HGO Fidelio: Wild, unqualified triumph marking heroic return of Karita Mattila - Met production revival (Jurgen Flimm). Michael Hofstetter. 05.11.11.

Common sports lingo might deem this having really hit one out of the park. Such could be very accurate in assessing Houston Grand Opera’s first production now of Beethoven’s Fidelio in twenty-six years. At somewhat an intuitive level, this Fidelio quickly near its outset and for numerous passages to follow had a way of leading its own way - working out by what even to whomever naïve appeared to follow a certain inscrutable and inexorable logic.

One major contributing factor was certainly HGO’s hosting of celebrated producer Jurgen Flimm - in production we borrowed from the Metropolitan Opera. BBC broadcast of Flimm's production ran last summer from London, starring a mildly tentative Nina Stemme and mediocre Florestan - Endrick Wottrich notorious for dissing Pierre Boulez, accompanying producer for their controversial, most interesting recent Parsifal together at Bayreuth. For casting deficiency or two and last minute need to replace on podium Kirill Petrenko with Mark Elder, things did not quite mesh, catch fire as readily as they did at the Wortham Center the Saturday evening, third performance, of this run.

Leads for HGO’s run on this occasion were Karita Mattila and Simon O’Neill. In 1985 they had been Hildegard Behrens and worthy of special note, the underrated Polish tenor Wieslaw Ochman – from whom eighteen months later we picked up a most suavely neurotic Herod – part somebody should have definitely made him record to supplement his Narraboth’s for Bohm and Karajan. Karita Mattila last appeared here in 2006 for Manon Lescaut - with cool Nordic penetrating tone, delivery scoring a considerable vocal and histrionic triumph then.

From several moments into time curtain was up on opening singspiel scene to Fidelio, one could sense something already in the air – even with just merely HGO studio member and returning alumnus Brittany Wheeler (Marzelline) and Norman Reinhardt (Jaquino) on stage, preoccupied as much as their habitual sparring conversation for the day as with polishing the jail office’s firearms arsenal. All, through Marzelline’s aria expressing her perplexity with conflicting romantic entanglements, came across with fine melos and charm without ever stepping over line to turn anything cloying. Especially anybody slightly more than casually familiar with Flimm’s work could pick up his very close manner of having prepared his cast to draw both his audience in and singers amongst themselves. Kristinn Sigmundsson, both figure and voice of ample girth on stage, played a very warm, convivial Rocco, achieving for later more dramatic scenes all on verge of fine gravitas for crucial interaction therein and genuine compassion for leading protagonists (and also never insipidly cowering fear of offending Pizarro).

Hard to locate, highly underrated Nozze di Figaro Flimm staged for Zurich reveals how – in close-up upon simple change of countenance turn to internal strand of the plot can be forced to happen, as though on a dime. Contrast this, if you will, with excess clutter accompanied heavy mug and blither while not blank feel characterizing David McVicar’s over-rated production of Le Nozze. There is more sexual, dramatic. musical tension on cusp of exploding between Eva Mei and Rodney Gilfry – partly for effort to have dropped many useless clichés – than to be seen the other night between a glib, blank-faced Anna Bolena and good Enrico VIII from the Met.

The very fine Falk Struckmann provided Pizaaro sinister mature weight for Met incarnation of Flimm’s production nine seasons back, vis-à-vis notably youthful, almost naively visionary appearing Rocco of Rene Pape. Dynamic between these two shifted for Houston Grand Opera now between Tomas Tomasson (Tomsky - Pique-Dame, 2010) and Sigmundsson. One might detect a little of suavely delivered (and vocalized) proto-Scarpia aspects of Rodney Gilfry’s brilliant portrayal of Almaviva in Tomasson’s Pizarro. With slightly gravelly voice, but determined line, forza infused encompassing of wide range, here was the picture of blind, youthfull choleric ambition, handsomely packaged – dangerously at the ready to close the sale toward dispatching of Florestan – and then eventually anyone else in his way. Such dynamic again between these two may have garbed itself in more conventional format than at the Met, it seemed, but really at only one end of running dialogue – and equally compellingly. Struckmann and Pape always remain a hard act to follow.

Striking contrast to the villainy of Pizarro, an equally dapper looking Kyle Ketelsen provided Don Fernando’s closing weighty benediction with fine shape and profile, artistically meriting equal approval from the hall – even almost as though unawares of sinister goings-on surrounding rear scaffolding – deep clouds hovering above – purposefully clearer and more disturbing to visual and dramatic perspective than as seen on digital video (dvd).

With even dramatic shift of power, even seemingly into the right hands, element in society can still persist toward trying to recover its way or holding of sway – perhaps more potently now than before – and as realized here also a little more violently – completely without overkill. Witness the sometimes arbitrary police berating of Occupy Wall Street, related protesters across our own fair land. So well articulated in having both Pizarro and Fernando both decked out in three-piece suits, is timeless long by now – since robber baron, wealthy bureaucrat decked out giants and gods respectively of Patrice Chereau’s Ring – oh, not to mention how efficiently laptop, fax machine, water cooler accommodated Alan Titus’s Wotan was for Flimm at Bayreuth two decades later. Very efficient timelessly modernized sett design (Robert Israel) in deep browns and grays, wall of tiered cells distinctively to the right with arms sticking out plus costuming (Florence van Gerkan) and lighting (Duane Schuler) were spot-on.

Couched by the fine simplicity driven musical leadership of Hofstetter, honed to near perfection all evening long - delivered with sufficient weight - long passionate high G from (visually) darkness enshrouded Florestan of Simon O’Neill starting his opening Act Two monologue rang out with compelling force and projection, but leading into fine shaping, encompassing of well nuanced lyricism of the part as well. For more dramatic utterances, O’Neill’s tone is not found the most ingratiating, but the certainty and ferocity of his delivery was sufficient to perhaps recall sometimes a hardly more tonally ingratiating James King on a good night as Florestan. The feel he provided for imploring Fidelio and Rocco for remote chance to see Leonore, his wife, again, through both spoken dialogue and song became deeply moving here.

Helping alongside Flimm and Hofstetter stitch all together was the magnetic Leonore of Karita Mattila, at first sighting stumbling onto stage carrying bag of groceries – as though still learning the steps of being a boy – but then this time perhaps bailing on daily potassium intake; perhaps Wortham Center pantry backstage or distributor was short on supply of bananas. Perhaps a Jurgen Flimm Wozzeck brought up to date, selenium or quercetin intake delivered or sitting around might also come handy – but then Wozzeck’s rage might turn out less violent and then the play would no longer be the same. (I could not help tonight but note Flimm’s place of birth being Giessen – site of Buchner’s alma mater).

Fidelio marked heroic return by Mattila to the Wortham Center stage. Shift of registers, making reach for high notes, sustaining line up to them is all such for which she has lost a little ease during the past several years. Within picture of quietly intense, flexible shaping of all that occurred here, depth of feel, perspective Flimm provided – Mattila recovered some of the above with fine malleability, color, flexibility, even some of the bloom of former years.

