MDR Figaro - Save The Children Sendai Benefit: Leipzig Gewandhaus, Riccardo Chailly in harrowing Bruckner Eighth (ed. Nowak). 06.05.11

Recalling time Riccardo Chailly started recording Anton Bruckner’s symphonies, ingredients for making of a fine Bruckner interpreter were likely present, but vague to discern. On half of the mature symphonies, little better than tentative came to fruition - the later recorded Sixth, Eighth, and Ninth exceptions. The Seventh Chailly, hardly older than thirty, recorded with RSO Berlin now cries out for him to return to it in Leipzig soon. His take on Bruckner, already modernist, was one to immediately emphasize clean lines, but easy to find fragmented, confused sounding with verticality of Bruckner’s sonorities, emphasis on projecting tone, including with lush quality of the string writing - all cutting in at various angles. Hieratic aspects of Bruckner’s music, with hardly well focused alternative to replace them, got understated.

Chailly’s Decca Bruckner cycle, recorded in Berlin and then Amsterdam, came to a conclusion with the Eighth – good qualified success with it - fourteen years after recording the Seventh. Now twelve more years have passed. After fifteen years in Amsterdam, first ten years of which seemed to reflect some unease, situation in Leipzig with Chailly there these past five years seemed to hit the ground running from the outset. Leipzig’s strings have a little darker patina and fibrous edge to their sound than their Dutch counterparts - woodwinds darker color as well. Chailly has infused Leipzig’s playing with a deep smoldering fire that surges through them all.

Chailly and the Gewandhaus toured four Asian cities last March - Seoul, Hong Kong, and several days before the terrible northern Japan earthquake Tokyo with an all-Dvorak program and the Bruckner Eighth Symphony each. This performance happened as a benefit for Save the Children – regarding the many young victims of this catastrophe. Not only on humanitarian terms, but also on musical and aesthetic ones, this performance of the Eighth reflected selfless commitment by Chailly and all involved, most memorably to Anton Bruckner’s music.

In aspiring to grasp nobler, loftier heights in scaling the architectonics of the Eighth in Amsterdam, Chailly adopted an almost quasi-Brahmsian approach to slurring lines somewhat heavily over ends of phrases, employing allargando, other device to make space for doing so. Such (mild) affectation has mostly vanished now. The Ninth Symphony, as an aside, addresses new conflict, but without the ability to sustain the titanic conflict that at different junctures during the Eighth makes it so gripping. Chailly however with this Eighth, and with fine discipline not to sentimentalize the argument, took pains to place some of all this back, deciding upon an Eighth in which the music can most straightforwardly speak for itself.

Romantic conceits of making the Eighth metaphorically of either Promethean or transcendent Faustian proportions rested content to just be suggested here. The drama of Bruckner’s inspiration overall stepped aside from overtly taking on metaphysical proportions, but also not succumbing to any ‘period’ practice musicological conceit.

Chailly picked a comparably moderate pace for first movement to what he had before, but here inexorable forward motion beneath unimpeded by slightly belabored feigning of making overall reaching line connect. Fragmented character of the opening subject received more definite shape, less luftpausen, attenuation to make things slur over more than necessary. Confidence in both line and its components at last sounded assured. More expansive second theme still sounded mildly underlined, phlegmatic here, but enhanced by solid firmness underneath – still better separations within line observed once recapitulated. Forthright consequents in the brass were firm - retreating transition through woodwinds flowing, supple, through more classically arched, steady, trudging forward third theme group.

All continued taut underneath while supple through strings and winds spinning out inversions of first two theme groups. Anticipated arrival of the recapitulation, thoroughly prepared, sounded forth, gradual its buildup to a purposefully qualified climax full and compact. In 1999, Chailly, toward keeping all moving, rushed the quiet principal flute descant over unaccompanied trumpets’ ‘Annunciation.’ Toward maximum cumulative effect, all was steady this time - in mind too of expansively handled Adagio to come.

Expanded out transition to second group - by not over-blowing apex achieved right before - over single pitch continuing ‘annunciation’ trumpets made eloquent heavily descending unison strings intimating first subject as backed by Chailly’s from outset mildly classicizing conception of this music – still open to capturing this music's impetus to transcends formal restraints. Propulsion through third theme group toward ringing climax – full arrival at last of ‘Annunciation’ was infused with febrile sense of mystery. Picked up first theme group fragments Chailly gathered shape for from underneath in their mimicking the scaling of earlier achieved fine proportions.

Chailly, in 1890 scoring less elaborate than 1887 (original version), brought out the folk element in the Deutscher Michel’ rotating idea dominating the Scherzo here. Playing too was less thick from Leipzig strings than previously from Amsterdam, for shimmer of different colors and light to freely emerge through rustle mid-to-back to fill panorama still remaining full of much empty space. Chailly had his strings in Leipzig purposefully rise and fall, contract and diffuse in context of what was in front of them with fine simplicity, certainty and ease. Mystery capturing all this, while keeping prominent a never over-emphasized indigenous element, was complete.

Strings, deftly began Trio section, deferring to extended horn obbligato, then placing themselves more forward vis-à-vis clarinet, toward building, supported by brass, opulent cadential phrases, limned febrile thereof by harps. Intimation of great weariness infused brief re-transition, Chailly waiting until higher reaching cadential lines to employ underlining.

At considerably slow pace Chailly took the Adagio, there still remaining intimated sense of pull forward through its peaceful opening – palpably conveyed also here a sense of spiritual fatigue. Contentment with suggesting grandiosity for long ascending lines off heavy doubled third in the bass - as opposed to bloating them - was very apt toward preserving legato. Less absorption remarkably in what sonorities get built up through such opening revealed more thorough grasp of what gets confronted here.

Reprise of big ascending consequent Chailly then provided firmer shape. He made intentionally gradual grand arch to line in the cellos as second theme proceeded, from having started it, conventionally shaped, at a slightly accelerated pace. Reply from Wagner tubas toward cellos making part of the climb a third time warmly, succinctly framed the cellos doing so. Chailly very tellingly hesitantly shaped light transition to full reprise of the first theme - for winds reaching high for cadence, providing harmonically therein glimpse of light further opening out would later provide. Subtle detachment of ascending brass attempting to wrest themselves free of growing anguish in building stretto in strings above informed next full reprise of the first theme. Simplicity prudently informed next second theme reprise, limned well by fine concertmaster solo therein. All following striving then turned febrile, toward exposed violins making poetic lift - prefigured by winds - over which Chailly made beautifully sustained allargando.

Eschewing making harmonic change from very dark, fortissimo brass enunciation of first theme in B-Flat Minor to large A-Flat chord (slight awkwardness of Bruckner’s revision - Nowak edition here) from sounding climactic, Chailly slowly continued inexorably accumulating musical and dramatic tension – goal clearly perceptible here numerous paragraphs before – to stoically a noble climax. The risk-taking, interesting from Barenboim in Berlin last year, seldom otherwise, of imposing big accelerandi toward making it was not for Chailly – helping this Adagio, two and a half minutes longer than in Amsterdam, make it out to twenty-eight minutes - without becoming too slow or losing grasp of simplicity.

Strings on following harp-accompanied consequent eloquently eschewed fleshing out deeply constructed chordal progressions, making then all sound febrile on top. Subtlety Chailly might not have managed well much earlier, he included a hair-pin accelerando within starting final brass enunciations of first theme, pulling back from doing so right away, giving the conclusion of this Adagio full sense of repose and hinted, subtle impetus toward pressing forward at once - recalling DGG Berlin recording for how Karajan overshot the mark here. This was all true - vast empty space all about - achieved by taking this Adagio conscientiously slow. Very quiet break - almost ninety seconds - before the finale could begin was rapt.

The finale, only slightly slower than in Amsterdam, gained here finer nobility, resolve thereby. Contrast with urgency infusing starting idea in brass and chorale like well voiced second theme, was telling. Broad reach as slightly from behind in making transition to overtly breezily propelling forward third theme group paid fine dividends – brass consistently dark well beneath the strings. Fortissimo pressing forward on snatch of third theme, still plenty loud, eschewed making empty bombast thereof in favor of bringing out the strength of the trumpets’ motif, all toward readying poised Exposition closing lines. Hesitant false starts in strings with which Bruckner opens what follows Chailly provided fine shape, especially through replying brass.

Stoically insistent strings’ marking of brass sequence of descending consequents reminded of Klemperer’s manner of conducting such a passage. Febrile anxiety expressed by strings, followed by flexibly slackening of musical tension, excellently informed making re-transition off nodal sequencing preceding it. Ascending string tremoli spinning off firmly urgent restatement of first theme in full turned risky, in awaiting brass to lend all profile - better yet something achieved from observing all from very wide perspective.

Second theme sounded fuller than as encountered earlier. Third theme group pressed breezily its trudge forward, preparing first movement main theme arrival in C Minor well - rhetorical terracing of dynamics in the strings through their extended lines very fine. Chailly then began (arguably remainder of) the coda spaciously, brass deep in lament at outset, dotted rhythms then strongly marked – with at last second, press forward into final, stoically firm achievement of C Major, blazing forth unto measured proclamation of final four descending unison line to close all out, with it uncertain how, other than sternly, fulfilling a conclusion has at last arrived. Others, profoundly 1944 Furtwangler (Vienna PO), have found greater serenity in this finale; stoical perspective however though should be found equally valid.

This turned out Chailly’s most significant Bruckner to have easily run across thus far. It proved never lacking in philosophical import, with very well spaced sonorities common, abetted by broad shape to much of this – first movement alone in at slightly less time than in Amsterdam. Chailly’s vision of Bruckner here, making it to such complete fruition, crossed Gewandhaus footlights very compellingly.

Much spacious pacing vaguely recalled Sinopoli in Dresden (DGG); mostly some of its grayer modernist, despairing perspective got replicated here. Chailly lowered previous Romantic conceits by nakedly revealing with beautiful simplicity what vastness all about. It would be good to release this with perhaps for extended time Save The Children receiving proceeds toward relieving continuing great suffering in northern Japan – some expressive parameters of this Bruckner Eighth perhaps more acutely informed than usual by harrowing imagery of indeed a great tragedy - all very affecting, disquieting.

DR Kultur: AB neo-expressionismus zyklus III. Bernd Alois Zimmermann. Bruckner 9. DSO Berlin. Kent Nagano. Matthias Goerne. Philharmonie. 23.04.11.

Here was a program closing series of three, each featuring a mature Bruckner symphony paired alongside work(s) by (near-) contemporary composers, likely, even if obliquely commenting upon each. Architectonics of sound and light, between two works by Jorg Widmann and Bruckner Five provided first program its unifying idea. Here likely it was the absence of light - in pairing two overtly spiritually and definitively pessimistic works. Perhaps in the progressivism of each can be found some glimmer of hope, even within pervasive gloom of Zimmermann’s ‘ecclesiastical action.’ “ich wandte mich.”

