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.

Dr Kultur: AB neo-expressionismus zyklus II. Wolfgang Rihm. Bruckner 7. DSO Berlin. Kent Nagano. Rayanne Dupuis. Philharmonie. 19.03.11.

Over-riding theme to this second pairing of mature Bruckner symphonies with contemporary work commenting upon it seemed to be German-ness, opening with work of particularly critical, soul-searching, deconstructionist perspective from Wolfgang Rihm. Kent Nagao conducted at the Bavarian State Opera four years ago his 35 minute monodram - Das Gehege (‘The Bawn’). Gabrielle Schnaut played the woman, Anita, accompanied by dancer as ‘eagle’ at its word premiere – pared with Strauss’s Salome (portrayed by Angela Denoke). Its text is the final scene of play by Botho Strauss, Sclusschor (title allusive to finale to the Beethoven Ninth).

A woman, night the Berlin Wall has fallen, has by stealth entered the Berlin Zoo and become involved with a caged eagle she finds therein and frees from its cage. She implores the bird to engage with her, taunts it to come nearer her, which it does. As the bird becomes more provoked, she becomes haughtier, more intrusive on its space - to point the bird then lunges at her; she then kills it, then emerges from the scene drenched in blood. A golden eagle, symbolizing Germany, with crises to which Germany has subjected herself to over the years, gets left subject to interpretation. Parallel between the eagle becoming an object of desire and Jokanaan’s severed head for Salome in Munich became obvious. Suggested is some ideation of the ego, concept of national identity closely related thereof.

Rihm’s rhapsodic scoring, definitely more conservative than his two full-length operas, evokes past musical heritage, but commenting upon such as in effect zooming in and out, alternatively subtly and abruptly for effect of varied distances and perspectives. Two orchestral interludes feature procession on echoing pizzicati, chimes, interspersed winds, brass all in detached whole tones to evocative, distancing Orinetal-esque effect. This all works confluent with the varied emotional, psychological states of Anita during strange encounter in question. Reference to an extended diatonic past musically has for Rihm something more to do with memory, recollection than anything else - challenged, confronted here full-out. Subversive it is to reveal tonality as Rihm does - left constantly floundering, between being subject to brass interjections from without and prone to self-destruction from within. All this seems to work parallel to the shattered psyche of the woman and morbid association in neurotic, even erotic identification with the bird to an aggressive extent - as Jens Laurson for MusicWeb Internat’l has indicated. Brass interjections help bring to the fore ramifications of extending tonality into numerous seventh, ninth, eleventh chords, overlapping thereof.

Over suspended dissonance in harmonics, other instrumentation, Das Gehege begins with assertive lines of reproach for decaying features of aging bird in question - parallel to revulsion one feels at first seeing the head of Jokanaan to start final scene of Salome. As contrast one has the woman muse elaborately over concept of ‘Wald’ – repeating the word a dozen times, to close this monologue, accompanied by varied orchestral reminiscences of what has transpired – ending below trailing off concertmaster harmonics over vast unfilled space. Mood for such development is elegiac - several waltz-like allusions to the music of Richard Strauss also, ranging from warmly nostalgic to sultry, debauched - latter as during Anita’s depraved observation of the bird’s decaying physical condition, i.e. in lusty chest tones on ‘Rippenkorb’ (repeated). Both at moment’s notice can abruptly break off into jagged, agitated stretto through violent swoops, half-glissando up in the strings – feigning strong beating of bird wings - peppered by highly dissonant brass interjections. Echoing of lyric lines, phrasing in harmonics, high woodwinds also comes across detached, less so poignantly elegiac writing for oboe and English horn.

Several quiet interludes in this create sensation of time suspended – with ostinati running through them seemingly devoid of any better than vaguely allusive connection to what has preceded or will follow them. ‘Time shards’ Michael Cherlin speaks of, regarding Arnold Schoenberg’s Erwartung definitely come to mind - likely Rihm’s least contrived sounding allusion thereof in ‘Das Gehege.’ March like rhythms emerge at moment’’s notice with little regularly paced to accompany, even during one interlude of increasingly clastic application of Alberti figuration in the strings. Concertmaster solo riffs off the section Alberti on harmony a whole tone up to accompany tellingly Anita addressing the eagle with line ‘Wo ist dein Doppenbild?’ Such reference to march rhythm, other musical allusion to militancy arrives by wonderfully varied means of instrumentation, placement, whether to the fore (and without tune to accompany) and/or functioning as something without aim, direction - ephemeral or upon which one at best can only obtain a tenuous grasp.

Onomatopaeic references to nature abound, such as telling extended moment for principal flute and concertmaster on harmonics playing exposed lines reflexively imitating each other as Anita reflects on how much or how little the eagle does toward matching her disturbed frame of mind. Free floating line of harmonics tremolo in exposed concertmaster solo, thinly accompanied during closing paragraphs is one more instance. Qualified masterpiece, mildly contrived as this work sounds, even through its air of nostalgia, there is some potent undercurrent here – remindful of how Rihm’s other operatic work, Conquest of Mexico for instance, really pushed the envelope.

