Archive for November, 2008
Mild und leise. Plenty of otherwise gentle people lose their grip on civility when Wagner’s name is mentioned. I was standing in line at the post office explaining to a friend why I thought Wagner was greater than Bach. I felt that we were in a safely uncivilized location, but no. The woman in front […]
Behind Stephen Hough’s astonishing recital in Troy, there are significant connections with two others I recently heard in Boston, both with the American pianist Jeremy Denk. In one of these Mr. Denk collaborated with the great cellist Stephen Isserlis (review forthcoming), with whom Stephen Hough often plays and with whom he has made several recordings.
This is intended as no more than a preliminary reflection on the retrospective installations which just opened at Mass MoCA and the Williams College Museum of Art—a first impression gathered when the galleries were full of people, some of whom I see all the time and others not in years. Amidst all the champagne, the personalities, and the excitement, the wall drawings still made their presence felt, rather powerfully, I thought. His measured forms and resonating colors were able to make their Platonic statement above all that mundane human static.
Huntley Dent’s recent review of Bernstein’s Mahler and now his lucid evaluation of several recordings of Tristan und Isolde put me in mind not so much of operatic traditions as those of the concert hall, since Wagner’s music drama is so deeply rooted in the orchestra and the conductor who leads it. The modern symphony orchestra and the concert halls in which they play evolved as a substantially bourgeois institution over the course of the nineteenth century.
Boston Symphony Orchestra, James Levine: Berg Violin Concerto with Christian Tetzlaff and Mahler’s Ninth Symphony
The Berg Violin Concerto (1935) and Mahler’s Ninth Symphony (1910) are indeed a magical pair. Not only did Berg have a great affection for Mahler, both works are suffused with an elegiac, deathwards-inclined but lifewards-looking mood and a kindred morbid lyricism. The formal affinities between the two works are also intriguing. The concerto consists of two movements in two sections, while the four movements of the symphony also fall into a binary pattern, one of two slow movements framing a pair of fast movements. Their differences are also enlightening. Mahler’s thematic vocabulary remained full of the popular motifs which he first absorbed in his early work with Des Knaben Wunderhorn and street music, and Berg, while weaving in a wistfull memory of a Viennese waltz, constructed the last of his two movements on a chorale of Bach (“Es itst genug!” from the Cantata, Ewigkeit, Du Donnerwort whose rich setting was sympathetic to Berg’s own harmonic vocabulary. As rich and contemporary as Berg’s treatment was, it evokes the purism of the “back to Bach” trend of the twenties and thirties. For more biographical background and analysis, click here for the rich program annotations by Michael Steinberg, which also include a fascinating defense of Mahler’s music by Aaron Copland, actually a letter to the New York Times from April 2, 1925, which was reprinted in the BSO program to the Mahler Ninth’s American premiere in 1931 under Serge Koussevitzky.
A friend called me the other evening, she was enjoying a glass of wine and wanted to know if there was a Bordeaux grape. I was momentarily taken aback as I perhaps wrongly assume that most wine drinkers know the three main grape varieities that go into red Bordeaux: cabernet sauvignon, merlot, and cabernet franc. […]
Black Watch by Gregory Burke Dir. John Tiffany National Theatre of Scotland St. Ann’s Warehouse, Brooklyn, October 25th, 2008 Gregory Burke’s Black Watch, the sensation of the 2006 Edinburgh Fringe Festival, has returned to Brooklyn’s St. Ann’s Warehouse this fall after its highly successful (and all too brief) appearance last season. The current run has […]