Between Mattila and Flimm, this Fidelio proved how great stage direction, production of opera requires a good ear on part of the producer - in addition to on part of who may be conducting. With Mattila fully understanding, encompassing very compelled, commanding line, filling much subtle nuance therein – through the challenging hurdles of ‘Komm, Hoffnung’ and elsewhere – dramatic impetus Beethoven’s music opens out, compels forward became complete, filling out all Fidelio is about. This was work matching highest current international standards for both directing and singing Fidelio – and especially from Karita Mattila, both always looking very comfortable in her own skin and thus filling out Leonore with most magnetic, engaged self-effacing warmth. One could not help but be moved.

Why much mention of Wozzeck above? One might guess and very reasonably that part of Marie Met – could figure before long within Karita Mattila’s sights. Given all the dramatic excitement happening on stage, the classic grosse pause Alban Berg parodied during Act One seduction scene thereof got slightly over-stepped here. There is still opportunity to ameliorate matters, fully recover the mother of all dramatic pauses in music history – to supplement good handful of pregnant, dramatically rife pauses interjecting earlier dialogue, interaction. Apart from that, Hofstetter, in pacing Fidelio, flexibly filling out its lyricism very seldom put a foot wrong. Mild prudence accommodating one or two slightly strained voices during Act Two may have slightly undercut dramatic tension, quasi-period abrupt accent or two may have slightly broken line - churlish to mention any of this.

Choral preparation (Richard Bado) is still fine, yet in this context I intermittently found several lines during Prisoner’s Chorus slightly louder in volume than might provide most moving results. Note however the hush, spaciousness with which Hofstetter infused slowly ascending strings to implore men sideways – and then prudent spacing, weight provided, underpinning them throughout and through sometimes aimless extending out through through-composed dialogue to follow –everybody’s attention rapt instead – toward poised, gently drifting off conclusion to Act One. Luminous warmth, achieved by HGO orchestra winds, alacrity infused witty pointing of opening singspiel, anticipatorily hushed Act One quartet (‘Mir ist wunderbar’) and highly spirited uplift infused finale to Fidelio marked Hofstetter’s return as very compelling (since good 2008 Beatrice et Benedict – featuring excellent Benedict of Norman Reinhardt) – always toward very clear goals in mind. He should soon get invited back.

This Fidelio is such necessity to go see, should anyone reading this be in the area - anything no longer important months, years later can get put aside for this opportunity. Houston Grand Opera has scored an unqualified triumph this week. Certainly for local yokels but perhaps for visitors from away to reckon HGO entity of true international standing - was occasion to feel very fortunate to be alive to witness this.

BBC: BBC SO, Ilan Volkov. Nicolas Hodges. Exposition balancing heroic and abstract ideals. Clarke Untitled 2. Beethoven Third. 29.04.11

Balance between attaining heroism with abstraction eloquently informed thirty-four year old conductor Ilan Volkov – recently music director of the BBC Scottish SO – making guest appearance with the more prestigious BBC Symphony Orchestra of London. He scored a triumph, doing so. Both ideals explored found blithe consummation in a deceptively light, but fully absorbing, vigorous rendition of Beethoven’s Third Symphony.

Near same time as his only piano and violin concerti got written arrived Benjamin Britten’s tribute - 'Ballad of Heroes' set to W.H. Auden text - to the anti-fascist heroes of the Spanish Civil War. Auden ventured to Spain himself to offer his help, eventually helping inspire Britten to write this piece. Layout is similar to the maturely realized Sinfonia da Requiem, both opening with a dirge, continuing with danse macabre, and closing with chorale of sorts – finale to ‘Ballad of Heroes’ limned by lengthy melisma enhanced tenor solo looking ahead over two decades to his ‘War Requiem.’

Volkov found more interesting to bring to the forefront than how Britten’s scoring accommodates British choral tradition. Beat seemed slightly unclear for trumpet fanfares emerging - as though from the mist - starting this - more wonky had they played at a well demarcated mezzo-forte. Volkov had line fill out gradually, in place of broadly stating what was facing him instead. Approach of establishing choral parts obbligato to the orchestral line was such, as from which the sung text emerged refined with fully achieved profile – better than the expected norm. Volkov brought out harp gilding of still full sonorities achieved here to just partially relieve the austerity of opening dirge.

Rhythm for Scherzo was bracing, calibrated through Shostakovich like cascade of chromatically descending flute trio, rustle in bassoons – then arch to choral writing fully anticipating ‘Look, the storm come – Now the floodtide and seahorses’ Balstrode starts during Act One of Peter Grimes. Volkov’s excellent proportioning guaranteed throbbing middle section, with violins’ fully anguished descant, its fine profile intact. Tenor Toby Spence eschewed gilding his lines during the finale, eloquently appreciating with firm line the simplicity of how text and music merge, making any belabored affectation obtrusive by comparison. Choral work was very fine.

James Clarke’s Untitled No. 2 formed dark oasis between comparatively simplistic Britten and the ‘Eroica.’ It seemed to ask most of all what defines music. Inspiration derives from equally non-specific titled abstract expressionist works by Clifford Still - museum dedicated to his memory having recently opened in Denver, Colorado. Comparable to Still’s intent is that this music not be illustrative, pictorial, representational in any way – also forfeiting suggestion this could be a concerto.

In terms of exploring resonances, overtones as sustained, manipulated, extended out thereof Wolfgang Rihm’s music also comes to mind toward redefining tonality or tonal specificity as devoid of traditional meaning – all as reckoned for how sonorities, including how those of single pitches will get articulated. Feldman, in opus like Music for Violin and Orchestra, makes his bias just a manipulation of sound, as perhaps just evoking Nature completely abstractly, putting aside all suggestion of tonality, but free too from the strict ordering of Schoenberg and Webern.

Untitled #2 implies some ensuing agon, but avoids it occurring between soloist and orchestra – having it between chords, contrasting aggregates instead. Influence of Morton Feldman on this enterprise is certainly plausible. Clarke, interviewed, suggested thinking about this music as one might rock strata. Episodes during which most all motion, sense of where things may go becomes very static – opportunity for chords, resonances to grind against each other - at layer seemingly beneath this music’s surface – to suggest much depth. Brass slowly shifting between highly attenuated eleventh chords - decorated by quasi-(igneous) percolation of single pitches widely distributed about – grandiosely displayed how static this music can become.

Development, illusion thereof of coalescing buildup of sonorities may loan out hunch that relative stasis to ensue for a good six minutes ending soon before halfway through this 25 minute work might also be illusory. Given how elusive this music seems, certainly also hope for anything representational to emerge, one must choose one’s words carefully toward describing this. Ability to carry on logically though is good, not to make circular logic out of all this - as might the neurotic captain from Buchner’s Woyzeck.