Bernd Alois Zimmermann’s swansong, ‘ecclesiastical action’ programmed here, is based on very insightfully interspersed verses, passages from Book of Ecclesiastes and ‘Grand Inquisitor’ scenes in Dostoevskii’s Brothers Karamazov. ECM liner notes trace model for Zimmermann’s inspiration at least histrionically back to the action sacre’s of four centuries ago – unique cross between oratorio and almost opera they are. ‘Hope in a life worth living’ had all but altogether disappeared for Zimmermann, undercut by illness at little over fifty years old, that even in the dark world he reckoned, he had his other works express. Aspiration toward such is even difficult to find here. Taking on the surface what this music expresses, represents, as openly elaborated on Heinz Holliger’s fine recording, there is no hope.

During moments of larger or full ensemble ritornello in ‘Ich wandte mich’, one finds continuing a practically baroque application of serialism in much elaboration that fully characterizes Die Soldaten. Anything from slow allargando polyphony to sudden, as though igneous eruptions of intermittent rapid stretti still surfaces well – but as though perhaps from activity more than half of such submerged, relegated to a crypt. Emulation in serial language of Gabrieli derivative intradas - just several times relegated to brass alone – Nagano with fine sense of proportions well revealed their providing eloquent framing Atmosphere of minimalistic expressionism is pervasive, such as infuses late Nono and some of Wolfgang Rihm’s compositions; a sensitive ear gets beckoned to pick up through overtones intimation of melodic, harmonic progressions left merely implicit.

For setting of text stressing a continuing or relentless strife between oppression and liberation, between life and death, Kent Nagano seemed most interested here in what makes ‘Ich wandte mich’, according to Zimmermann’s forbears, twentieth century music. Nagano’s pace through this was quite breezy overall. Long sustained notes, pedals extending out, thus leading the ear to sense of conventional harmonic moorings still in play, did not receive underlining here they do under Holliger (ECM), even with what stark dissonances emerge from them. One sensed here a streaming motion, even through thinly scored passages, their often pinprick articulated, demarcated spacing. Vast space indicated here almost rivals scoring inherent to Luigi Nono’s Prometeo

Matthias Goerne proved the lyrical soloist for Kent Nagano, filling out his lines with fine expressive import, plus melisma and other mannerist articulation of his stark lines with fluidity, firmness, and internalized emotional engagement. (Andreas Schmidt, of naturally lower tessitura than Goerne, proved the darker timbre and the more histrionic, more stretched soloist for Holliger – in employing more conventional tempos and profile than has Nagano). Nagano’s two speakers (Ulrich Matthes, Thomas Thieme) and instrumental soloists within DSO Berlin fit deftly into Nagano’s more abstracted perspective on this work – dryly certainly as compared with more evocative representation Holliger and his team provide. Obbligato for electric guitar, stripped just partly from vernacular associations one makes, is very striking - hardly less that for double-bass.

Zimmermann’s merging of his highly developed serialism with the vernacular does not more acutely emerge than it does here. Sounds of softly rattling maracas, cowbells, antique cymbals, such to perhaps almost get lost in the Philharmonie’s diffuse acoustic got sensitively handled here. Nagano, favored leaving much, not quite all manner of expressive or histrionic device to one’s imagination. Sense of running contest under way between the two speaking roles for audible, perhaps philosophical supremacy came across here somewhat reticent or removed.

Word painting - impetus behind it understated here - such as duet of trombones (then mimicked by piccolos) accompanying ‘Ich sah an Arbeit’ – expressing futility of two accomplished masters envying the fruit of each other’s labors - over pounding bass drum, further illustrates the frequently utter grimness of this work. Concertato of trio of piccolos, pizzicato in cellos and melisma infused vocal writing hints at scoring tendencies common to the music of Gyorgy Ligeti. That all eventually sinks a good ways into adopting a meditative, reflective stance reveals Nagano, still unflinching before what violence occurs here, to be not far off the mark in subtly enveloping, shrouding good portions of this work in an air of abstraction. Heratic sense of where overtones lie, associations through recall of particular motivic activity, enveloping, framing provided by such Nagano subjugated to taking secondary role to the most progressive tendencies this music offers toward seeing beyond – also beyond some of the despair, gloom, despondency of Zimmermann’s vision here.

One could vaguely pick up perhaps a mystical grasp of how encountering such a work thus may offer way of being able to linger on a while. Nagano’s handling of fine brass chorale quote of Es ist genug, and jolting crunch with which Zimmermann truncates it came across forcefully, to decisively bring ‘action sacre’ to its conclusion. As observed as from a distance, blunt force characterizing Zimmermann’s vision, its rigor, terseness, at times fraught animation got appropriated more fluidly, streamlined than may be the norm, but within perspective of where this still oft neglected composer may fit within pantheon of the past century’s greats.

Kent Nagano then fully eschewed emotionalizing the Bruckner Ninth Symphony, opting to delve deeper instead. Outer movements got taken broadly - while acutely reckoning formal constraints at every turn. With tendency to keep distant full emotional involvement with content of the Fifth and Seventh symphonies, the probing character of this Ninth was remarkable - full simplicity achieved very impressive. Recently again during the Fifth and Seventh, emphasis for strings to project their sound with as much of their articulation possible or feasible became somewhat paramount throughout. One would normally expect Nagano drawn to forward-looking aspects of the Ninth. In no way then could anyone have felt disappointed.

For Nagano, it was in getting all harmony, voicing clearly spelled out, implications involved that impetus toward propulsive motion for argument throughout this piece got somewhat undercut - never beyond necessity to maintain good line and define well all contrasting episodes All emerged here very cogent and focused. Interesting to look back, because with forward moving impetus compelling Oswald Kabasta’s classic Munich Philharmonic account along, the modernism of all the dissonances in that Ninth as encountered therein, are also stark.

Nagano favored reasonably lean sonorities with which to approach the Ninth – also characteristic good freedom to freely contract and tighten overall sonic picture facing him. Nothing ever sounded denatured from what best characterizes this music, i.e. perhaps anticipating things becoming too detached instead. Equally fortunate, one sought in vain heavy or special underlining of any full scoring for the strings – or for that matter swooning over to death what sonorities can emerge just for their sake alone. Broad tempos combined with emotional stoicism framing everything, optimum flexibility with shaping the coursing line throughout became also highly notable.

Second theme, placed higher as recapitulated especially, got captured very knowingly, its sensuality emerging in full by being simply drawn out of well varied voicing and harmonic shifts through it and underneath. The same quality of workmanship provided third theme group unencumbered, naturally supple flow throughout. Nagano, making mild subito piu mosso out of switch to Moderato for the third theme group, obviated both its almost aimlessly wandering character followed by decisive character of how it develops - especially during well extended later reprise. Minor tendency to insert half to one second pauses to better demarcate episodes from each other during this first movement, proved very apt, very seldom self-conscious.

Broadly paced grasp of mystery opening the first movement through elementally, organically striving buildup through stoically enunciated fortissimo statement of the first theme beautifully laid groundwork for all to follow. What proved virtuous from Nagano in the Adagio closing the Ninth got anticipated by a very restful, meditative lingering over transitions between theme groups. Varied approaches to making incompletely fulfilling restatements of brass chorale motif from the Introduction, detachment toward making it to goal made (proto-existentialist) doubt expressed therein eloquent.

Even at broad pacing to all of this through for instance descending march of pizzicato in the strings, goal of achieving firm restatement of the first theme remained clear. For it, Nagano imposed a curious subito piu mosso as in effect to send all flowing through it. Tentatively starting buildup to auspicious climax in F Minor and achieving it may have frustrated a few wanting it milked for all its worth. More vulgar is to have the trumpets resoundingly on their jagged dotted rhythms make something Bruckner-star Galactica out of this passage; fortunately that did not happen here. Climax before coda was febrile in its intensity, wringing last drop of waning vitality out of it all, preceding wearily, stoically despondent brass chorale anticipation of very broadly paced coda rounding all out with compelling power and intensity.

Demonic quality of the scherzo became suggested as opposed to overstated - clearly lurking beneath it all through an internalized violence (pressed a little harder the second time through it) of achieving the minor dominant halfway through outer sections.. The lousy overstating of accelerando, worst on Karajan’s late 1970’s recording of this, mercifully got thrown out. Incisively playful interaction through ret-transition preceding through it Nagano beautifully clarified – in manner one would normally associate with Bernard Haitink’s Bruckner interpretations – also the bucolic lift informing the ferocity of this scherzo – yet without undermining it. The trio section with incisively achieved skip through its opening plus slight lift from behind for sighing consequents (and without rushing one bit principal flautist Thomas Hecker) got excellently characterized here. Mystery with restarting piquantly opening Scherzo was memorable – then extra heft through a hell-bent emphasis on upbeats bringing the Scherzo to an incisive conclusion.

The quasi-Klemperer like stoicism, broad pacing informing the first movement paid off equally compelling dividends for the Adagio A performance of this of more noble poise, well achieved outline than this from anybody today would be difficult to imagine. Stoic anguish expressed took on Amfortas like proportions, but with transfigured light glimmering throughout - auspiciously through clearly voiced dissonant climax toward the end, equally febrile invoking terror - letting unforced strings resound above the brass with very compelling clarity and intensity.

Space allowed for lingered over consequents in solo oboe and horn and for once over clearly enunciated comments in double-basses - all connected – characterized, succinctly shaped, the broad introduction to the Adagio. Slightly tentative opening to second theme each time proved lone distraction, perhaps welcome, from the deep underlying and often quiet intensity to this Adagio.

Full concise shaping of the B Minor agitated inversion of the Adagio’s opening theme framed intense, long trailing off thereof in high winds basking off glimmering light ascetically far across the horizon – how effortlessly all could turn sublime here at achieving ideal simplicity of expression – equally remindful of much excellent work Nagano achieved while in charge in advent of succession by Ingo Metzmacher. Long breathed anguished ascent off mid-phrase re-entering first subject past halfway through this Adagio, as to not quite deny brass interjections good space, leading up to fully harmonized sigh of descending chorale in the strings, was also notable. Achievement of such moment of repose turned out all unaffected, sublime. Break off of winds on clearly detached hollow major seconds from exchange of introductory minor-ninth opening motif between strings was very exact – and harrowing.

Intensity, lightly achieved, reaching far, to open the coda was thrilling. Coming off perhaps the very last crescendo in starting extended preparation for quoting the opening of the Bruckner Seventh closing the Ninth momentarily became slightly jittery, but as though to remind all of the utter humanity of such endeavor. With all taken very slowly entire way through horns’ ascending phrase, sense of motion still being alive, coursing throughout emerged through very nobly limned conclusion to this.

As even modernist an approach Nagano’s is, it made the often quite fine Rattle interpretation heard recently in London seem, by comparison, to linger on the surface. Rattle’s interpretation of the Ninth, in even perhaps helping expose its weaknesses, and fractured psychological state of its composer, along similar lines of how Robert Simpson has criticized this work, might seem now almost cheaply deconstructionist in perspective. The feeling of all being at peace at the close of the Nagano was achieved by accepting Bruckner as is, through beautiful preparation - by the most highly organic, unforced means. Opportunity to make chamber music out of many lyrical, transitional passages of the Sixth – hardly ever self-conscious – as played at the Proms six years back – typified this effort as well.. This Ninth proved fine testament to the resiliency of the human spirit while facing immediate prospect of life ebbing away.

BBC: London SO/Simon Rattle. Revisit of Berlin transfigural pairing of Bruckner and Messiaen. Barbican. 07.03.14.

