classicfm: LA Phil/Dudamel Bruno Walter commemorative Mahler 9 at the Barbican - 28.01.11

The Los Angeles Philharmonic toured Europe with fifty years commemorative of making classic Bruno Walter recording of Gustav Mahler’s Ninth Symphony with the Columbia Symphony Orchestra – ensemble comprised then of much L.A. Philharmonic personnel. Sessions were held January 16th, 1961; Gustavo Dudamel showcased the work in Disney Hall on same date this year.

Tempos in particular for the first three movements were similar to those used then by Bruno Walter. The Adagio was the sole exception – especially in mind of Walter having moderated his tempo for the final Adagio from how he conducted it for his Anschluss era Vienna recording. It took not until Bernstein’s Amsterdam recording – among several slowest on record (with Levine’s two) but instead until Roger Norrington for Bruno Walter’s earlier tempos to very nearly be recreated – the swiftest on record – for which Arnold Schoenberg probably called Walter a coward. One reckoned Bernstein might serve partially as Dudamel’s model for this early stab at Mahler Nine. Bernstein was dissatisfied with CBS compelling him to keep length of his Adagio down to 23 minutes - two minutes more than Walter in 1961, nearly five more than 1930’s Walter.

Dudamel has had dicey luck with Mahler thus far. His DGG Fifth with the Simon Bolivar strains for ability to grasp form – lessons learned from which, I suspect he applied here. Dudamel’s inaugural Mahler First with Los Angeles missed nearly all the simplicity behind its inspiration – with tendency to distend phrasing to disproportionate lenghts, plus the fussy quality about it all. It missed what subtle nuance can best serve indicating how the Mahler First Symphony points forward as well. With Verdi Ernani, Lombardi store greater perils for the unwary than do Otello, Don Carlos, Falstaff.

Broad approach to the Ninth’s (supposed) profundity and fuss over less essential detail was less problematic here. Mahler’s Ninth presents some of his most open, exposed writing of any numbered symphony of his since the Fourth. It also hearkens back to emotional subjectivity of the earlier symphonies - after the more objectively conceived Ruckert – with the Ninth fourth within (broken) line of purely orchestral symphonies.

This was for sure a young man’s Mahler - Mahler not very deep into middle age when he composed this. The love of life, love of Nature it expresses is in part still that of a young man partly unwilling to let go. Dudamel kept the temperature slightly cool in approaching this music - somewhat in his still having a tentative feel for it overall, thereby a desire to be prudent, but also, welcome, most engaging of all with its lyricism. .Mistakes certainly became, during some of the Andante comodo, frequently obvious, plus some intermittent through the three remaining movements. Here is still work-in-progress interpretatively, but one also perhaps fully on its way to fruition. Some of the coolness or, if you will, objectivity may be due in part to both a still slightly thin quality of Los Angeles PO strings, but also the dryness of the Barbican acoustic. An airing of this interpretation from Vienna’s Musikverein might tell us more.

Subdued air pervaded the ‘Lebwohl’ opening – understated irregular pulsation underneath and falling quality of main thematic motif – gently filled out by slightly distraught warm glow. Eventually‘ leidenschaftlich’ characterized D minor theme started off with clear direction, then to have Dudamel fuss over minor crests in continuing line thereof, also turning filled out return of varied ‘Lebwohl’ (in D Major) slightly flaccid. Forward, light projection of ‘leidenschaftlich’ underpinned Exposition closing section, then momentarily making all curiously sound slightly weightless, but simultaneously finding something both naïve and refreshing within lift to overall line. Slight clipping of ‘irregular heartbeat’ on octaves put things slightly off, but then surfaced sufficient profile to nobly frame suitably restrained viola section lament.

Impulsivity lightly seized transition into weightlessly trumpet fanfare marked Mit Wut (and nicht zu schnell) that Dudamel firmed up with nodal point from doubled brass therein – then to let all slide away limber. Tricky proportioning out of imminent, truly marked ‘Leidenschaftlich’ became loose. Exchange of bi-tonalities on ‘Lebwohl’ got underlined well, but brief ‘schattenhaft’ to follow slightly picked apart. All to follow into climax to the Andante comodo flowed by - perhaps as though all easily achieved.

Dudamel could have been facing serious issues, had the movement almost ended there. For instead what happens, one began to sense Dudamel’s hearing past this point. All broadened out beautifully for weighted cortege entering from afar. Full orchestra broke off without fuss for beautifully shaped flute, concertmaster, horn solos. Key location throughout here was Dudamel’s just slightly rushed ‘Etwas belebter’ utterly spot-on – next to Lenny’s distended, deconstructive taffy pull - both in anticipating it and making the release. All then without bathos melted into clear, then fading away blues - almost as though to make one forget ‘multitude of sins’ encountered earlier.

