Tag Archive for ‘Beethoven’
Originality and Humanity: Anthony Marwood, Violin, Aleksandar Madžar, Piano, Play Beethoven, Debussy and Schubert
Huntley Dent has written on these pages “two musical instruments rise above all others in their humanity — the violin, because it comes closest to imitating the singing voice, and the piano, because it comes closest to conveying human nature.” So in the simple pairing of the two, a pair of thoughtful and sensitive musicians can ‘say’ more while ‘speaking’ less than many symphonies. Such are Anthony Marwood and Aleksandar Madžar, who play with such humanity to a listener, with originality and directness, with much thought and care. They play with emotional directness even while bravely and generously plumbing the emotional complexity and ambiguity of the difficult music they have chosen.
Three at Tannery: David Finckel and Wu Han; Todd Palmer, Elizabeth Futral, and Ran Dank; and the Harlem String Quartet
On looking over this program of familiar works for cello and piano, the last thing one would call it is challenging. Yet, this past Sunday evening, David Finckel and Wu Han made it into something extremely challenging and enlightening. The duo — a husband-wife team, as is well-known — put so much feeling and energy into each piece that each became a world unto itself, formed by such radically different personalities, that it seemed miraculous that the players could make the transition from one to the other within a single evening. As for listening to such performances, I found myself so deeply immersed in these varied planets, that the journey between them seemed vast. Finckel and Wu Han approached them as differing thought processes in different languages.
Hannu Lintu Conducts the Sydney Symphony in Dutilleux and Beethoven, and Angela Hewitt Plays Mozart’s D Minor Piano Concerto
In Henri Dutilleux’s Mystère d l’instante for 24 strings, cimbalom and percussion it is easy to dwell on the cimbalom as a freak in the concert hall, but Hungarian Xavér Ferenc Szabó introduced it to the symphony orchestra in the 19th century when it was essentially gypsy folk music instrument and later Zoltán Kodály used it in the 20th century in his symphonic music. The instrument is far older, a sort of piano before the keyboard and related mechanism were invented, probably used in the middle and near east in ancient times, coming west not too much later. One music historian describes its sound “rather like a piano that has taken its clothes off!” That gives the cimbalom an unfair primitive appearance, its construction no doubt demands as much care and refined techniques as any to sound so convincing next to the usual bowed strings. It no doubt strikes the ears of a modern audience accustomed to symphonic music as antique or near eastern, at least exotic, but I don’t think Dutilleux intended to make any such avant-garde statement for its own sake, and the piece certainly doesn’t have the form of a concerto. Rather I think he wanted a windless orchestra, a study in strings, without even much plucking, mostly bowing and tapping, if we can think of the percussion instruments as two dimensional strings.
Perennial spring. The Vienna Philharmonic never wants for love and respect, being showered with both almost beyond measure. Their PR department must consist of an answering machine that says, “Thanks for adoring us. Maybe we’ll call you back.” Since their principal season is spent in the opera house, the Philharmonic gives few orchestral concerts compared with the world’s other premiere ensembles. After earning raves and an audience hanging from the rafters at the Proms this summer, these august visitors were described by one London critic as “lifetime members of the high table.” It’s become de rigeur to carp about the absence of women in the orchestra (I counted three), but otherwise, a critic might as well push a macro key on his computer set to endless praise.
There was a certain amount of mystery surrounding this concert since the Tannery Pond season was first announced earlier this year. Venues usually have Emanuel Ax’s programs in plenty of time to include them in their advance season previews. Even if a musician’s repertory is generally familiar, audiences begin to feel insecure, if they don’t know what they’re going to hear in advance, but Emanuel Ax is one of the few musicians who can sell out a house without a program, and that is what happened. The delay made it possible offer a very special surprise, the return of the great violinist, Pamela Frank, to the concert stage after an absence of over a decade. In 2001, she received acupuncture treatment for a hand injury, and this in turn damaged nerves in her arm.
In this special version of the popular annual “Tanglewood on Parade” concert, the 75th anniversary of the festival as we know it (more or less) was duly celebrated. On August 5, 1937, the Boston Symphony Orchestra performed an all-Beethoven concert under Music Director Serge Koussevitzky. (I have already mentioned this in my review of the commemorative repreise of the same program on July 6.) This was the first concert of the Berkshire Symphonic Festival, as it was then known, both with the Boston Symphony and on the same property, Tanglewood, which has been the home of the orchestra ever since.
Each member of the Martinez-Urioste-Brey trio is a virtuoso in his or her own right. Carter Brey is quite accustomed to blending in an ensemble as he has been Principal Cellist of the New York Philharmonic for a decade and a half. From the outset, one noted a very different chamber style which emphasized instrumental autonomy rather than an imposed “lead and follow” ensemble
Hence my attendance began at 8.12 when I sat down to a 7-minute performance of Arnold Schoenberg’s 1947 A Survivor from Warsaw, conducted by Michael Tilson Thomas and narrated by Tony-Award winner Shuler Hensley. Thomas led the San Francisco Symphony in a performance of precision and assurance, and the men of the Symphony Chorus sang out powerfully. Hensley was unhappily over-miked at the start. I sensed that someone dialed down his volume perhaps two thirds of the way through, which restored some measure of balance to the mix, but I wish there had additionally been a way to dial down some of Hensley’s overt emotionality.