Transfiguration was apparently order for the day behind program first played under Simon Rattle recently instead by the Berlin Philharmonic. I have yet to hear transcript from that weekend of concerts, also pairing Olivier Messiaen’s winds and percussion scored Et Exspecto Ressurectionem and Anton Bruckner Ninth Symphony.

‘Et exspecto ressurectionem mortuorum’ (1964) represented (start to) phase of new simplicity for Messiaen – toward better refinement, distillation of applying his compositional techniques. Whereas the five movements to ‘Et exspecto’ are untitled, Biblical quotation is cited for each. Rattle was assured deep color from sax-horn player among LSO ranks to open the first movement (‘Out of the depths have I cried’ – Psalm. 130), plus dark, burnished sound from LSO brass. Climactic, multi-layered chords - series of which accumulate a formidable crescendo - got openly projected. All rang out upon high, but traversing lower registers, intonation and grasp of this music’s hieratic sentiments both became slightly compromised.

For the second movement (‘Christ, being raised from the dead’ – Romans 6:9) Rattle made jagged opening unison light melismae and then gilded exchange of monody between principal woodwinds – threatening to make line sag. Fifteen-unit Hindu rhythm, the Simhavikrama, received somewhat extra playful touch, without breaking toward being egregiously so – just enough to have one lightly question to what extent Rattle has internalized matters. For third movement (‘The hour is coming’ – John 5:29) a certain overt quality to the music-making again revealed perhaps putting at a distance mystical sense of death’s inevitability this music better simply conveys. LSO chimes carried a curiously metallic quality about then. Crescendo for full body of woodwinds got slightly rushed, as did (enhanced) crescendo on gong. Uriapuru (Amazon bird) song from concertato of winds received more natural enunciation.

Supple dance like step characterized the more multifaceted fourth movement - with antiphonal calibration between winds and (or answering) bells, cowbells. Chorale beneath in unison brass animated concertato well, providing good frame to the rest.
Higher winds succinctly profiled light tracing of calandra lark; Rattle’s hieratic framing of concluding slow stretto for full arsenal of winds, bright on top, also proved very satisfying. Finale (‘And I heard the voice of a great multitude’ (Revelation 19:6), alongside first movement to this, simple, offered well calibrated richly varied antiphony between six gongs underpinning well measured line from unison horns. Overtones, emerging from percussion below, enriched ability to grasp (or not) ideal experience of, sense of grandeur for concluding thoughts – toward all being able to fit very well.

For being so compressed a work, ‘Et exspecto’ holds formidable, significant perils for those who might take any of its gestural simplicity for granted. Rattle, for having invested some thought therein, came up with performance direct at feigning well simplicity paramount here - better than with two Messiaen full length works he has conducted in Berlin over the past decade. Work for smaller ensemble, of relatively modest proportions, ‘Et exspecto’ fits better Rattle’s capabilities engaging this corner of the repertoire; this was a good performance. Hardly any offense got committed here, but neither was there quite all there could have been toward making more distinctive sense of this unique composition.

What may eventually emerge remains elusive - Simon Rattle savored talking about there actually being (close to) a completed fourth movement to the Bruckner Ninth. This may be due to new unearthing of sketches mostly yet unseen for finale, putting things modestly, to be all but one-tenth of it intact - without massive intervention. According to Robert Simpson, that he noticed a generation ago lack of anything suggesting a coda among the sketches, it would be a daunting task to put one together - to what could perhaps still ultimately become Bruckner’s longest symphony. Good helping of skepticism still remains healthy. Rattle, interviewed, appealed to rhetorical safety net, to prudently proclaim Bruckner’s Ninth still complete, even with still only three movements.

One or two further issues come to mind. One is likely slight over-emphasis on likely the parlous state of Bruckner’s physical and mental state during time of composition. With masterpiece on this level, there are different perspectives from which to reckon it’s meaning overall – and without leaning Pirandellian here how to negotiate inner workings thereof. Quite frankly, a little more than both Robert Simpson and Simon Rattle may reckon, inclusive of considering the weirdness of numerous passages in the Ninth, here was a way too for Bruckner – who had to have been quite lucid to have written much of the Ninth so well – to have looked out far ahead of all about him. In the process, Bruckner achieved sonorities, as also Simpson cites, both out of the ordinary and indeed unique to himself. Even for a dying man, tormented by doubt, there is hardly anything more positive than to be doing this very thing. Simpson and Rattle do not altogether exclude such a consideration, but in part perhaps they do.

Warmly supported by his London Symphony players here, Rattle found within his grasp good sense of ebb and flow through much of this symphony, with almost always good notion of what direction overall the music is headed. Without bringing special attention to it, but especially notable for some of the most quiet, mysterious passages therein, the virtuosity of the LSO never left anybody in doubt.

Betraying moment or two of dull intonation from the strings, the first movement started off slightly tentatively. Moving into climactic crest to first theme group, Rattle began honing in on much detail in scaling proportions overall; at being so painstaking, he momentarily provoked several slips in ensemble. Element of mystery entered into better focus in making transition to sensitively molded, calibrated take on the sensuous second theme. Interweaving voicing became consistently febrile through varying interaction both times it appeared. Third theme group took about five or six measures to achieve good footing, and then relaxation with meandering subject, such as Bruckner conceived it, became very welcome.

Development or extended counterstatement (Essence of Bruckner - R Simpson) had Rattle cut moderately paced path through sequenced re-starts of motto chorale idea from early on, subtly expanding out its restatements. Yielding into transition to storm strewing reprise of first theme full climax, then out thereof was all very good, until moderately contrived, impetuous rush right before then lift added to terrible F Minor climax, weakening overall well grasped effect of coming off so wearily as happens next. For much wandering about through searching third group and building outcry of anguish alternating with despondent expression of resignation, Rattle lent a supple hand - all tight in focus toward ringing, magisterial conclusion.

Scherzo opening received deft, incisive pointing, but perhaps fastidious to extent this music’s demonic qualities, its stamping beat, got minimized - better this than making it chilly showcase of orchestral virtuosity. Letting loose at violent achievement of the minor dominant halfway through Rattle made intimidating, as he should; less maintaining rhythmic focus occurred two accelerandi Rattle too readily applied. Moderating rapid skip to open the Trio slightly minimized contrast from what preceded it; balancing for sighing consequent from the cellos though was scrupulous - supple allowing flute obbligato ample space toward making all his part speak expressively. Scherzo resumed on tighter rein than first time through. Recapture of some vehemence may have registered less assured than before, but all working toward most cumulative buildup finishing trek over much rough terrain.

Londoners then fluidly assisted Rattle in providing us eloquent, at times moving account of the Adagio finale. Watching 1978 video of Karajan doing the Ninth and then observing my notes on what Rattle gave it had me almost reckoning several very similar things to have transpired in both. Karajan, videotaped, definitely shows more involvement, engagement with this music than on cold studio recording made near the same time at Philharmonie in Berlin. With Karajan, one still somewhat picks up, live from Musikverein, a still near-obsessive need for control of sonority, to extent with Vienna of nearly smoothing out several of this music’s more striking dissonances.

Rattle – dry, matter-of-fact with Mahler Third Symphony Adagio very recently with Berlin - here from different angle, definitely provided more filling out. Two episodes midway through Bruckner Ninth Adagio, where one encounters striking cross-cutting sturm und drang between strings and brass, trumpets leading inversion in B Minor of introduction minor-ninth motif, and then where strings cut in on same motif midstream both got played thick to extent of missing optimum detachment of sonorities. Naively with Rattle, impetus of striving to get such right seems paramount. Still, Rattle, at whatever level of awareness, thereby made impression of holding this music out at slight distance removed - with what conflict to be engaged in a good several times during this Adagio.

Following instance, where violins and cellos exchange broad interval motif opening the Adagio, now over repeated hollow whole tone repeated interval in the winds, had strings flesh out deep angst infusing it all, with detachment of woodwinds underneath perfectly realized; Karajan muddies things by slurring the winds (with line headed nowhere). Steep climb was made to harrowing climax to resound forth.

Rattle waited for brightly entering trumpets, to achieve good focus to help open the Adagio Shape, focus to supple line, most everything, then became exemplary, sense of mysterious light infusing much - well before descending principal flute entering as though from afar to help make transition back to how the Adagio begins. Portamento then on yielding second subject sounded slightly applied from without. All carping aside, mostly for Rattle reckoning it aesthetic to apply distancing he has according to generally urbane sensibility expected, Rattle’s elegiac grasp of overall perspective was pleasing. If less than perfectly engaging of all proportions at stake. His Londoners here fluidly expressed, outlined majority thereof. Emotional simplicity, reserve of Rattle’s approach, if only thus far intermittently casting spells, ultimately most certainly did, as if to peer well over the horizon, toward locating fine resolve through this Adagio’s ebbing away - with principal horn’s quote of opening the Seventh eloquently making final say.

DR Kultur: Bruckner neo-expressionismus zyklus I. Jorg Widmann, Bruckner 5. DSO Berlin. Kent Nagano. Philharmonie, Berlin. 28.2.11.

This program began mini-series of three last odd-numbered Bruckner symphonies, programmed together with works by living composers. The Fifth Symphony here got paired with two pieces by Jorg Widmann, the Seventh several weeks later by “Das Gehege’ - monodrama by Widmann’s mentor, Wolfgang Rihm, written on different subject than, but along compositional lines allusive to Schoenberg’s ‘Erwartung.

Much of the Bruckner became showcase to virtuosically display packed sonorities – in accentuating at saturated moments overtly, deeply clashing overtones – impetus too working toward making detached their ricocheting off each other. For his purpose – picking living composer who in fragmented manner has inserted miniature clips from the older classics – i.e. Beethoven Seventh in Con Brio – was in qualified sense apt. Hardly any quotation of ‘the classics’ cropped up in either work chosen here. Impetus for Nagano to do the Bruckner Fifth Symphony was similar to that of his mentor Pierre Boulez – likely heard with the Chicago Symphony several years back. A greater clarity and structural precision indicated as much – with modest nod toward grasping the deeply hieratic aspects of this work. With Nagano, one had to wait mostly until the finale to grasp any (derived) sense of exaltation.

Violist Igor Budinstein and composer on clarinet joined DSO for first, yet more recently composed, pointillistic, less opaque of two Widmann pieces - “Schatten – Polyphonie – Lichstudie II.’ Jostling about of almost exclusively three pitches – with Widmann starting off tonguing an A – A, major third up to C-sharp, eventual tritone up to D-sharp - started things off. Grope upward then made at best thinly harmonized cadence on A – except (as leap of faith) through perceived overtones. Moving about from it in quarter-tones merged with, added, two other most frequently repeated, central pitches similarly explored, manipulated. Snatches of phrase emerged from clarinet, solo flute duo, followed by further sound effects, snatches of jazz riff, decorated by light percussion. Such gesture supplemented wind players breathing into the keyholes of their instruments – buttressed by imaginative lower woodwinds’ obbligato.

Budinstein then brilliantly entered with elaborately varied bow-strokes - legato, martellato, spiccato alternatively overtaking each other – over lower strings obbligato. Toccata then opened the central portion of this fifteen minute work, switching, evolving from much manipulation of broken motif into more sweeping flourish of descending scale-wise runs, arpeggios – type of flourish occurring also in Armonica, but more densely packed therein than here. Interjections of very rapid upward runs, stabbing accent on chords, single pitches made for an ever increasingly mercurial play with light and color in a woodwind, light percussion dominated sonority. For contrast, perhaps for the effect of refracting light, Widmann would then broadly augment figuration in play.