Moderately broad in pace, strengthened thus, the ‘laendler scherzo started off with heavy marked rustic gait, knowingly, not self-consciously so, allowing this music’s charm and banality speak for itself – even while leaning hard on repeatedly inflected accompanying brass. First go at second laendler could have afforded heavier downbeats but all landing hollow, right on brass and timpani. Dudamel waited until later reprise of gentle ‘Lebwohl’ F Major laendler to linger over it more than matter-of-fact – indicating growing sense of mastering the art of omission alongside that of commission. Variation on somewhat already the ‘wrong-note reprise of Laendler II Dudamel momentarily had his horns accompany with a most comical slurp, impossible not to have tickled the funny bone.

Drawing out of transfigured colors its harmonic shifts turned poetic extended F Major laendler (reprise), making one indeed reflect upon Columbia Walter’s better virtues. Preparation of ‘dance is over’ solo bassoon reprise of Laendler I was fine, with earthy reply from woodsy solo viola, winds, concertmaster, followed by strong elan and heft for genuinely invested gutsy started mid-phrase Laendler II reprise. Following very intentional gaffe several minutes earlier came, equally witty, big unintentional one, on rushed restart of Laendler I, de-tethering just about everything – so much fun – with recovery very quick. Pulsation through low thudding perfect fifths beneath, dark ruddy color and macabre effect all about - purposefully, ironically including odd bow noise from the concertmaster - sardonically, ideally helped bring this scherzo to a close.

Strong parody, irony emerged more the intent with Rondo-Burleske than banal virtuoso display Other than slight thinness in the strings - Dudamel most attentive to achieving good accenting - the character of this music, taken moderately fast, came off fresh. Solo strings cutting through rustically klezmer parody of Third Symphony got sharply etched – follow through on lower winds’ voicing, marking also thoroughly characterized. High wind’s running preparation of main subject reprise was acrid, with dry reprise of further distorted march also spot-on. Trio opened with decent simplicity, especially as limned from aloft by the violins. Luminous buildup to the climax to developing its main idea became also slightly understated – through warm harp glissandi. Reprise of main section was more straightforward than fierce, with light pointing of strings led ‘operetta’ episode palpable, Accelerando by trumpet was slightly impulsive - utter enjoyment of everything in place of making display again paramount, with merry romp through lower brass toward concluding cadence of perhaps more lift than usual vehemence.

Dudamel framed opening the Adagio with strong lean on its unisons, but avoided sinking line by observing following internal separations well. .Pace was very slow overall, but did not feel it much except for C-sharp minor episodes. Several big crests to the line got understated, perhaps one or two slightly deflated – sign of inexperience but also already strong opinion on where more important emphases should lie. Probably nothing about this entire Ninth more took me aback, conducted by Dudamel - much heart-on-sleeve having been expected instead. Quieter sections of this Adagio were such for which Dudamel opened wide most frequently well calibrated space for them to project their deeply meditative quality, vernal shimmering lights in higher reaches – to recall the ever blossoming, renewing quality of much within ‘Das Lied.’ Others, certainly Bernstein’s first try at the Adagio make afterthought of these passages for great ‘wailing wall’ of obvious big refrains, but not Karel Ancerl – now hardly Dudamel either.

Reach toward large climax, through subtio piu mosso (marked Nun etwas drangend) was flexibly impulsive - Dudamel then gently applying the brakes for four descending big notes into starting the recapitulation. At similar crest in tutti minutes before, he eschewed over-emphasizing this for how more charged he could make large reach without forcing it, toward it all cutting off. Anguished high violin’s A natural - intense from Otto Klemperer - got mildly understated toward good, mature impetus lyrical shaping of entire line overall. Dudamel failed to quite open ‘Adagissimo’ final page slower than body of this Adagio – final show of naivete then some excessive lingering over this music’s ultimate fading away.

This interpretation of Mahler’s Ninth still has some ways to go - not to fall back on more conventional solutions, but instead perhaps to even take several extra risks. Most moving here seemed both Dudamel’s very close scrutiny of the score and amount of heart and imagination, if not surplus of intellect he has invested into thinking it out. With Los Angeles Philharmonic instead of with orchestra back home with which Dudamel can often rehearse over twenty hours each program he conducts, even with what mistakes, naivete present, this is the best I have yet heard Dudamel on anything – versus Dudamel the primed, pumped fawned over pawn of nefarious marketing forces active, omnipresent today. How much this aspect of the business he can put aside may well determine how he can prevent himself from ever again cheapening other repertoire - and then perhaps make great strides.