Placement of major seventh chords perfect intervals and semitones apart - how much of Untitled #2 is mapped out - clearly reveals that by no means has order, regarding compositional processes got abandoned here. Likewise this music, as frequently focused, transfixed at times on resonances - reflection and refraction alternating between them - contains some linear aspects, even suggested lyricism by such means. A most elaborate moment or event occurs during introduction to the soloist’s centrally located accompanied cadenza, with brass having set up decent minor ninth pedal point on E and F natural out of which is built tonal environment suggesting E Minor (with major seventh of G-F# layered above). Steeply arched upward leaps from soloist’s right hand then emerge – perhaps with nothing moving in any specific direction, but all suggestive of linear activity possibly internally being integral to all at stake.

Soloist Nicolas Hodges – heard for Elliott Carter together with Volkov at the 2008 Proms - commented that there exist virtuoso things that occur in this piece; his mastery of such was imaginatively complete. Compelling here was mention of passages in which the orchestra can be fearsomely loud to cover up the soloist, value predominantly being what resonance might linger on, once the orchestra has cut off, more than anything (overtly) powerful or virtuosic. The very opening of this work immediately provided deep sense of how ingrained together the orchestral and soloist parts in this piece should be; initial orchestral sonorities organically form out of soloist arpeggios, intentionally so.

Intermittently developing moments of relaxation from predominant oppressive air provided welcome relief, such as right before midway through, a freely moving exchange of sonorities between soloist and strings, brass both anchoring and continuing motion through elaborate disjunctive lines, to comment perhaps on tension or stress still dissembling. Arabesque, as intimated by opening soloist arpeggios also provided fine elaboration on sonorities, wide range thereof and overtones to fully register or suggest.

Impetus Ilan Volkov supplied – going so far as to voice out numerous resonances toward elaborately revealing developed overtones - seemed mostly lyrical, understating orchestra going full out – for instance right up to cut offs from which lingering keyboard resonances distinctively emerge. Within deeper overlapping of hinted, developing motif through stream of harmonic dissonance infusing coda to this piece, light perhaps appeared to issue forth. Much psychologically engrossed density could then more convincingly, freely dissemble. Dedication, focus, invested therein from soloist and orchestral forces alike helped poetically, comprehensively lay out picture in abstract lines and sonorities. All sounded complete, yet supple, plastic. Dip(s) into tonal recesses deep below constant at almost all times, mercurial space above unfurled effortlessly before all.

Out of elaborate runs and figuration emerged good stretto between upper, lower brass and piano aggregating into well sustained pedal in the strings. Pulsation extending out of ringing dissonant chord to follow extended into sustaining stream of dissonance in the strings, portion thereof playing in harmonics. Illusion that some of the writing toward the end could be vocalized became enhanced by interjected recitative for piano, framing thoroughly pervasive shimmer to carry all beyond minimally perceptible horizons.

Human dimensions invoked by quasi-vocalized qualities to finish the Clarke Volkov dragged kicking and screaming back in to render very satisfactorily the Beethoven Third Symphony – more tentatively encountered on one outing by the BBC Scottish before. Spring to opening chords, bracing pace to follow, on merits of Beethoven’s music alone, putting aside excessive ‘period’ tendencies or ‘period chic’ with which to clutter things up, sounded immediately ready to challenge anything obstructing their way, wrest all free from court (and modern) conventionalities. Lean textures generally prevailed, but integrated with full sense of voice-leading, presence of overtones from the big bad Romantic past. Purpose in how Volkov elucidated form and expression, in place of acting beholden to anything else, was abundantly clear throughout.

Sinuous, flowing line coursed unimpeded through opening tutti of the first movement, space supplied to gently mark laendler accenting during second theme, elsewhere and also to designate wistful, momentary rumination upon where the argument has taken us thus far. Such fully prepared terracing, grand scaling thereof into closing section of alternatively cleanly robust and supple shaping of all its lines.

Good sonorous bedrock underpinned start to the Development, saving cellos on forebodingly restated first theme from coming across too lean. Internal complexity through cross motion between first theme in lower strings and downward figuration above got reckoned with full ear for harmonic change through fully, but lightly engaged sturm und drang. Bucolic accenting thus became available in full, especially through insistently interjecting violas – without loss of perspective. Keeping all breathing flexibly in interest of sustaining line optimally well, a little flaccidity threatened to creep in at outset of dissonant stretto to prepare, contrast with more feminine accented re-transition to follow. Volkov however tightened his grip on proceedings through the stretto before too late – notion being to keep things again within human dimensions as opposed to attempting blowing things up to metaphysical proportions.

Sturm und drang continued to course through first theme re-transition, all tensions remaining febrile, rife through all contrasts, buildup, plus regretful tone from retreating woodwinds to prepare flexibly molded recapitulatory statement. Through harmonic transitions, quality of the music-making turned intermittently weightless, but with deeply infused lyricism making all still more specifically profiled, felt than during the Exposition. BBC principal trumpet very briefly broke the spell by overplaying right before the coda, subtonic (D-Flat Major) opening of which Volkov made emerge very rich, as opposed to conventionally docking it. All emerged vernal and fresh through final sublime reprise of ‘inversion theme’ toward lovely legato French horns’ buildup to a very fulfilling close.

Taken at very moderate pace, highly attentive proportioning maintained solemnity of the Marcia funebre – all just slightly comparable to how one often finds Allegretto of the Seventh interpreted. Winds infused restated first theme, following lean stoically profiled strings for the latter, with optimum cantabile. Unison lines in cellos preparing first theme subdominant restatement sounded at once lean and darkly expressive. Stark profile well maintained throughout, a little incipient weeping crept into oboe restating the same – most sublime. Maggiore interlude opened lean, rugged - for contrast very supple open-air infusion of what develops therein, principal trumpet this time spot-on in preparing last rolling cadence to wrap it up. Fugue emerged lean on surface, fully weighted beneath.

Fully Italianate cantabile descant from BBC violins - all rock-solid beneath – alone completely filled out dimensions of approaching crest to the fugue. Simplicity reigned unimpeded into the recapitulation, all then fully sung, starkly proportioned. Volkov filled out trailing off lines, harmonization through the coda very expressively – one slightly imprecise cut-off tiny price to pay for fully vocalized appoggiatura from the winds. Closing lingering off cadence in winds off distraught, fading away strings, without conventional Romantic docking, was sublime, even recalling example of Karel Ancerl.

Headlong rustle with subtly worked therein lightly pointed harmonic shifts strongly characterized an uninhibitedly joyous romp through the scherzo. Tutti immediately upon arrival gave off full rustic frolic. Trio, started by French horns, got off to a hearty start, with fine yielding on lingering phrases extending out.

Finale, strings racing down, began dangerously fast, but clean, infused with the simple joy of taking it on, in place of grand-standing. Variations spinning out from skeleton of a theme got breezily paced, achieving cumulation through opening out of the ‘Prometheus’ theme lithe as is its wont. At continuing bracing pace, fugato to follow maintained internal terraced voicing with excellent finesse; cadenza-like principal flute solo spoke lightly, rapidly - fine space provided him. ‘Country dance’ very joyously to follow hardly could have been better, more freely accented. After sobering ‘Prometheus’ reprise, second fugato emerged supple, precisely calibrated its voicing, through unusually pointed out intro theme descant in violins to fully prepare the brass getting the same – incredible to behold. Lacking such preparation, this passage often comes across detached.