Three, four voiced choirale in the strings assisted in buildup to C Major chord, to break apart into whispered harmonics with low register A Major third to resound from the two soloists. They have been already intermittently caught behaving very skillfully imitative of each other - their own tone colors, effects, sonorities - enhanced by light comments from DSO Berlin percussion. Broken allargando through heavily tenuto marked pitches buttressed a clear ascent into higher, ever growing aggregate of sonorities to ultimately an ear-splitting level. Mostly lower broken sonorities challenged developing broken motif on (mostly) solo viola – toward making final reach to a piercing high C-Sharp. It appeared possible Nagano might have been more engaged with ‘Schatten’ than with Armonica to follow, given the frequently open textures, overt rhythmic animation characteristic of ‘Schatten.’

Armonica (2007) proved the more textured, rhapsodic composition – premiered by the Vienna Philharmonic under Boulez – featuring here brilliantly adept Christa Schoenfeldinger on glass harmonica. (Boulez’s interest in German neo-expressionism seems newfound). Layering of half and whole tone dyads, melisma formed out of which to limn dense texture underneath becomes paramount here. Nagano often stressed citing melodic and harmonic motif to help define parameters embedded therein and characterize individually what colors infuse them. Arabesque introduced on piano and celesta gets mirrored, echoed by internal voicing throughout rich tapestry on display.

Interchangeability of both single pitch and clustered sonorities between harmonica and frequently wind instruments was telling – with, in addition, several electronc imitative repeat-pitch tremoli. Several trumpets cadenced two-thirds through Armonica on a brightly dissonant triad, then cut off for harmonica high and dry to echo them. Violins often high, placed back often on (half-) harmonics would gradually grope toward forming sustainable cantilena - often stifled by much else about. Freely entering concertato of winds beneath would contrapuntally supplement, develop effort.

As though to depict spirit straining to break free, Widmann’s mercurial inclusion of arabesque, especially on celesta, vaguely recalls the music of Bernd Alois Zimmermann. There was in subtler, more enveloped format play with light throughout, even to refract it during closing passages – getting past, two thirds through, pause in the music off muted strings dissonantly echoing E Major triad just accomplished.

This music included inhaling, exhaling wave like motion scattered throughout, while often accumulating, then quickly dissembling aggregates of dissonance, knowingly so. Rise and fall on cymbal clash underneath very first pitches to sound forth on harmonica starting this piece concisely intimated such. Descending scales, intermixed with descending diminished chord intervals prepared elaborate exploration of such device. All faded spectrally away to silence at the end, to at first seemingly establish central point of arrival on E lightly swelled on harmonica. Tone half-tone higher at the very end, recalled in the strings considerably earlier the first quiet major cadence in the piece, encompassing several octaves on just two pitches.

Varied dissociated states identifiable with Widmann’s music meandered into making presence felt during Anton Bruckner’s Fifth Symphony. Nagano had wonderful success with Bruckner’s Sixth Symphony at the BBC Proms six years ago in the drier Royal Albert Hall; two months earlier they had recorded it only near as successfully in the more diffuse Philharmonie. Intimate feel for the outdoors through the Sixth’s internally rich harmonic language, more prominently in London, became hallmark of both.

Replacing wooden Gothic cathedral on display before who wrote this Fifth Symphony came at the Philharmonie approximate reconstruction in steel and concrete. Displaced accenting, while not throwing things off completely, became fairly common, increasing one’s’ feeling of alienation. DSO Berlin here seemed to be making good stab here at emulating the Berlin Philharmonic under late-career Karajan – to perhaps showcase the bombast of doing so. Pardoning some overt rhythmic inconsistencies, this Bruckner Fifth was brilliantly conceived, executed, yet with altered mental picture in mind – for which it might cause an orthodox observer to perceive much heart.

Stoic reply from brass to ascending jagged figures all across provided measure of poise, grandeur for – above marked dynamic levels – a too projected introduction to the first movement. DSO strings infused first subject with fine angst within well sustained fairly broad tempo for Allegro to follow. Provocative was heavily marked detachment of antecedent portion of the second theme, each time, from more easily shaped consequents – slightly throwing one’s sense of balance off. Interlude led underneath by horns between its statement and reprise was warmer. Closing section of the Exposition conveyed the most character of anything thus far. Tremoli filling out closing lines sounded slightly more diffuse than warm.

Further effort toward strictly proportioning argument at hand further prevented thaw from emanating well during Development. Remindful of some vestige of humanity still at stake, ascending forceful dotted rhythm brass sounded loose in grip on pulsation under-girding their lines. For further projected voltage, increasing reach from behind became prominent for what remained. Stark preparation for the recapitulation abetted making stilted projected tremolo to accompany the first theme. Profile of third section became slightly exaggerated, but acclerandi to usher in Coda calibrated toward flutes entering well with first theme - brass then too slurred, projected to well emulate them

Second movement opened suitably austere. Descending solo clarinet sixth and sevenths consequents harnessed DSO strings from beginning to clip their parts. Noble line mostly characterized alternating second theme at least until brass rose to the fore to slur, turn epic repeat of the subject. Simplicity of returning first theme thus became disjunctive. – all then to turn unyielding with as a result violins only initially fulfilling, distinguishing numerous shifting harmonies. Stark dissonances for descending brass got understated, through largely streamlined, tempo marked, heavily slurred approach to much else. Pace for this Adagio seemed slower than it actually was.

Strings on subsidiary lines curiously managed cutting through brass to open a headlong accented Scherzo. Overall articulation was too unvarying for much character to emerge well, with strings bouncing down on Adagio consequent derived staccato, then for principal oboe especially and strings to halfway pick up laendler accenting to follow. Weighting, slurred dragging out of remainder up to where all recapitulates however became tedious. Restoring pacing to headlong emerged mildly forced or contrived. Scherzo reprise after more relaxed Trio had better internal lift applied to how it opened, but with things then quickly returning to how they had been before. Bucolic accenting in the Trio, initially halfway picked up, gratefully improved as it coursed along.

It took until getting Exposition underway for Nagano to find good footing for the finale. Due to good circumspection on his part, the finale, consummating the opening out of hypothetical cathedral in question, proved his most successful movement here Second subject began as open-air as well played as might any more bucolic passage of the Fourth; amply suffused strings in playing full out their extended consequents became slightly syrupy, thick.- but while maintaining good line and pacing throughout. First subject right before, on cellos, basses, was informed by ruddy tone and good swagger. Firm pace and accenting was set for framing, closing third subject, with extra reach from behind in the strings to heavily further anchor things – after threatening to come off previous subject streamlined. Chorale interlude to frame imminent large fugue resounded fully, solemnly.

Nagano then paced, balanced the fugue very well, but with strings showing, after thick slurring through running descant eighth notes, some strain. Larger picture remained in focus with precise, light pinpointing for tricky concertato, subtle harmonic shifts within Nagano almost managed building a non-arched crescendo exiting the fugue, then making rugged the transition off recapitulatory first subject over to second - starting off equally lithe as before, but pressed hard forward toward concluding it. . Making way through the rest, Nagano got slightly stumped by a couple of transitions among good handful – strings slightly too bright in the Philharmonie acoustic - all in sight of supplemented DSO Berlin brass blazing path to fully realized majestic conclusion

While fully adept on Bruckner – Nagano cut an excellent disc of the original version Third - his sympathies with the Fifth were less clear. He no doubt is in good company with other esteemed Brucknerians. .Impressive to me early on was an Ozawa performance for PBS ‘Evening at Symphony’ – my introduction to this piece. Seiji Ozawa, also mentor to Nagano, ranks high among most underrated conductors of Bruckner’s music. i I was intrigued then by the seemingly many out of the way, odd turns this music takes. ‘Evening at Symphony’, nothing commercial behind it, following legacy of Lynne Cheney style ‘reforms’, unfortunately went the way of all flesh.

More supple line, formal grasp will not sink Nagano’s Bruckner into emulating flaccid late-career Wand or Celibedache. Keeping unwritten and written parameters in mind – a modernist approach to Bruckner can still work. In keeping with such, the purposefully mostly unresolved descending gestures in brass nearly closing the Adagio, cutting across thin shafts of light groping inwards, should stand out somewhat more; fuller grasp of this music’s mystery however must first take hold. Much impressive still transpired here - if not always meaningfully so. The Fifth perhaps fits Nagano less well than several other Bruckner symphonies; this was hardly his last chance at it.

BBC: Edinburgh Internat'l Festival. Cleveland Orchestra, Franz Welser-Most. Bruckner Eighth (original 1887 version). 17.08.10.

This is the first encounter I recall of original 1887 version of the Bruckner Eighth Symphony with an American orchestra. Only six recordings exist by American bands of the standard 1890 version – two of them Cleveland under Szell and Dohnanyi. On close scrutiny, there is much to be gained by revisiting this version of the Eighth even with its greater eccentricities and it having been judged as inferior during Bruckner’s time.

This is music of more elaborate, brighter character than its altogether more obviously brooding revision three years later. It is here more confident in its heroic stance, and also hardly ever wary of extent to which it takes certain things - occasionally to great lengths. It is also more clearly, with certain turns of phrase, especially while approaching cadences, more reminding of the Seventh - the original Eighth’s ties to it altogether closer than the revision lets us hear. The greater fervor, more confident striving toward certain goals (and making at least one – achievement of huge cadence in C Major – twice prematurely) also indicates a closer bond with the Seventh one has always assumed contrasts altogether very much with the Eighth.

With his Clevelanders, Franz Welser-Most certainly might indeed be best suited to the original version of this piece. His remarks of finding a kinship between the music of Bruckner and John Adams perhaps makes anachronistic some emphasis, such as bright projection of overt qualities this music has to offer, such as comes naturally to Cleveland - here even while achieved to somewhat detached effect. Repetitiveness of certain figuration in a fidgety way - getting achievement of climax to a line or cadence timed just right, I suppose - does carry some appeal to it, given what influence on the music of John Adams this music must have had long by now.

Franz Welser-Most’s sense of shape to a still steeply arched first movement was intact, but loosely achieved. A slightly rushed start to this movement hesitated to assume definite profile until loud full brass entrance with opening statement for it. Strings were warm with second subject, with there being greater fervor, patience in shaping it possible. Jagged character of third theme group got realized well, if resulting in some choppy playing – and with rushing towards cadences, making all sound very bright, but lacking in a certain amount of fire to infuse it from within and carry forward what qualities this music borrows from its predecessor. Voiced very well, the diaphanous quality of woodwind section descant over inverted second theme in the Development was distinctive, but worked into making too insistently paced a traversal of sequence of restating first theme in the brass. Very bright cadence on G Major replaces our hearing broad, repetitive descending line repeated on solo flute over ‘Annunciation’ in darkly placed back trumpets. Pointing of ‘Annunciation’ on trumpets here - with more swirling about than in 1890, insufficiently prepared here, became weightless, streamlined.