DR Kultur - DSO Berlin. Christoph Eschenbach returns for generous, but heavy, effete Tchaikovsky fare. 12.12.10. Philharmonie, Berlin.

Christoph Eschenbach his one occasion to conduct DSO Berlin this season accumulated luxurious amount of Tchaikovsky – 105 minutes worth comprising two most celebrated among handful of fantasy-overtures, plus two of three more famous from among six concerto works. Those familiar with Eschenbach’s Tchaikovsky can find it an interesting hybrid of conflicting tendencies.

There is striving for the big arch to the line along lines of Furtwaengler. This often gets mixed with control of sonority - zeroed in on to extent of turning rigid. Mixed in can be numerous finicky touches, underlining – such he might have learned from watching Leonard Bernstein. John Ardoin of the Dallas Morning News close to time Eschenbach accepted the Houston job described his approach to Romantic Slavic program with the Dallas SO that also included Francesca as calcifying.

Romeo and Juliet Overture opened – to altogether indeed best represent Eschenbach still being able to understate some of the above. Much of the playing here maintained a natural expressivity and flow that if not stirring was pleasant. Friar Laurence music opened with stately solemnity – with distension of reaching harp gilded cadences a little more than usual. Measured but throbbing phrasing in the cellos provoked extended pause before fight episode got underway - slightly too careful by half Fight here was tame., with brass dry, strings hardly more flaccid than usual. Much ado resumed over transition through bassoon, other obbligato into the balcony music.

Violins emerged sweetly luminous; winds sang main romantic theme with ease – all only encumbered by percussive touch mediocre harp playing – whoever insisted such accompanying communicate this way. Impressive for Eschenbach was starting reprise of fight music without enveloping it, but much rhetoric was made in making transition in and out of the love music for further skirmish. Only the coda then deflated matters, with excessive extension made out of so much, placement of chords right before its outset indecisive and winds’ refulgent chorale heaved over, massaged – just again a little more so than usual. Much got reached from behind for closing phrases – tone, expression of regret to it all garden variety expressing wish to last forever, but through following deflated chords of course could not.

The model for conductor’s interpretation here of Tchaikovsky’s First Piano Concerto - less that of soloist - is undoubtedly the Karajan legacy of conducting this piece. Karajan might not have anticipated lily gilded arpeggios accompanying the first theme (that really is not but what only survives introduction to first movement intact) consistent oddly with how the passage first got first written. What came across from Karajan individual continues to from Eschenbach willful, eccentric. Karajan was likely most smoothly effective with this on disc when Lazar Berman recorded it for DGG in Berlin circa 1975.

Karajan most likely had most distinctive on disc as soloist Sviatoslav Richter with the Vienna Symphony Orchestra fifteen years earlier. Richter accomplishes as much his own interpretation best heard with Czech Philharmonic conducted by Karel Ancerl (Supraphon). What sank this endeavor here was - brutally evident starting scherzo-like opening of the Exposition - the very brittle touch of Tzimon Barto – dotted rhythms awkwardly clipped in context of much slow pacing here. Restatement in rapidly alternating octaves was messy – to resume similarly much later.

DSO Berlin strings phrased ardent second theme naturally, but Barto by back-phrasing made it sound suitable to hear in a comfy smoking lounge. More editorializing to point of being silly recapitulated it later. Normal tempo then resumed for cellos on the simple flute theme expected. Barto pointed developing arpeggios through resumption of main second theme with considerable ping – with loud crunching thud on lowest chord while playing development thereof. Coming off athletically prefigured chains of descending octaves, answering willful detached speed-up to highlight the display, massage treatment got predictably underway to continue the Development. Barto’s final extensions out of second theme almost grounded it to a standstill – followed soon thereafter by heavily regrouped cadenza – with flute trios, Barto accompanying strings on ‘flute theme’ regrouped and messy, followed by Barto making heavily phlegmatic reach, picked up too this way by DSO brass - for final tutti.

Prinicpal flute Thomas Hecker put forth valiant effort to avoid line sagging – following one of the (erratically) slowest first movements on record – over string pizzicato (helping prepare Barto) lacking pulsation to extent of registering aleatoric. Ah, deconstructionism. Barto and Eschenbach half deceptively made interpretation of the first movement seem more soloist’s than maestro’s, but Barto achieved his first musical phrasing of the evening, starting the second movement – still all moving slowly. Andreas Grunkorn (cello) sustained eloquently singing the main theme – within such obtrusive environment. Scherzo episode, taken moderately instead of fast got heavily fussed over to full extent– brittleness from Barto again paramount – until freely descending arpeggi back into oboe resuming main theme more fussed over than as previously heard.