The Andante epitomized nobility sublime, forefront clarinet accompanying concertato in the winds fully enhancing its rusticity followed by strings eschewing common working of violins descending into brass ‘Prometheus’ theme. Segue into anguished violins’ crest to line was followed by antiphonal muttering in strings and winds suffused, distraught, but light. Brass, while restating central ‘Prometheus’ idea here achieved doing so completely, stopping far short of portentousness. It was, as prefaced by simply forward thrust on the symphony’s opening two chords, to singularly depict the heroism of the common man. Open swagger through presto coda, full of life as was the rest of the finale to risk Volkov being again mistaken for Ancerl, simply expressed the joy of being alive.

For ‘Eroica’, without first-movement repeat, lasting forty-four minutes, profundity, proper weight to formally, aesthetically articulate such hardly ever got missed. No other name comes to mind, among thirty-something’s or younger for what could as clearly promise to be a great interpretation of this work.

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.

NPR: New York PO. Alan Gilbert. Karita Mattila. Beethoven/Nordic program. 29.1.11

Music of Beethoven split this program with that of Sibelius and Carl Nielsen. Partly to complement how Nielsen's Second Symphony is, Alan Gilbert favored a big-boned, even heroic approach to the somewhat deceptively modest Beethoven Eighth. Though more naturally yielding for its second theme, opening statement of affirmative opening idea got slightly gunned toward invigorating all to follow, strongly driven. Double dotted rhythms anticipating gentler second idea got executed with stalwart rigor, to be consistent with what preceded them. Gilbert also flexibly shaped transitions coming off the second theme, with their rustling tremoli in the strings right underneath, yet followed by crudely hatchet-ed closing idea.

Yielding again as Gilbert was coming off of this, his shaping of the Development section turned out most apt, central fugato buildup thereof both flexibly handled and infused with fine strum und drang toward propelling all forward. Principal clarinet, reflectively on opening theme, opened coda pliant, off hammered close to the recapitulation – toward very confidently concluding the first movement.

What worked well for the first movement worked less well for the remainder of this. Deft ironic wit to the Malzel Allegretto, on which Philharmonic winds were less stiff than the strings, went missing, by dint of mostly strictly marking time from the podium. Heavy, stolid leaning on opening to the Minuet was good, but oddly there was no coming off as line in the first violins carried on just about equally stiff. Excessively underlined accents on timpani and on trumpets, vulgar, layered over the musical rhetoric an extra layer of irony; rustling accompanied well phrased French horn duo for the Trio was more on the right track.
Violin section tremoli to open the rapid finale emerged ragged. Poise got recovered for second theme, as expected, but rhythms for first theme derived subject for fugal writing in the Development turned at once slightly pressed and flaccid. Longer, extended phrases of secondary development Gilbert provided breathing space; working toward nagging impression of a certain lack of charm by and large however was continuing incidence of strain from the violins.

Finnish soprano Karita Mattila then appeared for first of two major selections – the concert aria ‘Ah, perfido’ – in effect study for Leonore in Fidelio – by Beethoven. After abrupt start by Alan Gilbert, Mattila made noble, but curiously arched profile of this piece’s opening recitative – not to mention the expansive, psychologically shifting emotional landscape it covers through just several minutes. Mattila attempted compensating for some hollowness within middle and lower middle range by placing back and darkening color beyond what is natural. Her grasp of emotional terrain that Metastasio’s heroine covers, with all hue and nuance in place, was never in doubt. Maintaining free flow through this, inculcating so very much, was however. Strained high A at crest of ‘Vedro la mia vendetta’ limned fully achieved ferocity thereof to contrast with warmly, firmly achieved legato for closing line of ‘Per lui vivea, voglio morir per lui’ – even with emotion expressed very distraught.

Phrasing continued equally specific through following aria, albeit with much placing back compromising legato and tubular production of engaging reaches into higher register doing the same. Expressive lightening of the tone and of phrasing provided relief – motivated by this singer’s complete musicality and very psychologically worked out response to this aria’s text. Somewhat heavy underlining of slow refrain portion of the cabaletta – all though very sincerely felt – contrasted with awkwardly placed good attempt at lighter tone to take on ascending, descending runs – causing slippery intonation. Combined flexibility and courage to take on this repertoire, combined with complete musical and dramatic grasp of what is at hand helped very well obscure what has always been with Mattila a slightly faulty technique. Even with that less possible now, one could not help but get caught up with Mattila’s thorough engagement here.

Gilbert, warmly supportive of Mattila through the Beethoven, found more common ground with her on selection of three Sibelius songs after the break. Apparently some artistic partnership, revolving around not quite exclusively Nordic repertoire formed during Gilbert’s handful of years with the Stockholm Philharmonic. Enveloped by fine atmospheric sense from Gilbert and the Philharmonic and informed by Mattila’s very intimate feel for the text - poetry by Rydberg (in Swedish) the source - sense of mystery to encompassing Hostkvall (Autumn Evening)’s expansive lines got compromised by vocal problems. This was true through melismatic line to sing of softly falling silvery rain formed from gloomy realms of misty cloudland above (translation: Rosa Newmarch) that Mattila approached by tubular means instead of floating it – up eventually through an unsupported high B natural and slippery intonation overall. This song was composed for the charismatic Finnish diva Aino Ackte.

Coming next was Arioso, also string accompanied, like all three songs here to Swedish text. Pained sense of rapture lost on climactic line to this – Gossens aga ar dass vardag – with its wide (almost Kundry like) jump from a high A down to low D-Sharp drew impassioned feeling from Mattila, though preceded by unvaryingly bearing down an approach to make yielding transition to it effective. The heroine of Arioso unfavorably, naively compares her destiny to that of a wilting flower she observes for her having to concede to family loyalty over desire for the youth at the very center of her life.
Gilbert provided accompaniment sumptuous, but slightly cool, with in mind assisting Mattila toward saving voice. For such thick production, one might even suspect some lack in genuine warmth – also in ability to still convey innocence.

The brief ‘Varen flyktar hastigt’ dealing with fleeting character of a Nordic spring, making it a time for (equally fleeting) love - winsome waltz step to it -freely invited Mattila to lighten up some – opportunity for which she halfway took advantage; transition from minor to major mode Gilbert himself made detached. Fortunately, Mattila recorded all three of these songs at the peak of her powers - with Sakari Oramo (for Virgin Classics).