Good focus got restored for second theme reprise, but highly plaintive and less heavily scored, but all the same fully achieved ‘Annunciation’ at last sounded here curiously on verge of expressionistic with so much uncertainty for effectively preparing it. Tug underneath final achievement of C Major to close the first movement also got undercut, helping leave one with the uneasy perspective of there being lack of depth to what had transpired thus far.

Supple play was made of the scherzo, although with strings sounding a bit precariously thin at its outset. Pointing of here apparent ricochet of upbeats between different brass was confident, but seemingly devoid of firming up shape of what in still more determined fashion – tremolo lines in the strings – really unify and carry this music forward. Diaphanous quality to string playing carrying forward began to detach from the enveloping in mystery of this music itself.

The ‘deutscher Michel’ folk-like character of figure spinning over and over again, but more frequently in 1887 to complete shape thereof than in 1890 is the more bucolically gawky for achieving such. Such quality also got partly missed here – for contentment with brightly virtuosic achievement of so much figuration by especially Cleveland strings and brass itself. Simplicity of the trio section here though was mostly well observed. Absorption however into the almost Gallic diaphanous quality (even without harps – not to get added until 1890) of textures at crest of striving, ascending lines replaced full achievement of line ascending its way into them.

The Adagio, Welser-Most’s most satisfactory movement here, started off with good measured pace – if with curious buzz from violins on their opening broad line. Harmonic change within descending lines to emanate from the opening to this got somewhat smoothed out, but with more circumspect shaping of it all, better avoiding Mantovani effect over harps, in full, tighter reprise of opening statement here. A fully achieved sense of repose took over for long expanse to follow, opening with ardently shaped second theme. Bruckner’s formally expected ending rhetoric to later reprise of first theme - where in 1890 very brief segue is made instead to second theme, matched well sense of being, without compromise of line, well settled into well stretched out peaceful oasis here – even if without quite fully achieved sense of what got us there. Cleveland strings made lovely cantabile of varied second theme transition into next, flowing sextuplet building reprise of the first theme.

Dramatic shaping of the more elaborate, winding (than 1890) trajectory to follow was mostly convincing, if a little distracting a certain involvement, absorption elsewhere with the sound Cleveland was showing they could produce for its own value alone – resulting in gratuitous smoothing out of some harmonic progressions therein. Written in anticipation of harmonic progression to guide opening of the finale, that the Georg Tintner makes on Naxos sound as though almost lifted from the Seventh, got also missed for what lovely sound could get produced – but all eventually working towards focused view overall of lengthier conclusion to the Adagio.

Instability behind guiding impetus to drive forward much of the finale of the Bruckner Eighth Symphony became a critical issue here. Welser-Most had his strings enter from ever so slightly behind the beat for an overall streamlined perspective to the driving opening - all causing momentary uncertainty for the brass in how to enter once or twice. Welser-Most then added extra dose of stringendo to reaching up with line through refrain to initially despondent and flat-line sounding second subject here. His pulling back for immediate start-over of the refrain, very well replaced in 1890, made an already awkward moment in Bruckner sound as through making alert for there to be immediately handy a bottle of Dramamine. Welser-Most then applied good weight to the third subject group, through smooth transition, extended coda – third subject derived accompaniment in strings now more prudently accented before beat with repeat-pitch grace notes or illusion thereof. Weighting down of broad string figuration under brass in loud re-affirmation of E-Flat Minor was stodgy.

Dragging of the beat continued to persist until in the Development loud repeated descending inversion of the first theme in the brass, which Welser-Most then rushed –making this listener even more furtively want to press for a bottle of Dramamine. Tentative retransition was then made over repeat-note triplets to carry line forward – with Welser-Most first allowing too much slack, then muscling string figuration toward starting the Recapitulation to compensate. Erratic also was Welser-Most’s bending of descending brass lines off the crest to this to something bordering on jazzy or salsa in effect. Solo horn ending section by making portamento throughout single pitch clearly indicated already troubled intonation from the brass - until re-gathering of poise to recapitulate the second theme.

After well marked change of cadence most unique to this original or 1887 version, Welser-Most regained control of line to follow into the coda section, until brass made strange bend, almost yawn out of reprise of the main theme of the first movement. Brief change to tonal center a whole tone above – D Minor – offered tempting opportunity to expressively shape descant lines in the violins, yet transition to this got smoothed out to where it no longer offered any semblance of profile. With proportions of three-fourths to eighty percent of the finale to this mostly somewhat awry – indicative of conductor having taken on some of what is here for granted – robbed then was cumulatively well extended cadence and C Major chord of feeling that all must remain there for so long.

While one should be grateful for even this chance to hear 1887 performed – for insights it provides into the genesis of this masterpiece, one might have expected better of Cleveland - their virtuosity so clearly evident - than especially their haphazard taking on of the finale. This music can not compensate for any inability to grasp form that even here with its self-consciously lengthy anchoring of cadences and of transitions between sections, still makes very compelling blueprint for all of what was eventually to come.

There is also to account for here the brighter tone, the more overt fervor of the 1887 version, with as so well subtly pointed out by Georg Tintner a tug toward being able to hear allusions this symphony makes to its immediate predecessor. With all this beautifully intact, the last three symphonies of Bruckner ultimately indeed do become one great opus in a sense, unrivalled by anything else. Welser-Most, with the shallow, two-dimensional perspective with which he offered much of the 1887 version, that in return denied him security this way – missed making anything out of such links. Thank heavens, for such insights this version offers, it still exists, that even with a little greater formal clarity the revision offers, in its even challenging the Sixth as what Bruckner openly considered his most daring or adventurous. Even with what further horizons the Ninth opens out, nothing Bruckner wrote could deserve this status more than his Eighth.

In provocatively, jauntily irreverent fashion, the program opened with Cleveland veteran keyboardist Joela Jones playing the Variations on ‘America’ and Postlude in F by Charles Ives. She made utter simplicity of rhetoric out of both works - with their wittily odd turns of phrase, exotic changes of harmony, slithering about. The holding on to several pitches in the latter, usually so misplaced as though not at all to belong well to any chord out of which good cadence can emerge, was conspicuous, as intended.

In-between - for small ensemble of brass, bells, percussion – came the Ives piece From the Steeples to the Mountains, just somewhat in Ivesian fashion taken on haphazardly here. It was so more than in how it is written – as window for some of what was to come with Bruckner on the meatier, weightier second half of this Cleveland Orchestra expo for one out of two evenings at Edinburgh. For a much warmer, fuller take on the 1887 Bruckner Eighth, the Georg Tintner recording, a real bargain, also has always supple but the firmer grip on the architectonics of this than does Welser-Most or especially late-career Gunter Wand (1890 only) for either version.

DR Kultur: Barenboim offers provocatively dialectics inspired view of Bruckner Eighth. Beethoven/Bruckner zyklus - Staatskapelle Berlin. 26.07.10.

Pairing earliest written concerto of Beethoven with the Bruckner Eighth Symphony, Daniel Barenboim made relatively modest proportions of it. A good share if not quite all the characteristic wit and vigor of the young Beethoven came through. Barenboim contrasted making spaciously firm character of opening to the orchestral exposition and then after a couple of expected brooding turns to minor mode, light Haydnesque or Italianate staccato pointing of same opening theme, giving glimpse ahead of the dialectics between Classical and Romantic tendencies from even early Beethoven to eventually something far more advanced.

Barenboim’s playing through solo exposition was fluent, well animated. His handling of half-cadence into second theme had light clarion ring, then finding introspection for turn to both flatted submediant and minor mode during transition from elegantly turned second theme to catching the impetuosity of closing material, in sequence of scales - pointed octaves above to hold all in check. Brief exploits into fantasy during superficially the simpler Development got delineated, anticipating marching light stretto of staccato chords between wind concertato and soloist broken by skipping triplets for the latter. In practically Beethoven’s parody of sounding academic, Barenboim pointed out in the cadenza the building contrast for antecedents, consequents between right and left hand, to lightly all go storming forth toward ultimately gentle, brief cadential reply from Staatskapelle at the end, eschewing coy treatment for any of this.

Nobility for slow movement got supplied in full measure. Expansion of line through second theme, even through much light filigree became spacious, with good pointing of winds and soloist on alternating half-phrases throughout. Within context of such eloquent rhetoric, hushed close to ending lines was moving, with Barenboim making light pause for final trill and brief line trailing off all speak - framed by luminous close in Staatskapelle winds, buttressed earlier by weight from the strings.

Given Barenboim’s unqualified success with rondos to both Third and Fourth concerti, his restraint toward giving Haydn-esque offbeat accenting the oomph it needs to make Beethoven out of this rondo was curious. Apart from that, his fetching quality to rapid runs, tripping staccato with off-beat grace notes made practically complete character of the rest. Gently playful was his take on more agitated middle section; Barenboim also understated firmness in making transition back to reprise of rondo theme, to preserve requisite lightness for it. Pause for turn to G Major fully infused it for ironic ‘upon second thought’ air to it. Barenboim then made fine flourish of all that remained – half-unwitting misplacement of several accents aside.

Gauntlet ahead, for all involved, was the Bruckner Symphony No. 8 in C Minor, following triumph enjoyed evening before with the Seventh. Here good results were more qualified. This was an Eighth that the further one made one’s way into it became more involving. Including on ‘live’ Teldec recording of the Eighth with the Berlin Philharmonic, Barenboim has attempted making something very fluid out of phrasing the work’s broad, arching lines, to provide argument overall fine sense of liberation from the constricting influence of bar lines and downbeats on melodic, harmonic progress through its long paragraphs. It is such that he among many identify with the legacy of Furtwangler – frequently considered definitive for Bruckner.

Barenboim also attempted then with the Philharmonic to make entirely fluid its narrative, - and as aside, make it further clear that result sought was not what sheen, great luminosity he could pull out of the Philharmonic – such as we associate with late-career Karajan - last several times he recorded the Eighth – or with ‘The 101 Strings.’ Claudio Abbado had already spent nearly five seasons in Berlin when the sloppily edited Teldec Eighth got released, with sound engineers having stopped short of fully negotiating the difficult acoustic of the Philharmonie. The change to the Philharmonic is clearly felt, even from time - close to when Abbado took the helm - that Barenboim started recording his then still new Bruckner cycle. The feel Barenboim had for the Eighth then was too confident, even almost improvisatory, making it more of a curiosity than what one can reckon one of Barenboim’s more successful Bruckner recordings.

First movement here raised similar doubts, with hint of brass turning fractious toward Exposition final cadence. Pace was just slightly less breezy for this movement, than it had been on disc. Dotted rhythms were intermittently still loose, particularly with opening theme of the movement, upbeat to the same. Doleful tuba on yet again the same theme got Development section underway with fully characterized, incisive winds replying with its inversion. Slightly contrary to what is marked Barenboim made somewhat risky footing of inverted Theme 2 sequencing into broad arch - streamlined in feel - with first theme derived upbeats deep - slightly loose from their hinges. Without clipping that marred previous Philharmonic effort, majestic climax got achieved well. Violins on inverted second theme figure in half notes elastically maintained fine current through it - with risk of becoming too free-floating still present - less excessively so. Safety net below was found with trumpets precisely marking their quietly ominous ‘annunciation’ motif – allowing better space for descending principal flute – as if to make paradoxical contrast between this and loosely played upbeats earlier.