Barto perceptively caught the peasant character to dance opening the finale – Eschenbach scrupulizing right beneath. Barto emerged more naturally engaged for music to speak for itself than earlier - than having to endure continual fussiness from the podium – mediocre tentative ensemble through winds accompanying his runs. Barto, intermittently also getting waylaid into fussy playing - clipping main theme to breathe new urgency into proceedings at one point – later shed all reserve for show of naked athleticism with ugly tone over stream of octaves - into final full-throated reprise of romantic second theme.

Thirty year old cellist Dmitri Maslennikov, who Eschenbach has clearly enjoyed promoting for some time now, appeared next. Among three thus far playing Tchaikovsky’s Rococo Variations reviewed on these pages, Maslennikov elicited the most fully rounded tone– especially as compared with Steven Isserlis. He made noble profile of the theme, then light, sprightly his bounce of bow over triplets for first variation. Eschenbach, self-consciously hesitant for segue in(to) the rhapsodic third variation and abetting Maslennikov to make gratuitous spotlighting of rapid spiccato scales up and down the fingerboard in variation right after, maintained decent poise and support for his soloist through most of the remainder of this piece. Maslennikov, unencumbered, provided flowing line, near ideal simplicity through the slower third variation, but got abetted into excessively arching ascending trills into flute led theme reprise making up the fifth variation. A valiantly engaged unusually extended cadenza followed - entirely new or slightly more likely one just seldom these days taken on by anybody else.

Opportunities to arpeggio in half-harmonics, other device enticed Maslennikov again into becoming while freely capable, gratuitous with such. He then settled into making noble shape, restrained pathos of the slower D Minor variation – with much lingering over the accompaniment at a few spots from Eschenbach. Once into finale to the variations, Maslennikov then efficiently but also expressively coasted, played through it, hardly missing anything. Most memorable here was the well rounded tone and profile Maslennikov provided this piece, especially when no artifice in the way to distract him.

Francesca da Rimini succumbed to sounding careful – often compartmentalized in ways one might not have suspected before, except to have listened to either one of Eschenbach’s two recordings – actually on first disc he ever recorded in Houston (paired with Dvorak Ninth). DSO Berlin became most prudent to avoid covering up too much the strings on main agitated theme (hopefully) driving this music forward for its outer sections. Trumpets especially applied good separations to repeated notes – of which John DeWitt & Co in Houston were not fluent at doing when they recorded this. Eschenbach was found - tendency one wishes he could have abandoned long by now.- conducting DSO’s fine principal clarinet introducing romantic middle section theme

Opening Andante lugubre to this came across dry, mildly clipped, antiseptic. Things were slow, became deliberate at gathering steam, with odd siphoning off different sections of DSO Berlin from each other playing and attempting to reply to one another. First Piu mosso during the Introduction – put there to abet hellish winds accumulating amongst the strings – became barely noticeable. Eschenbach put his own subito piu mosso during sighing dyads making way into flute trios during the middle section – making such transition come across silly, mildly petulant this way. Fussiness over light gusts of wind between strings and woodwinds during first buildup to main theme turned the figuration into practically aural equivalent to watching protozoa swim about on slides under microscope – with DSO Berlin strings sounding nearly as thin as Houston’s, … i.e. how about Hans Neuenfels choreography for Tchaikovsky’s Francesca da Rimini?

Eschenbach again vehemently confused loudness for passion – hard at any rate to work up at his tempos. It is as though we might gain insight by having most of this piece taken apart to expose all its inner layers – except for their becoming often so muddied - so much found dying underneath in the mean time. The band-y cheap approximation of operatic overture accelerando at the very end, also ending this concert, did not convince. Vehemently loud slash of wind introducing restart of violent main section of this – unmistakable what it is on the live LSO/Markevitch disc from BBC – is such for which Eschenbach made such luftpausen’d reach - it resembled letting off … instead - quiet brief mourning then from good lower DSO brass.

Eschenbach had just convincingly worked up some heat, then overdoing it for final entrance of middle section theme in the violins only to sink everything by docking single pitches on DSO brass loudly as idea broadly siphons itself off - dead. Long delay had been made earlier through regretful sounding English horn commenting on pleasurable guilt of the two lovers, answered by well played harp arpeggios – but with both unsure of where to make cut-offs on back and forth exchange. Descending sunlight from flute trios playing repeat-chord (C Major) tremolo seemed to take very long to arrive.

Should your idea of Francesca da Rimini be one entirely physically disengaged from action Tchaikovsky graphically describes, Christoph Eschenbach is your man, forever likely shall be. I suppose one could get all absorbed too by standing all day in a Cy Twombly gallery to attempt engaging with the forces of nature, how they intermix with human passion. You just have to ask yourself – how much would you talk yourself into it?