Alan Gilbert, in having provided us a Beethoven Eighth in bold strokes, even in bringing out something of a driven, hectoring, even quite irascible quality beneath its sanguine surface, was perhaps thinking of the Nielsen to close this program. Neilsen spoke of the different moods or temperaments in human experience in his ‘Four Temperaments’ (Symphony No. 2), of at times their overlapping each other; Nielsen’s music reflects this – least so in the intermezzo second movement devoted to the ‘phlegmatic’ – portion o Gilbert has singled out as particularly charming. Nielsen’s manner of painting in primary colors, for more fully orchestrated passages - in giving the brass much prominence - finds a true advocate in Gilbert.

The strong attitude with which Gilbert opened the first movement certainly made the case. Slight clipping of abrasive accents and cut-offs became suspect. A hard pressed quality of the playing turned things monochromatic against better internally reckoned harmonic changes being made. Supple expanding out of oboe led second theme and of later retransition for less heavily accompanied concertato of winds though got encouraged very well. Strings strained to be heard through crest of their lines through tightly negotiated fugato over loud brass during the Development – equally due to thin unison high scoring for violins as perhaps any indiscretion on Gilbert’s part. While yielding well to this music’s episodic lyricism, the forthright character of the music making here, perhaps slightly peevishly, complemented well how Nielsen himself here depicts a choleric mindset or temperament. Gilbert in taking a forthright tempo prudently withheld excessively pressing the Philharmonic past where they could clearly maintain upholding this music’s demarcations, thus confidently articulate this music with bold strokes.

Following supple trailing off to end the first movement, the indicated phlegmatic ‘waltz’ of the second movement, as perceiving it two-dimensionally, came off well – though slightly devoid of charm or if you will, of Nielsen’s harmonious melos to depict a lighter naïveté. Trio section beginning quite strictly marked eased up well toward achieving better lift and shape, eventually ambling toward return of main section.

Gilbert, to frame starting the Andante, tried plumbing its ‘melancholy’ depths – in how he had strings dig right in, early on. Appoggiatura laden, plaintive reply in oboe, picked up, well characterized by other winds promised good opening out of further rhetoric. The playing here took on a more settled quality, more richly hued, more flexible than heard earlier in either this or the Beethoven. Violins immediately made flexibly singing line out of continuing lines from the woodwinds. Good chamber music was made of principal flute introduced major key episode – continued by Judith LeClair (bassoon) and Philip Myers (horn) before tensions bottle up toward stern reprise of opening this movement. Gilbert’s leaning on thicker scoring to follow reckoned well deeply harmonized chromatic spelling in the brass. Gilbert spoke of an Elgarian quality to the writing here – to perhaps explain his bold strokes to limn its nobility, pathos – deep in twilit colors. Broad expanding out of opening material reprised maintained well, focussed, overall distraught mood to the end.

Except for while intermittently competing with onslaught from the brass, violins displayed good vigor, putting on the ‘sanguine’, to start the finale. Gilbert continued equally at ease with all here as with the Andante. Full chordal interjections, interrupting several lines almost anticipate passage out of the second half of ‘Elegy’ from Bartok’s Concerto for Orchestra. For two minute interlude to slowly muse, reflect upon more doleful terrain earlier covered, Gilbert, with fine voicing through Philharmonic strings achieved good simplicity. Further enhancing swagger with which the finale opened, the coda, changing up the rhythmic shape of opening material, indeed came off here somewhat Elgarian, but with hearty spirit infusing all, very confident of this music.

BBC - Chipping Campden Festival. Paul Lewis recital - on theme of darkness to light - St. James' Church. Gloucestershire, England. 20.5.2010.

Paul Lewis opened this program he gave at St James Church in Chipping Campden, (Gloucestershire), also festival founded by him - with the Adagio in B Minor, K. 540, a both particularly unusual (partly in choice of key) and somber piece from Mozart. The concept in the mind of Paul Lewis in so unusually opening his program - recital he has also given in the U.S., Australia, and Canada carried with it a darkness-to-light motif - to quote him in interview - on most subtle, aesthetically achieved terms.

The Adagio in B Minor was written apparently very close chronologically to the D Major Piano Concerto, that beneath its cheerful exterior, not unusual for quite all of Mozart’s late-period work, betrays an anxiety, fatigue never so encountered before in his concerti. One has the irony elsewhere, such as in the three ‘Prussian’ or late quartets, of Mozart's music flooded by the sunniest of mood throughout - even some infusion of jocularity such as these works exhibit. This Adagio hones on in on a most deeply inner world - the reality of Mozart’s situation at the time. Paul Lewis wisely found fine combination of simplicity and quiet despondency in this encounter - with his direct manner for sighing octave consequents to lied-like start to this piece.

With descending line for inverted second theme, following openly singing closing theme to the Exposition, Lewis, to start the Development, subtly evoked the left hand written out harmonic spelling. Repeated affirmation of descending line in coda, which makes way toward only achieving half-resolution (even while on tonic triad of B Major) was purposefully shaped, soon after mildly affecting surprise with expanding line toward end of Recapitulation into brief right hand arpeggio Neapolitan chord (C Major) triplets - hinting at Schumann to come. Sense of fullness in achieving everything made quite affecting this piece's relative irresolution.

What 'explosion of passion' there was to open the Schmann Fantasy in C, Opus 17, entered both flowingly and incrementally – all supplemented by subtle pedaling. Such luminous frame and interior bespoke a fine turbulence to be developed well within. A little risk of clipping anticipation of contrasting idea in minor mode hardly held up freely developing argument to follow. Singing line, subtly doubled in left hand, spun forth, but in the supertonic (D Minor), brief development to follow worked out pensively to calm resolution in F Major - toward hearing development spinning forth from the opening theme as fully achieved. Well articulated start to Development made way into restating opening to the first movement with sense of arrival complete.

Early (and mildly clipped before) anticipated theme in minor mode emerged fully sung out with fine sense of striving through both it and its getting developed – freely including brief episode of scherzo-like line of off-beat broken triplets in right hand; all found sufficient rest in very evenly paced simple plaintive conclusion in the right hand. Paul Lewis's making eloquent a sung duet between hands in E-Flat made final re-achieving of C Major with first theme on purpose seem mildly inconclusive. Shimmering treble chords carried ardently contrastingly reassuring repeated refrain to reach out toward on purpose perhaps not fully attained ideal of peaceful resolution to the first movement.

Lewis produced noble, masculine profile to big chords to open the march – opening mezzo-forte dynamic astutely observed. Dotted rhythm lines to follow, often so heavily, jerkily played had current of well sustained line and animation to internally run through them. Agitation ascending toward grand reprise of opening statement happened in subtle gradations while maintaining fine voicing through it all. Trio section, led by romantically singing lower right hand, flowed forward, with most supple inclusion therein of alternating lower voices and quiet echoing above. Contrast between ardor and caprice in willfully playful development of ideas had both spin, feed off each other freely, allas suffused by in light tone of introspection. Lewis - following much playing as remindful of Solomon as of Brendel - strongly profiled the dotted rhythm, ascending line to truly heroically conceived march reprise. Final chord to coda Lewis allowed after release to briefly resonate, following lightly pointed parody preceding it.