After broadly pacing second subject well, Barenboim effectively built excitement through rocky third subject, with still risky accelerandi - obbligato principal horn in effect jumping in, as though chomping at the bit. Something of just cut above human dimensions was made of the ‘annunciation of death’ – impact felt very well thus in place of taking it on along lines of metaphysical dimensions; all then prudently faded to silence with well achieved stillness for all at near total cessation of activity.

Barenboim infused circumspectly better paced Scherzo with clumsiness to ‘deutscher Michel’ notion behind its main idea - with thin strings above to start things off. Light timpani strokes underpinned light re-transition in the strings throughwistful gray descending cascade in the flutes. Grand rhetoric from unison violins marked final step of re-transition back to recapitulation very well. Slight drag to four note motif in trumpets derived from central rotating idea here was very apt and abetted restraining crudely clipping heavily brass laced repeat final cadence endings, of making anything so cursory thereof. Strings betrayed slight fatigue toward the end; otherwise, scherzo reprise made slightly more compelling case than first time through – with succinctly captured shifts in color, perspective on oscillating idea emerging in full.

Barenboim chose leisurely tread for the trio section this time, with broad rhetoric of its phrase endings and glow of light suffusing now spaciously accommodated harp arpeggio endings to each half - beautifully voiced horns the second time through. Strings re-entering after double bar sounded drowsy, but texturally open with opening statement reprise more specific in shape, plus fine sense of striving toward a peaceful close.

Central to Barenboim’s interpretation of the Eighth was the Adagio - finale effective denouement to follow. The Adagio in the Seventh prefigures to extent the Adagio in the very different Eighth; alongside such insight, Barenboim was effective guide the night before. With great yearning, violins assisted by fine pulsation underneath exerted pull with opening long held notes to the main theme, purposefully dragging well descending lines germinating thereof. Barenboim’s pace through just the huge buildup on A Major cadential chord, after Teldec, was still slightly brisk - not digging in all one could on doubled C-sharp in the bass. Moving through this chord too urgently denies making it count all it should. Abbreviated restatement toward more steeply achieved cadence (one whole tone higher) was firmer. Principal flute spurred cellos onto finer heights to fully achieve ardently sung second theme – rubato from calm French horn segue into such supple within the line – little to prepare for what risks Barenboim would then engage in.

Winds became impulsive during ‘Langsam’ interlude back to first subject, compelling strings to almost overstate their reply. With expressive shape maintained for new reprise of the opening theme, subtle immediate use of accelerando made felt on the consequent descending figure, once the strings picked it up, the impetus to break away. One might suspect Barenboim, trying to affect being Furtwangler, even to take things a step further - as occasionally suspected from an otherwise often circumspect Eugen Jochum.

Forceful repeat of same descending consequent in blazing doubled B-flat Major was anguished - behind it push to keep things moving ahead. Barenboim then circumspectly made fine separation for descending lines to restatement of the second theme; things kept rolling forward, even toward enfolding bright nodal pronouncement of second theme in C Major within the overall line. Pulsation was good for sextuplet accompanied reprise of the opening theme, but at restive pace, freely achieved pulling away became obvious. Establishment of D-Flat Major is such from which in the long run this music never entirely breaks free. Inexorable rush forward, though sufficiently loud climaxes in B-Flat Minor and A-Flat Major (Robert Haas restoration calmly in-between), indicated also by now a positivistic sense - striving by earthly means to achieve something of the infinite - to this, with, contrariwise hint of ‘annunciation’ becoming better heard tugging underneath lines to follow. After the shattering climax, French horns provided warm lit noble repose, to endure past the Adagio’s final cadence.

Barenboim’s impetus, what freedoms he took, was hypothetically to reveal the dialectics and accompanying stress – i.e. the special pointing of Scherzo idea to depict ‘Deutscher Michel’ crosscutting energy being directed toward constantly pushing forward motion to dilute, diffuse away such characterization. Here, finding a life-force in activity, motion forward made synthesis with dark underpinnings underneath. Here was not the Bruckner of Romantic devout faith or layered on with Romantic tradition learned device. Such goading, pressing forward imaginatively encountered here provided means of trying to close gap painful to leave open. Irritation with such handling, for straying away from conventional guidelines, could be expected - to perhaps be earned here slightly.

Detachment achieved was not such for Barenboim to find in an academic or intellectually achieved deconstructionist way, but out of necessity – including in such dialectical environs as how to maintain utter fluidity of line while keeping large impediments in trying to choke off all life behind it so prominent in its path. Subtle sense of decay through developing processes of this Adagio – even of main idea with Tristan derived pull to it – prefigures similar processes to occur in the Ninth. Constant positivistic striving to break free, keep life going, keep one oblivious of contamination from dialectical tensions all made itself felt. The beauty of this Adagio - in light of newer aesthetic than Furtwangler ever knew - Barenboim and Staatskapelle hardly ever compromised.

Insistent forward motion infused hefty, but rollicking start to the finale – fanfare in trumpets prudently placed halfway back, followed by reserved longing to infuse second theme group - with how beseechingly brass played their calm reply. Broad recitative in the strings in reply to insistent marcia third idea on purpose appeared detached from the rest. The Haas emendation to the finale sounded too bright, in response to first theme derived hard push on dominant chord for the mediant (E-Flat). Barenboim then also made too weighty opening the Development, next leaving brass flaccid in their repeated loud inversion of the first theme, in having arisen out of reprise of marcia idea heard first time slightly earlier.

Barenboim then became fastidious with lightly forward driven re-transition, insistent with it as though coda to the preceding section - all precisely marked. All prepared for an at once hair-raising, yet prudently held back start to the Recapitulation. Antiphony between pairs of trumpets for fractious secondary development was held prominent over rapidly scurrying strings toward dotted rhythm building of stretto of their own. Deep yearning infused again the second theme, at point - with no loss of poise - the physicality of all having transpired has this music practically crying out for place to find rest. Spacious provision for extended cadence in flutes, high winds to close this section was eloquent, as to even foreshadow Sibelius.

Finale coda, during which stable foundation for how to close entire dramatic argument had more than halfway been found, trudged slowly forward with third theme, culminating with arched climb in strings for harrowing restatement in C Minor at last of first movement first theme. Dissembling toward end of section (Coda, first part) also rhetorically aped sounding Sibelian here. Much air around violins for opening part two over rock solid brass helped complete picture toward – through steadily taken tricky brief D minor interlude – deliberate, purposefully a less than triumphant close.

This was arguably Barenboim’s finest movement – even while demarcated more conventionally than the preceding Adagio. This is not quite a definitive account of the Eighth; strides forward however with this interpretation are considerable - reckoning of what lurks beneath deep. As achievement here with the Seventh was enormous, so is potential with Barenboim on the Eighth and can happen in full. DVD release for four of the symphonies, including the Ninth, out of this STK Berlin series (with only perhaps further redo of the Eighth – one under review here plentifully exciting) would be very welcome, with for filler the Beethoven Fourth Piano Concerto.

DR Kultur: Daniel Barenboim leads glowing Bruckner Seventh. Beethoven/Bruckner zyklus. Staatskapelle Berlin. Philharmonie, Berlin - 25.06.10

Speaking with student from Tokyo years ago, I learned quickly he knew some piano and had some interest in classical music – in addition to whatever else on the side. On my mind was a Bruckner Seventh Symphony to come over the air later that evening from Chicago under Daniel Barenboim. What I then had to ask Keigo was what if anything anybody knew of how the great late maestro, prolifically recorded Bruckner interpreter Asahina Takashi was getting along. Upon arriving home, some minutes before Norm Pellegrini (DSO emcee) came on, I discovered notice that he had passed away several weeks earlier – right before end of 2001 – and after having conducted in Nagoya his final concert two months earlier as fifty-four year music director of the Osaka Philharmonic.

I then quickly emailed Keigo for both of us to reckon the Seventh on in memory of whom Barenboim and Henry Fogel brought to Chicago for much too delayed U.S. conducting debut at age of 87. The Bruckner Fifth Symphony at Orchestra Hall then beamed to television sets all across Japan – in May of 1996; a friend of mine living in Indianapolis made the drive up to attend This Orchestra Hall Seventh among Bruckner I had yet heard from Barenboim went just adequately, mildly phlegmatically. He had put out in 1992 a fine recording of the Seventh (Teldec) with the Berlin Philharmonic. Now very lately there has been this performance by Staatskapelle Berlin several days of necessary breather after three consecutive nights of both Beethoven concerti and three preceding Bruckner symphonies at the Philharmonie.

Re-reading Robert Simpson’s notes and inspired by what just got played at the Philharmonie forces one to somewhat rethink what one has smugly concluded from its overall serenity to be one of the most conservative of Bruckner’s symphonies. Things are not always as they appear on the surface. The Seventh is instead perhaps Bruckner’s most quietly radical and thus mostly quietly innovative creation thus far. The layout of there being three theme groups for such as an Exposition and Recapitulation for its first movement do not really tell any story of this movement’s formal properties. So much gets redefined in this first movement, for on the surface, it one must label it, the great arched binary form it is instead. Rich with so much supple modulation (between keys) and manipulation of its material, there is much found within to anticipate what Bruckner would write in his Eighth and Ninth symphonies. Unique to stand on its own as is the Sixth, that Bruckner considered his most original (thus far), it subtly anticipates some of what happens in the Seventh.

The open sonorities, gleaming quality about its melodic material, as Simpson says, make for the lay listener the more congenial experience of Bruckner than a number of his other symphonies. In this happening however, one can fear there is as much or perhaps more lost than illuminated. My earliest experience of the Seventh live – Houston Symphony under Efrem Kurtz (1979) – was mostly likely so unwittingly deceptive. Though happy at the time with what I had heard, but having developed just some intimation toward what Bruckner is about, I felt vague dissatisfaction.

Assessing the Seventh to be of mostly classical formal characteristics is misguided and can often lead the interpreter to hold where and how this music stretches boundaries too much in check. There is tempting often safe choice to sentimentalize, even make stodgy long paragraphs and expanse that happens between what proportions, according to textbook, are readily assumed to conventionally emerge.

Barenboim took the Seventh in 1992 on disc at quite a stately pace, but still flexibly shaping narrative of what transpires with good cohesion and fine handle on logic. At more moderate tempos here and utmost flexibility with which one can keep this music intact, he opened out the Seventh’s unique characteristics the best I have ever heard anybody do at all lately. Barenboim assuredly managed working in diminuendo into opening line of the first movement as it leans into the dominant - B Major – consistent with his finding more flexible sweep to this movement’s opening paragraph overall than previously. He then clarified with inevitably accumulating sense of anxiety this music’s inability to hold on to such as any stable tonal center - balm arriving in form of (as Simpson typifies it) the half supertonic of C Major to at last help confirm B Major as (partially) achieved tonality at last.

