg: "Veils" (2001)

A very appropriate opening of the workshop, followed by a reception with the opportunity to chat with the participants.

Concert Review: Elisabeth Kulman and Amarcord Wien

Friday afternoon, I walk through the streets of Graz. Then I see a poster with an announcement of a concert for this evening: Songs by Mahler. I HAVE to go. The ticket office is already closed, so I will have to try at the evening box office.

After quickly eating one of those gigantic Wiener Schnitzel (which are usually at least two or three slices of meat) with fried potatoes, I rush to the Congress. And yes, they still have tickets. I take my seat. Then the performance begins.

I have never heard about Amarcord Wien before. Well, this just proves that I am a moron. Now I know what I have missed, and their performance will never leave my mind. The violin plays the melody. The bass gives the low pitch foundation. The cello plays the counterpoint melody. And the accordion provides the harmonic texture. And then Elisabeth Kulman begins to sing. And heaven opens its gate.

Absolutely unusual instruments for a performance of Gustav's music, but absolutely fitting. A wonderful play with the music, full of emotion and inspiration. Makes you forget that there is no full orchestra here. Elisabeth's voice is like a dream come true.

From "Lieder eines fahrenden Gesellen":
"Ging heut' morgen über's Feld"
"Die zwei blauen Augen"

Then from "Kindertotenlieder":
"In diesem Wetter"

Then the "Scherzo" from Symphony No.1. This performance by Amarcord convinces me that my version of this movement is indeed too slow: they play it like a typical Austrian country folk song in a quite lively tempo, and now I know that this is how it should be played.

Then from "Des Knaben Wunderhorn":
"Ablösung im Sommer"
"Lob des hohen Verstandes"
"Ich ging mit Lust durch einen grünen Wald"
"Wer hat dies Liedlein erdacht?"

After the break the program continues with the "Adagietto". The clear instrumentation with these four instruments begs for a more rapid tempo than many of the current lush orchestral recordings, and Amarcord delivers a very appropriately paced performance, lyrical, but keeping up the momentum instead of bathing endlessly in long passages. Well done1

Then from the "Rückert Lieder":
"Ich atmet' einen linden Duft"
"Liebst du um Schönheit"
"Blicke mir nicht in die Lieder"
"Ich bin der Welt abhanden gekommen"
"Um Mitternacht"


They gave an encore: "Urlicht"
The applause did not stop, Elisabeth said "Wir sind etwas überwältigt", and since they did not have another piece, they played again "Ging heut' morgen über's Feld".

A wonderful evening - I am so glad that I saw that poster and did not miss this concert!

Maazel and Philharmonia: Mahler #5 and Mozart in Hull

On Saturday, 29.May 2011, I once again had the pleasure of attending a concert conducted by Maestro Lorin Maazel. He conducted the Philharmonia Orchestra in the Victorian City Hall of Hull. The first part of the concert was Mozart's Piano concerto No.9, KV271. Pianist Lise de la Salle gave a superb performance of this work, with crystal-clear intonation. The acoustics of the concert hall appeared to support the piano sound very well, allowing to hear every nuance of the piano play in bright clarity. The orchestra performed flawlessly well in its complement to the piano.

But of course, the main "attraction" of this evening was Mahler's Symphony No.5, and the Mozart was merely an appetizer. After the break the orchestra took seat in its full configuration, the elevated seats in the back now occupied by an extended brass section. Mahler's original score calls for 6 horns, 4 trumpets, and 3 trombones. Here, however, were 7 horns, 5 trumpets, and 4 trombones! Maazel had chosen to place the strings in the contemporary string setup, which is from left to right: Violins 1, Violins 2, Violas, Celli. Basses were in the right back behind the Celli. It appears that in the past (example: 2001/02 season) the Philharmonia Orchestra had used different possible setups, and it is interesting to note that Lorin Maazel at that time (as seen in the sketches on that web site) appeared to have chosen the traditional string setup with opposing 1st and 2nd violins in the front of the orchestra (which is the seating layout which I would opt for).

The solo trumpet fanfare began with great impact, and then the Mahlerian sound universe unfolded under the conduction of Lorin Maazel. He took the tempi of the first two movements a bit slower than Bernstein in the 1973 recording with the Vienna Philharmonic (which in my view is THE reference recording), similar to the slower tempo of Valerie Gergiev at the 2010 Proms. The overall duration of the whole symphony was 80 minutes, and they were filled with the emotional roller coaster of Mahler's expressive music. The orchestra performed exceptionally well, following Maazel's precise conducting, the instruments were played with excellent intonation, and all the nuances of this music came across in all their glory. There was, however, a slight problem with the overall instrumental balance: maybe it was a flaw of the acoustics of the concert hall, maybe it was the elevated position of the brass players in that amphitheatre-like setting in which they were placed, maybe it was the fact that the number of brass players had been increased from Mahler's already generous setting - but the brass appeared too loud in several instances. I do not mean here the expressive outbursts and glorious triumphant sections - these were just right and had the appropriate impact. But in parts when the brass really did not have much meaningfull to say (yes, such segments do exist, even in Mahler's symphonies), it was too prominent and covered sometimes the main melody by the strings. It might have been a good idea also to strengthen the first and second violin section. Violas, celli and basses appeared to stand up against the brass well, and also the woodwinds were well audible, but the violins seemed sometimes to drown within the sound of the rest of the orchestra.

But overall a grandious and enjoyable performance by a world-class orchestra and one of the best conductors in the world.