The slow finale opened with deeply cushioning resonance and luminosity, with duet sung out between hands through interlocking harmonic shifts to intimate at and synthesize recall or hint of harmonic transitions from the opening movement. Gentle push to the music's own picking up of pace through sustaining further spelling, voicing out of harmonic development, freed overall line up for genuine development of harmonically rich material at hand - all risk avoided of making smother-halla out of this. Right hand descending line, more searchingly than before, fully intimated deeply achieved reverie at hand - coming off affirmation to conclude first half of this wordless song.

Slightly impulsive push forward off second affirmation to help bring all to a close was as to simply report goal satisfyingly achieved, after much subtly revolving inquest into deep recesses of the soul, freely intimated interacting voices within fully reckoned. It is rare for recent performance of the Schumann Fantasy to satisfy one so well. Assisting here was both the quality of both instrument Lewis was playing and St James acoustics; most fulfilling was Paul Lewis's unaffected feel for form and romantic poetry to fill all out.

Veritable tone poem, the celebrated Vallee d'Obermann (Anness de Pelerinege I), opened the second half. Paul Lewis opted for the more standard revised version of the piece; given the quality of the playing here, he could have made interesting enough case for the more predictably organized, even pedantic original version. There was never getting too overcome by vastness of scale or of brilliance of the writing - display of Lisztian virtuosity here not the point. The richly colored descending line, limning deep sense of grief, of perceived loss Paul Lewis shaped in spacious and deeply felt manner, through numerous subtle changes of harmony - even affecting visual perspective.

C Major reprise of main theme in place of second theme – where conventional relative major reprise of main theme emerged before - had beautiful halo riding aloft – anticipating several vistas through which to traverse in Beethoven to follow – plus as though to hear idea as close cousin to prominently dreamy descending line in Schumann finale right before. Sense of much churning underneath craggy boulders, cliffs across one’s path was encountered next – momentary sense of peril also ubiquitous. One did not hear mere display of broken, rolling octaves instead. Lewis's tone remained warm and rich through lied-like maggiore reprise of the leading theme, through glowingly depicted bright horizon to operatically enunciated refrain (coda), right past fleeting reminder of brooding that had opened, filled out the body of this Byronic inspiration.

Fully achieved light emerged with the Sonata, Opus 53, of Beethoven. Lewis played entire cycle of the Beethoven thirty-two several years ago. He showed much promise in his command of playing, interpreting the sonatas, yet also was exposed numerous places where his grasp of certain passages was still tentative - even moments where he opted for artifice to attempt covering up lapses still lingering about.

Not to worry here. One would be hard pressed to find even nearly halfway recent interpretation of the 'Waldstein' more definitive than achieved here. Retuning today to his still fine 2006 HM recording - out of complete cycle - it was the playing at this festival - highly likely for other stops during same world-wide tour with same program that had the greater fluidity, imagination, more definitive shape. His opening up of much space in the intermezzo between the two big movements framing the sonata was as such to transport one to another world, including his deft but firm limning of harmonic changes to make transition into the final rondo - so undercut by others for spinning forth early figuration too hurriedly. His vocalized style phrasing of the opening to the intermezzo and call-from-afar phrasing of the same upon its reprise was most unaffected, just real.

Subtle differentiated pedaling between how first mysteriously opening staccato thirds in the first movement emerged – then with them getting more dryly articulated later, was highly imaginative – right-hand replies subtly varied as well. Lewis’s proportioning of transitions between themes - and then vastly conceived, yet precisely articulated canvas for first half of the Development - was at once classically adept - subtle allargando freely, beautifully sculpted in. Spinning forth of elaborate retransition off what had preceded became volcanic – with how fully, organically prepared everything was.

Paul Lewis eschewed bejeweling the second theme of the first movement; avoidance as such holds back excessive, too soon anticipation of arrival and also makes more nobly hieratic its expression as well - such insight for which we return to Solomon's Beethoven recordings. The simplicity of avoiding at all cost framing or enveloping such a passage - first time it shows up unusually in the major mediant - was simplicity personified. Room Lewis allowed as well for sobering, brief simple hint of regret for turn to the minor at end of the Exposition and thunderous roar for moments of stark dissonance, as for instance several seconds into the coda.

Bravura flair for the third movement rondo, pardoning very brief sign of fatigue, was complete - given so much that Paul Lewis effectively delivered here. It hardly detracted at all, even momentarily. Light scintillated through opening statement of the rondo, as though to open out through panoply of clouds, much but not all of this through subtle pedaling again - not to mention the gorgeous pedaling of slow descent of octaves off craggy-engaged rocky A Minor interlude. Furious rustle through C minor middle section Lewis made linger right near the surface, wisely so, instead of conventionally above - with ring resounding through right hand octaves guiding music away from this uprising preceding them.

Intimated continuing first theme development through following retransition was most telling, opening to the Recapitulation, furious bravura to follow restrained; restatement for coda was both airy and full of song - with sense persisting through simple interior sculpting of sidebar into minor mode - of darkness not having yet dissipated. Ear captivating illusion of vocally achieved glissandi framed much opening out into trill anticipated simply achieved flourish to close all out.

BBC Proms 2010: Proms 69 and 71. Royal Scottish Nat'l Orch, Stephane Deneve. Paul Lewis. Orch Nat'l de France. Daniele Gatti.

Prom 69. Royal Scottish National Orchestra. Stephane Deneve. Paul Lewis. Royal Albert Hall, London. September 6, 2010.

This was Stephane Deneve's third visit to the Proms, but my second encounter thereof, each time with his orchestra for past five years - the Royal Scottish National. He opened this new program with music of Hector Berlioz. Whereas his stance with 'Roman Carnival' was less reduced to so much hectoring and empty bombast as was his portentous and pretentious 'fantastique' of five years back, it still hardly betrayed there being somebody French on the podium conducting it. The 'fantastique' could only remind one of Solti's stiff Teutonic, dull rendition for Decca with Chicago some thirty-five years back. 'Roman Carnival' Overture here hung together better as one piece. but romanza introduced on English Horn beared down on a bit much and bacchanale to follow lacked more than adequate incisiveness, animation from within (as opposed to just on the surface - bacchanale joined by chorus within opera Benevenuto Cellini itself).

The best orchestral playing of the evening came with the three interludes from opera 'The Sacrifice' by James MacMillan - played like this music is likely in these musicians' blood. The story apparently deals with initially forbidden love between rival or warring clans with violent consequences - that forwards itself within action therein to involve a succeeding generation. The modal characteristics of the melodic shapes and harmonies well portray here the pagan roots of a culture on display. Refreshing for this fifteen minutes worth of orchestral writing in the opera (two outer interludes perhaps collated of two interludes a piece from the opera itself), is the greater simplicity in especially organization this presents for the music of MacMillan. Minimalism, much over-scoring in its usage has made itself a considerable crutch for MacMillan, often hampering before what mastery of orchestration he obviously possesses. His Third Symphony, 'The Silence', midway through its thirty-five minute length makes one hanker for just that exactly - silence. With what few lapses these interludes contain – i.e. the settling for conventional writing to close a mostly imaginatively engaging Passcaglia at center thereof – they make up a staple incapable of prematurely wearing out its welcome.