Allowing a few lax rhythms, Barenboim freely achieved fine internal rubato for bourree like third theme. Later passing reference to it got heavy emphasis when more prudent to understate anticipation of pianissimo arrival of (tonality for) main theme in E Major moments later. Judiciously scaled moderate sweep suited Barenboim for grandiose inversion segue into C Minor re-statement of the opening theme – impressive here – in context of his ease at making all breathe very well throughout all else. Fortunately he avoided overstating what is effectively incidental reference to the home key where is conventionally expected a more prepared, fulfilling restatement. Barenboim wisely held off making significant allargando, until reaching consequent to it here; trumpets glistened in doubling this once more further enhanced lean into the dominant (B Major). Off entrance of second theme, almost half a beat early (on purpose), came playing of restive deep longing, as if to proclaim continuance this direction (B Major) as tenuous at best. Barenboim then insistently made segue to A Major from third theme group. Inevitable large parenthesis of the main theme consequent - mostly non-enveloped here - then ushered in without large slow-down a fully enthralling, blazing conclusion in E Major.

Equally passionate, thoroughly developed was Barenboim’s now moderate paced traversal through the Andante – more Andante here than very close to ‘Adagio’ he took on disc, others have also taken - very affectingly. Now he is near two thirds quicker to an arguably, mildly controversial not ‘sehr langsam’ Andante Metzmacher took last year with DSO Berlin. Metzmacher found the more linear means of exploring Bruckner’s innovation with form than Barenboim; his scaling of Bruckner’s horizons was the starker for it. Barenboim achieved more fulsome results, even if perhaps more intuitively than how Metzmacher, more consistent artist, had.

The Andante opened mostly elegiac, in place of sounding hieratic. Strings made pensive their musing, coming off firmly resounded refrain to main theme. Lines throughout were suffused with fervor we associate with line from Bruckner’s Te Deum. Passionate crest was made to opening paragraph of this Andante on half-diminished supertonic, but without denying scale of what was imminent, while making supple long descending clarinet lines and sonorous comment on Wagner tubas. Cantilena for second subject was close to Italianate – Barenboim’s experience at La Scala starting to show – in its fully vocalized grace and sensuality. Gentle yearning in upper violins coming off this episode was very affecting. Great sense of striving,achieved by supple means, infused rising crests through the remote tonalities of C and G Major, latter of which through passing cadence in C Minor, this music returns to C-sharp Minor by means of tertiary relationship with A-Flat (or G-Sharp). Gentle second theme, enhanced by floating violin’s descant, all centered in A-Flat, facilitated very reflective following retreat thereof.

Sense of great strain was apt in making last ascending reach or two from gradually accumulating sequence for explosive climax in C Major (leading tone or half-subtonic to C-Sharp Minor) – all seemingly to not have encumbered the line coursing through all this and the ease with which flutes (in D-Flat) found lift in making retreat from it. Deftly achieved sense of light lingering beyond - past notably sad lament from horn and Wagner tubas - ended what continued sounding very incredibly assured. Barenboim, in finding the self-transformative character of this music, had this Seventh speak very much as anticipatory of the Eighth (and Ninth).

Rollicking broad bow strokes and posthorn sounding principal trumpet made merry romp of the scherzo. Sweep and shape up to end of first half was all free, yet precise to the ear - open air and light interplay made of bucolically accented retransition to restatement of the opening. With simplicity Barenboim caught drowsiness of start to the Trio, letting in vernal shaft of light to anticipate making benediction out of restatement of the same, underpinned evocatively by not quite awakened ruddy sounding low French horn.

Mercurial jaunt opened the finale rapt – all keenly observed the rapid harmonic shifts between episodes and through elaborate figuration within. Barenboim treated somewhat strictly one inverted restatement of the opening theme in the strings midway through, to avoid making cliché of such. He then made very solid the forceful brass unison ascending craggy, igneous restatements of the main theme. Hush coming off such last statement by Staatskapelle brass to frame chorale second theme was very telling - after keeping first statement of the same chorale simple several minutes earlier. It spoke naturally it being felt by all on stage of having accomplished (considerably) more than what usually passes as good norm for the Seventh. With the fire these players let course through the tricky closing pages of the Seventh, there seemed no further challenge too great. Following evening, it would be the Eighth.

Beethoven’s Fourth Piano Concerto provided gateway to such a fresh open-ended outlook on the Bruckner Seventh. The breaking free of a semblance of classical grace and poise seemed practically as much theme song for this concerto as for the Bruckner - as though Beethoven could have been composed as catalyst thereof. Fine precisely scaled enveloping was made for parenthesis into minor key submediant during the solo exposition, but already with a Lisztian fire on cusp of bursting out from the playing, yet without loss of poise. Barenboim both as soloist and conductor provided with measured finesse balance between antecedents and consequents in the line, their internal exchange of masculine and feminine phrasing, accenting. There was also the orchestra’s role of, colloquially speaking, taming the near-savage beast. Calibration between soloist and orchestra through the frequently agitated Development was excellent – with quasi-operatic rhetoric for long cadential segue through pensively remote C-sharp minor episode into well characterized capricious G Major re-transition.

Equally Mozartean from Barenboim were doubled broken thirds restatement of first movement opening idea and vocalized phrasing he drew out of Staatskapelle oboe and other winds under much filigree. Cadenza to have started tentatively quickly regained its footing, poise with well shaped lyrical second subject and incisive interplay between insistent first theme derived motif in left hand and increasingly elaborate response in the right. Putting thought of virtuoso display for its own sake aside, quite an engaging drama played out from there before all attained to Elysium for a most bel canto opening to the coda to the first movement, and equally impassioned playing to achieve its close.

Broad allargando for firm orchestral accents contrasted well with poised, hushed reply from soloist, with Barenboim making it subtle the string tutti’s retreat from making confrontation. He then curiously eschewed threat to overstate the ‘lion’s roar’ near close of the intermezzo - after fine beseeching quality to his phrasing right before.

Barenboim then made rhetorically slightly hesitant accents of rondo theme upbeats, without deflating any vitality of the rondo to ensue. Pace was a vigorously stated healthy Moderato that allowed the expansive second theme high in the right hand ample space to sing out. He then wisely eschewed making anything too arched out of largely re-transitional Development – with fire to internally spur on both line and filigree and alternate accents between orchestra and soloist as from within, toward making something febrile of its entirety. Thinking well ahead, he phrased return of the second theme in the tonic with greater poise and then made broad allargando, written out such, of slowly descending and ascending chord resolving on the subdominant for playfully clarinet doubled restatement of opening theme - replied to contrastingly with great vigor.

Fully weighted then were the vigorous octaves to open brief cadenza - to soon thereafter spin off pointed ascending, jumping trills into orchestral re-entry. His reach for the large clash of thrashing secondary dominant to the subdominant was found lacking nothing in heft toward bringing this rondo to a furious conclusion. Nothing could have proved better showcase, not so much for Barenboim, but for Beethoven and Bruckner to rouse anyone listening out of last vestige of lingering sense of complacency. This was what this concert was all about, what got accomplished here.
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DR Kultur: Beethoven/Bruckner zyklus. Staatskapelle Berlin, Daniel Barenboim. Frank Peter Zimmermann. Second, third installments.

Beethoven Piano Concerto No. 3 in C Minor, Opus 37; Bruckner Symphony No. 5 in B-Flat. Staatskapelle Berlin, Daniel Barenboim. Philharmonie, Berlin - 21.6.10.

Second installment, first picked up here, in series of concerts pairing the six mature Bruckner symphonies with Beethoven concerti started with by turns an affected, pedestrian to often inspiring account of the Beethoven Third Piano Concerto. Pace for first movement was leisurely – soft-edged to gild some of the more forceful accents therein, turning several phlegmatic. Full lean was made into second beat of measure heading into long preparation of half cadence - abetted by singing line from Barenboim in fine cantilena above during solo exposition.- to frame very lyrically played second theme. Barenboim’s rhetorical simplicity in opening the solo part bespoke long experience playing this music. Moderately paced running sixteenths closing out the Exposition were fluent, well animated from within.

Staatskapelle Berlin violins became affected on their leaning anticipation of the Development. Barenboim as soloist started it off lyrically, but then played broken octaves over series of extended well shaped woodwind appoggiaturas one to two dynamic levels above marked, undercutting interest in the crescendo to arise thereof and segue in forceful restatement of the Allegro’s opening measures. Except for slightly tentative ensemble to concludie it, the Recapitulation went much along similar lines as what it restated. Curiously indecisive playing of the cadenza, brought to a secure close, preceded minor mishap during the coda - of which little hay should be made.

Opening of the Larghetto, with hushed reserve on its opening chords just right, got compromised by slurring on the heavy side and also hint of clipping on turn within the opening line. Barenboim made fine bel canto out of lines to follow, though gilding a few among them in manner that could be called Chopin-esque. Suspicion of attempt to put a personal stamp on things extended through making too much crescendo into line that goes high in the right hand at end of the Exposition. Pace then dragged through the quasi fantasia Development, but fortunately Barenboim found more shapely means and better pacing for the rest of the movement to follow, spinning forth beautifully decorated line with greater prudence than earlier. Final fortissimo chord of the Larghetto became allowed to fade away slowly, after spaciously voiced phrasing, to deny its implied effect - attacca at conclusion to segue in the very contrasting rondo finale.

The rondo finale went best here. Barenboim’s statement of mischievous opening theme was such as to be given surreptitiously, to segue in all inherent wit and animation to follow. He then made comment on warm toned clarinet statement of the A-Flat episode with subtly on-a-dime shifts from sublime to caprice. Orchestral fugato went well, followed by well couched slow alternating octaves coming off. Wind chords coming off double statement of the rondo theme (coming off fine solo flourish from Barenboim) sounded as dramatically hieratic as is their wont. Reflective musing on the rondo theme in the Neapolitan (D-Flat Major) led to thoroughly effective dispelling of any potential gloom with rousing dispatch of the entire coda, with certainly tricky head cues from piano bench to keep woodwinds entering well, together with all else.

Theater to be made here happened, fortunately on entirely musical terms, with achieving lofty cathedral heights of the Bruckner Fifth Symphony. Barenboim capitalized upon every opportunity to elucidate every tension threatening the very moorings of edifice in sight while, pardoning only perhaps just one moment of oversight, holding just about the entire structure firm. As good as his somewhat densely reverberant Teldec recording of the Fifth is with the Philharmonic, this performance with his own orchestra exceeded it.

Introduction at clearly forward moving pace began just mildly suspect, a bit dry here including on opening string chorale - with lift provided pizzicati underneath. Dotted rhythms from full orchestra up to brass chorale consequents were both craggy and firm.

The Allegro entered forthright, with good broad shape to cellos’ main theme decorated by Mahlerian accents in high woodwinds. Light but pointedly marked differentiation was acutely made between pizzicato antecedent and legato close descant consequents in way to make the second theme, especially as taken at mild breeze, speak. Fine space was made for gentle moment of repose, reflection in winds and brass before restatement and then motion forward to urgently pressed forward third theme. Shape to arching line in the woodwinds and acutely marking off restive string section off-beats into fiercely driven dotted rhythm stretto and light tremoli descent downward was all secure and firm.

Horn quartet anticipatory toned restatement of the introduction was excellent, pace then only lightly distracted by intermittently loose accenting. Extended Pieta-infused vocalized descant in violins over this restatement was affecting, insistently marked by previous string pizzicato imitating winds. Development of Allegro first theme got heavy going, threatening to be fractious, albeit for Barenboim fully guaranteeing space for all harmonic contrasts to get through and emerge fully in character. Almost exaggeratedly craggy work was made of arduous start to making transition out of so much sturm und drang - rapid and very tense crescendo into pressing forward recapitulation ferocious. With a few similar risks taken, most of them paying off, Staatskapelle Berlin continued to provide thrilling playing through coda, even without all previous tensions built therein resolved. All then blazed forth to conclude this overture/façade - fully dignified stance taken for this first movement maintained to the end.