For comparison’s sake, long track by Nancy Gustafson and Markus Stenz with Gurzenich Koln can be heard on youtube, for which we can be grateful. Both orchestras sound equally at home capturing the idiom, fully internalizing this music. Nagano and his more histrionic soloist Rayanne Dupuis – with hollower sound, slightly greater impetus to vent hysteria, but less warmth than Gustafson - lent this work the more detached perspective. Written very well, comfortably for the voice, animated here is much gestural variety, affectation through well connected line of recitative, arioso, declamation, melisma - all helping provide unifying quality to elaborate psychological landscape on display. Dupuis’s low notes were less secure, less lustrous, thereby less suggestive of deeper motif than those of Gustafson. Hardly less authoritative, less imaginative though has been this rendition.

Kent Nagano then offered Bruckner’s Seventh relatively along conventional lines, drawing full bloom out of DSO Berlin strings for their broad lines to abet sustaining fairly moderate pace for its first two movements. His perspective still seems mildly averse to bringing out what might be construed this music’s hieratic aspects. In fact, to avoid such intangibles, some interpretative sameness or generality took over sometimes. While openly maintaining linear clarity throughout the first movement, some specific turn of phrase, innate nuance thereof got mildly streamlined away.

Direct shaping of broad opening theme was good, but by there being some emphasis on strings projecting their sound forward, a little stodginess crept in early with violins extending out noble first theme toward its crest. Nagano then, assisted by his winds, regained focus overall shape with the second theme, winds providing very good light pulsated ring for ongoing current underneath. Buildup through ascending line in the strings thus sounded more circumspect. Not much there was to do to bring things down to making all down to earth; bourree like third subject opened with plentiful character until Nagano felt inclined toward arching, projecting line to emerge thereof, then to deftly close first large section of this movement. Reposeful opening of next section got slightly heavily enveloped – much ardor then drawn out of line DSO Berlin cellos with which to reply to wind’s first theme inversion.

Somewhat lean, dry in persuasion, loud C Minor transition, inversion Nagano avoided rushing excessively, although making slightly conspicuous mild slowing up for restatement of the first theme when it can enter more surreptitiously instead. Restatement of first theme material transformed in relaxed frame of mind held forth better appeal to Nagano; simplicity with such through altered third subject in a redefining new key then took over very nicely. Steeply arched first theme consequent based paragraph eloquently issued forth - pressed forward trumpets then to blaze forth moments later bringing all to a fine, noble conclusion.

Nagano moderately pacing the Adagio, may have curiously only achieved shallow depth in feigning simplicity at its core while stopping at only suggesting spiritual fervor associated therein. Warmly intoned by DSO strings, expression for opening paragraph sounded ready to settle for generically elegiac. Melos radiated through lyrical second subject; better shape got achieved with first subject reprise - anticipating ascent through early climax (in C Major). Sequencing of consequent to the main theme got provided good color, shape, contrast thereby. Nagano eschewed underlining or sentimentalizing reprise of second subject for sake of ear’s grasp of this episode’s harmonic function, placement within keeping intact majestic subtly contrasted entirety on display. He also thus subtly hid notion of too much riding on the surface, Overall profile became stronger during final reprise of the main idea for body of the Adagio, over slowly running sextuplets; Nagano held line supple and firm, even if making climax to the Adagio more suggested than cumulative. Hush over coda, with Wagner tubas, other brass very warmly framed conclusion to this with fine resolve.

Good swagger held sway for rollicking scherzo - good spring to line persisting through re-transition to restating the opening trumpet call. Voicing filled much out, helping make light incisive segue toward carrying line forward. Most all got confidently projected toward brightly ending both scherzo and its return, while keeping tempo rock steady. Strings drowsily gathered fine shape for the Trio. Nuance in brief measure for underpinning trombone got missed, however. Line sumptuously filled out with angst before fine passing state of repose got easily restored.

Through ruddy double basses picking it up, the finale’s first theme started off at a strongly syncopated jaunt. In fine contrast with how this opened, sobriety filled out chorale idea to follow. Nagano mildly distended jagged unison augmentation of opening idea before infusing first reprise of chorale with extra warmth. Development of mostly opening theme’s inversion lent overall line slack through repeat of jagged brass augmentation – until exaggerated reach for fully weighted high B from brass to forcefully frame, then cut idea off. It took until imminent coda for the brass to fully regain poise. Nagano then called emphatically for greater stillness and awe with which to provide chorale one final stopover. With aplomb, toward perhaps shaking off several cobwebs about to accumulate moments earlier, Nagano forthrightly brought shards of opening theme back in, then urgently started coda with fresh unblemished reprise of the same. Arched crescendo organically branched out, while veering near precipice well calibrated to overall line. With more thrust, after over-emphasis on half cadence right before, Nagano set most all ablaze for exalted conclusion to effort here.

Many have reckoned the Sixth Symphony preview of the Seventh - both very different from each other in numerous ways. The Seventh, in contrast with the Sixth, just on its surface - where Nagano seemed most comfortable hanging out – has the bolder profile and outline than the already daring Sixth, mixed with, especially in the Adagio, a more rarefied quality perhaps effacing Nagano’s temperament and outlook on how Bruckner should go. The Seventh, at its winsome surface, is still special - with qualities for its guilelessness that can get overlooked, and has by many before. Within its persuasion to engage more with present world lying before us, Nagano expressed greater ease with the Sixth, its unique demands, as evident at the 2005 BBC Proms and on disc. The Seventh, on this outing has proven an only slightly more elusive challenge for him.

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.