Pizzicato opening, light marking of theme on downbeats, sounds modeled along example of Anton Webern - development thereof positively Britten-esque instead. One place directly reminds of the middle section of 'Storm' from Peter Grimes - as though it might have been lifted from it and altered just somewhat - practically same scoring for winds and light percussion and equally gigue resembling rhythmic pattern. Much varied instrumentation during first three-fourths of the Passcaglia’s variations rescues this music from sounding excessively derivative too soon.

The brooding quality of the opening interlude 'The Parting, with brilliant flourish highlighting measured tread and chorale (mostly in brass) far below is highly evocative - as this music makes steady progress through remotely related sonorities. A toccata like impulsivity gets the final interlude, 'The Investiture' under way, with accenting in one episode thereof that also holds its own very well – offset by plaintive cry in the winds, as derived from the earlier interludes. Brass triads skipping about by mostly perfect fifths set against toccata motion in the strings animate how this movement opens. Jagged line against steady ostinato later into it left hint of 'Rite' or of same composer’s Symphony in Three Movements.

Central on this program was Paul Lewis's crowning performance of the Fifth to complete cycle of the five piano concerti of Beethoven - equally a success for him as the four previous. The more obviously majestic, or if you will, hieratic aspects of this music interested Lewis less than how they seemed to engage Deneve. My impression perhaps still influenced by studio recordings, my recollection of Lewis's mentor Alfred Brendel playing the 'Emperor' as being somewhat literal, matter-of-fact (a little more so than on the earlier concerti) has remained perhaps a little too much so of a scaled-down 'Emperor.' The intellectual rigor Geoffrey Norris (Daily Telegraph) has found in Paul Lewis’s playing neither got yielded to or intimidated by an element of fantasy and caprice with which Lewis was frequently at the ready to engage the ear. Lewis's sustaining of line through much varied figuration and flourish and most of all through this music's sense of simplicity to overarching cantilena, lyric line was very convincing. By into the rondo finale to this, the admiring Stephane Deneve, in striving for some of what Lewis was achieving, provided extra lift and dimension, even rollicking vigor to its main theme, albeit that Royal Scottish strings sounded slightly ragged in its more elaborate spelling out to open the rondo's closing section.

Deneve's support for Lewis was never less than efficient, but not quite his equal in capturing the imagination Lewis brought to his playing - in especially building a character of subtly, sometimes not so subtly shifting temperament as solo part in this indicates. The enharmonic spellings through shifting harmonies definitely captured Lewis's ear, even if Lewis and Deneve together sounded a bit enigmatic at what mild shifts of tempo transpired - but with what harmonic ear and imagination at work at the keyboard (and warm .contribution from Royal Scottish horns) It took Lewis's entrance in the intermezzo second movement to breathe much life into it; his varied color and ever commanding sense of caprice animated the repetition of the rondo theme across a thoroughly encompassed harmonic kaleidoscope very effectively. Woodwind principals of the RSNO also interacted very expressively with Lewis in their lyricism - in subtly building harmonic and dramatic tension for the Development of the first movement. With Deneve hardly ever below par, even above it on occasion to match Lewis very well, this proved for a concert experience a still at times very effective rendition of the Beethoven 'Emperor' Concerto. No soloist do I recall more singular at such a comprehensive task as this cycle at the Proms than Paul Lewis. An unqualified triumph, no doubt.

Prommers last year got treated to a highly successful Italian (and for after interval, Roman) themed program by the BBC Philharmonic led by Gianandrea Noseda - 'Pines' also closing it that came very close to making for itself apt comparison with the examples of Toscanini and Muti. Comparatively speaking, the Villa Borghese proms, with lighter sonorities of the RSNO efficiently sounding forth, gave like the Berlioz earlier on this program more of a surface impression than could make for itself also such comparison. Sonorities were appropriately dark for the 'catacombs' pines, but a little want of pulsation to be achieved with more than just adequate depth was also slightly noticeable here. The Juniculum pines - highlighted by bell-like clear, very lyrical principal clarinet solo - Deneve took very broadly, but in taking such risk tension here was sustained and fortunately did not falter.

The Via Appia pines, leading to blazing sound from the RSNO at full throttle for conclusion to this ‘Pines’, started off with same lack as did the 'catacombs' almost eight minutes earlier. This was due to plan more according to vertical assessment of its sonorities than to line coursing up the Via Appia. So much was indicated by making arched crescendo – to emerge from flaccid backdrop to brass first making entrance with the full march theme to it. Attention to all transpiring from the hall seemed rapt; there is little doubt how much Respighi's scoring for 'Pines of Rome' makes it the showstopper it is, even in what transpired here as a merely adequate (though for particular strands through it, expressive) take on it. Such coolness in taking on 'Pines' and the preceding MacMillan perhaps finally at last bespoke some Gallic temperament in play here.

Prom 71. Orchestre National de France. Daniele Gatti. Royal Albert Hall, London. September 7, 2010.

This marked first visit to the Proms by Orchestre National de France (ONF) under their new leadership, that of Italian maestro Daniele Gatti. A conventional mostly Gallic program got arranged for the occasion. Word got out quite fast about a miscue during Procession of the Stage from Part One of ‘Rite of Spring’ – cutting off lower brass for measure or two, leaving remaining brass, other members of the ONF high and dry. Had one listened very carefully – lest Royal Albert acoustics be drier than I imagined – also missing was nearly a beat and a half of tremolo in the violins connecting abrupt stop to the commotion of ‘Danse sacrale’ to fleet upward run rapidly preparing final collapse – perhaps more than Gatti could handle to fit his beat pattern to Rite’s final measures.

‘Rite of Spring’ received a conservative interpretation, tame by any standards – should especially one be hearing this music afresh. High principal bassoon very adeptly, lightly led off fine consort of ONF woodwinds to start things off, yet attention to pulsation underneath much growing activity appeared listless. Placement of high pitched solo clarinet for his fanfare cry sounded indecisive. ‘Augurs of Spring’, with its pounding rhythms, Gatti took at seemingly collegially achieved breezy pace. Increasingly shaky ensemble held back impact of how the stomping dance concludes.. Concertato of winds again lost secure ensemble advancing through ‘Ritual of Abduction’ even with Gatti keeping current to course through it subdued.

Calibration of contrasting antiphony of chords with high descant in the winds for ‘Spring Rounds’ was weak, pulsation to emanate thereof – with rhythm stiffly secure for brief coda to it. Other than for the primitivism of pounding offbeat timpani intact, ‘Jeux des cites rivales’ came across relatively urbane. Anticipation of procession to follow openly revealed weak spots in ensemble, rhythmic organization ahead of time – and the Dance of the Earth picked up an insipidly, casually jazzy feel, – but without sufficiently secure ensemble to match name, prestige of the ONF.