Double reeds made arched shape of ascetic idea to open the Adagio, taken at moderate pace. Strings offset the winds excellent with their incisive pulsated pizzicato and then riskily making a few loud shifts in their responding lines. Second theme in full bow from violins was highly impassioned, followed by calibration of return to A section being slightly loose, but then fully anchored by strong brass, such flaccid accent here and there to seemingly let what elaborate bolts and joints kept tight breathe. Increasingly jagged writing in the strings then, with all space necessary, became incisively clear. As to lift one’s eyes toward upper arches, cornices of the cathedral, Barenboim provided lift and at least at first imperceptible accelerando through brighter B section toward making all lying above so affirmative. This, in contrast with such ruddy space explored, infused here by so many shadows and even doubt or guilt and pain. Supple line was provided final restatement of A section, all to confirm that all heard thus far had happened by dint of necessity. Strongly anchored, highly imposing melodically dissonant brass interjections then thrust themselves out all on purpose as though to block stirring inexorable motion in the strings forward to the end.

The high level of playing persisted through a more moderately paced scherzo, its cross rhythms and offsetting brass interjections highly driven from within, with just adequate space provided for alternating laendler. With carillon of pressing, marching forward opposing forces in context of fully realized and demarcated scherzo sonata form, one needed a little extra time to catch one’s breath, especially after scherzo’s reprise. Gentler Trio section, intruded upon by deeply bronzed brass chords, provided relief, but that seemed fleeting, even meager by scherzo’s end. Even so, rusticity to accents in the brass and from elsewhere, to beneficially contrast with the practically demonic quality to how driven all encountered here came across, reassured so full a view of humanity to remain in sight – as part of perspective to breathe life into as much a gauntlet of a Bruckner scherzo as any. More so it is than any earlier scherzo, as here got spurred on by hard dig into cellos and basses toward furious conclusion.

The finale started off forthright, not rushed, all the way through Mahler accents from principal clarinet. For lower strings however to dig in so hard on quasi-fugue start to the Exposition, though marked fortissimo, raised doubts – and sounding so much ‘in the moment’, it doubtful the aim could have been deconstructionist. Consulting the Salzburg broadcast under Furtwangler revealed deeply intoned weight given to accenting the very same subject. Thought of what had happened here only devalued little an overall fine performance. Following lines clearly and cumulatively ascended well to fine apex - fine space provided for well limned lighter second theme, even to reflectively expand out for brief episode taking in further distant tertiary harmonic relationships, all paced with gentle propulsion forward. Taken at a driving Allegro, Barenboim avoided enveloping forceful brass interlude (closing idea) - also making for supple trailing off to start of the mostly fugal Development section, that began darkly with fine anticipatory sense of what would follow. Most impressive during fugue was its fleet, supple working out concertato wise without loss to sense of scale or of its architectonics.

How Barenboim had started the Exposition then made in effect understated crest of line at sempre triple forte – quickly achieved from already forceful start to the Recapitulation. It then hardly at all did for glorious, blazing dark hued double brass chorale conclusion - all lights on cathedral wide at Philharmonie to which all - every remaining contrast reckoned fully characterized - inexorably led.

Beethoven Violin Concerto in D, Opus 61; Bruckner Symphony No. 6 in A. Frank Peter Zimmermann, Staatskapelle Berlin, Daniel Barenboim. Philharmonie, Berlin - 22.06.10.

Formal, intertwined harmonic subtleties with many forays into the Neapolitan building neighboring parentheses to tonic and dominant key areas (thereby building relationships at the tritone) deeply infuse the language, structure of the Bruckner Sixth. Thought behind this was to become more elaborate, subtle in the Eighth and Ninth. Pastoral repose and tranquility, feeling of open space roaming about mountainous valleys remain intact. In no way then, intellectualized or otherwise, is drama of traversing any neighboring terrain or reflection upon such undercut.

The finale to the Sixth began the most assuredly of any movement here. Barenboim caught very well the surreptitious groping downward in the strings, broken by sharp brass interjections. Reach for first theme group closing fortissimo tutti capably took on heroic proportions. Paraphrasing Robert Simpson’s comments on the Sixth (in The Essence of Bruckner) - with Bruckner’s eschewal of gratuitously elaborate or decorative surfaces in the Sixth - is the following. What drama should be played out and is better exposed in the finale than earlier must be calibrated that overall dramatic momentum can pass through numerous well marked empty spaces unimpeded overall. Simpson has also well pointed out one or two compositional lapses that can create issues for the interpreter.

Barenboim, able to keenly observe all at stake, perhaps however in sweep of the moment passed up several signposts, warnings along the way. His doing so did not kill his efforts, but did make seem slightly confused Bruckner’s grasp of structure. Much as this finale anticipates the finale to the Eighth, we have only yet come most of the way.
Where things got slippery here for Barenboim was within his ‘in the moment’ approach to rely somewhat on accelerandi to keep things stirred up – even in getting past what hinted a little excessively, too lightly at one near end of the Exposition – place one suspects is there for the unwary on the podium (rare weak spot in the Sixth). Doing so spurred on even further ignoring composer’s forebodings, doing so - as things twice even quite well careened closer to the finale’s conclusion. For closing phrases of the Exposition, Bruckner’s indication of allargando for lines in lower brass beneath obsessive repeat of upbeat dotted figures in the winds got submerged as usual.

Similar perseverative activity on upper winds as consequents to cello section reprise of opening theme in the upper winds then became too underlined, starting the Development. Strenuous arrival at A Major that does in effect storm the door down got in with less than absolute sureness of footing, with messy articulation from Staatskapelle Berlin strings over rapid sixteenths and stodgy cadence achieved at tritone.

Cause here was far from lost however. Expansive, loving handling of second theme and its often unique placement within harmonic scheme of things was secure; pristine sense of air around lines for the strings hovered above, as though something caught aloft, as should be. Same went into framing lovely brief paragraph of first theme inversion right in cellos under benedictory violin section descant as extended segue into sturm und drang of the Development. Brass utterances were always secure, marking dramatic argument of one of the most unique among Bruckner’s finales, albeit for a few demarcation lines remaining fuzzy, thus inquisitive character of this music too extended.

Cumulative sense of where this music is headed got mildly impaired with opening of the first movement, of plentiful contrasting gesture and rhetoric. Development of second theme grew more confident as it proceeded, with fine limning of descant, consequent through Tyrolean vista and eventually through repeat note trumpet fanfares for blazing tutti near end of the Exposition, albeit for stodgy brass handling of rhythms. Octave in place of at-fifth inversion of first theme passionately carried sense of air off steep slopes, central to what is mostly a retransition in place of Development. In terms of follow-through such inversion made cumulatively still more sense as pensively restated toward final build-up to a blazing conclusion to a prudently paced, sonically well crafted first movement of confidently venturesome ambition.

Barenboim then, to paraphrase Klemperer’s de-sentimentalized stance on Bruckner’s music, understated less well defined than friend and predecessor the broad contours of the Sixth’s lovely Adagio by taking it slightly too fast. Through such restive atmosphere, one could hear in dark yearning from the violins intimation of something from the composer’s F Minor Mass the Second Symphony directly quotes. Even however for the expanding out second theme, things - as also for Klemperer - sounded reticent, but expanded out better more freely upon their recapitulation. The inward quality of this music has me disagree slightly with Simpson, his advice for expanding out as much as (reasonably) possible - as courting danger especially today of anyone going beyond that.

Coitege step at minor key dominant was very precise - firm marking of soft timpani beats underneath - but through environment in which now more overt refrain is made to intimate line out of the F Minor Mass - things anticipating such a reference hurried here. Barenboim made intimate musing of broad closing section to the Adagio, something within all context of which he preferred held in check.

Purposefully rocky assessment was made of the Sixth’s unique scherzo – riskily at what sounded momentarily like real contention between strings and brass. Some of this emerged a little more arched than genuinely felt, but craggy profile for this music stayed intact. Strings and brass in reply to one another, with beautiful pointing of violin pizzicato made warm, yet searching repose of the Trio. Here overall was an at once pensively reticent, but inquiring take on the Sixth, with playing from Staatskapelle Berlin that sounded mildly on a breather from taking on such as the Fifth the night before; one would anticipate better success with it on stand-alone - further apart from the craggy peaks of especially the Fifth and the Eighth that for this series surrounded it.

After taking openly confident stance on the Bruckner Fifth, making the most too of its dark nooks and crannies, of what they represent, something of how Barenboim went about the Sixth, partly nature of the music itself, ran him slightly aground. Similar lift to this work with which Barenboim has succeeded well before only made it halfway this time around. As this more internalized, unprepossessing, but structurally enigmatic piece presents itself, it is in the pastoral character of so much therein, remindful of still seldom played F Major string quintet Bruckner wrote near the same time, from which the Sixth developed much of its persona. This being orchestral, its darker underpinnings, interjections make stronger presence felt than can happen in chamber music; the air both these pieces breathe though is indeed similar.

Portentously rhetorical accenting from Barenboim made confusing phrasing of ritornelli through opening movement of Beethoven’s Violin Concerto, though with welcome searching quality for turn to minore during the lyrical second theme. With light vibrato Frank Peter Zimmermann limned his lines with poetically classical grace and poise, flexible and light too on his runs up broken octaves. He then played even, minimally shaped obbligato to Barenboim’s streamlined handling of closing theme to the Exposition. Orchestral stodginess persisted until winds got reprise of the second theme, but especially riveting was Zimmermann marking change of color into B Minor with fine support from bassoons, then circumspectly showing deep feeling from within for cantilena in G Minor to follow.

Staatskapelle then sounded conventionally get-on-with-it on ascending broken octave runs from his strings - nothing to faze Zimmermann, who matched such drive with ease, and then made halo out of light portamenti to ornament the second theme. Even if cadenza lapsed intermittently into some matter-of-fact playing, Zimmernann’s first movement here was long on poetry, short on what anyone would ever call mundane.

Reasonably moderate pace was set for the Larghetto Apart from mild intrusion of a little arch tone occasionally from Zimmermann, and streamlining of one or two variations, soloist and maestro with ease came closer together here and brought unity of flowing line and the Larghetto’s aura of tranquility into focus. Zimmermann found especially individual shape to closing phrases here, anticipating well transition into the rondo-finale.

With good lift, feel of open air, bounce to it Zimmermann and Barenboim became then entriely as one for large majority of the rondo, with only possible exception being a hard push on transition back into main section thereof. This followed an expressively played fine bassoon solo extending into gentle consequents within still febrile line from Zimmermann through plaintive G Minor middle section. Interplay to follow between back and forth snatches of rondo theme, development thereof was such of which both Zimmermann and Barenboim made vigorous aplomb – along then with ascending, descending spiccato arpeggios and rondo theme in rapid double stop offbeat marked sixteenths from Zimmermann. Sweetly engaged reprise of rondo theme - remotely in A-Flat Major - helped close such a highly welcome visit from him.