Concertati of especially winds and strings, proved the stature of this ensemble, for the fine textures and sonorities they achieved to introduce Part Two. Into Cercles mysterieux, Gatti contented himself with airbrushing away some definition of its obviously gentler steps. Gatti gave accelerando into ‘Glorification d’elue’ insipid lift, esprit, as though all that should follow should be light. Loose sway to its rhythms were just so to keep expenditure of vitality efficient – only threatening to be reprise of the hoochie-koochie as can be learned from example of both Karajan and Maazel (with New York at Proms two years ago and more so on Telarc). It would have been especially unbecoming, irritating for a French orchestra to pick up on such as well – but hardly anymore inconceivable. Gatti was only partially successful at compensating for overall lack of savagery by letting bass drum have at his part. Things failed to reassemble poise until ‘Action rituelle’ – organized well but its more ferocious accents softened.

Tentative start to ‘Danse sacrale’ presaged prudent assessment of how to start and continue its main section – voicing of loud segue into reprise thereof that clumsily bordered on resembling exercise at sight-reading Brahms. Place for timpani to let rip, as assisted by brass became hardly better guesswork at keeping it together than Maazel attempting it two years ago. Not quite as unsatisfactory ‘Rite’ as afflicted the Proms for three out of the past five, but hardly better than one cut above - not in same class at all with that of the young Ilan Volkov with his BBC Scottish last year.

The Debussy on the first half still fared less well – embarrassingly so at times. Flute principal for opening to ‘apres-midi d’un faune’ provided good, though lightly vibrato laced tone, yet flaccid shape to it all. Gatti then made heaving out of gently swaying reach in full section of violins to anticipate third reprise of the opening solo (accompanied by harp) – as such to then spin off into fine arabesque, but all still rendered shapeless here. Debussy’s prudent marking of ‘Sans trainer (‘not dragging’) went completely by the wayside to effect that a next marking of ‘Cedez un peu’ for hardly much animation gained in-between seemed hardly possible to make anything yield anymore than it had already – without reminding one of one Debussy compact disc I keep around – by aging Celibidache with the Munich PO of Iberia and La Mer (EMI) – that for reason of being unintentionally so risible I would not trade it in for any other. Debussy could not have instead written in any of it any similar tempo shift – albeit for negation to include right in front of it, had he heard this. All this should anticipate relaxed central reverie to follow, but here rendered at general sameness of tempo and with no distinctive shape.

Pace for the remainder of ‘Afternoon of a Faun’ remained steady, yet with excess of love bestowed upon recurring reprise of the tone poem’s opening, making it altogether cloy. Whatever parody or send-up on Impressionism Rene Magritte may have concocted, Gatti made it sensible for Magritte to have been so mischievous. Anyone who might have made such an ‘apres-midi one’s point of reference and already listened to it ten times certainly would have found even the veritably fine rendition by Metzmacher in Berlin seem altogether two-dimensional by comparison. Making something so hazy, gauzy, so oddly impressionistic of Afternoon of a Faun as happened here indeed even more offset any relevant sense of perspective whatsoever. It was such that could have been piped in over street art or fire sale with cheap water colors predominant.- of which vendor might have trouble ridding himself.

‘La Mer’ fared little better. The only issue I had with Jun Markl’s ‘La Mer’ from last summer’s Proms, so deft in touch in being what turned out even philosophically evocative, was with a little thinness in his Lyon strings. His interpretation along with Volkov’s ‘Sacre’ from last summer now has one wanting to invoke either man for strong consideration of what position might open next most favorable for conducting this repertoire before long. As for thinness of string textures, what was one to make of barely audible at all string tremoli at moment of stillness midway through ‘Jeux des ‘vagues’ here (pentatonic spelling over C Major chord far beneath)? Light, deftly achieved play with the waves otherwise made ‘Jeux des vagues’ the most successful of four Debussy movements before the interval, but Gatti’s timidly improvisatory take on the opening of the movement came close to approaching being a Berio-esque handling of its varying strands. ONF strings then uncharacteristically made quite a shouting contest – over brass hardly ever louder than mezzo-forte – just amongst their section, in achieving sufficiently loud climax toward concluding ‘Jeux des vagues.’. Gatti then to pointless extent perfumed the inevitable reprise of harp glissandi.

‘De l’aube a midi’ opened with deep resonance, but with little pulsation to guide motion through it – toward having one hope that it might all be over at a quarter of rather than almost half past instead. Enveloping slight pauses for each strand of activity distracted from hope of building up any overall flow to anything got rendered amorphous, so whispered to be practically inaudible. Supple shape was achieved of opening main idea but solo flute spinning off of arabesque sagged toward altogether losing then all shape. Antiphony of descending tremoli in divided violins got played so softly as to be difficult to make adequate differentiation within it all. Gatti then heavily leaned on muted trumpet line to hold fast ensemble through animated stretto to finishthe finale’s opening episode.

Shanty for middle section sounded so besotted, phlegmatic as to render sensation of all about thick. Should one read BP’s press releases, even more incredulously believe them, one might reckon just a handful of Milk of Magnesia bottles to squiggle about the Gulf might suffice to clean up the mess – or at least keep ‘dem boys at sea regular – ill with gas pains from bad odor all about. (Could Paris’s fashion design and publicity firm magnates, owners perhaps also be Republicans?). Experience of having lived near shoreline across which water has often looked pale shade of vinaigrette – as off Seawall in Galveston – could perhaps make one plenty cynical. Generically universal similar assessment perhaps has been this ‘La Mer.’ Debussy’s marking of Presque lent to anticipate ‘Tres lent’ opening of coda to follow began to all seem an utter impossibility, lest we be in aging Celi territory once more. And so what appeared instead an embalming at sea – to endure perhaps a little longer than half past – travailed on.

Garden variety clipping of eruptions from lower strings to open La Mer hardly meant the detachment Debussy may have had in mind, more than from anybody else cheaply doing so. Much immediately following got heavily compartmentalized. Similarly to moments toward end of the first movement, Debussy’s notable marking of ‘Plus calme’ - for tranquil, expansive refrain to open second half of the finale - became a real impossibility. Connection between lines, following heavily gilded cry in high trumpet to taper off much agitation arising right before, through preceding episode, all got lost for so much nuance layered on. Equal level of massage got applied to lines in the high woodwinds to sing refrain mentioned right above. Hardly indicative of any grasp of form either were the concluding more agitated episodes – trio of sputtering clipped muted trumpets, for so much pointing of them, threatening to derail much else. Effort on final reaches started from lower strings sounded so hard to practically make self-parody of it – and with, for all the effort, ensemble just barely together for a rowdy conclusion to it all.

Edward Seclerson’s assessment of Gatti as restoring to ‘Rite’ its capacity to shock by, hardly more than rare occasion to have missed entrances should have any of us wanting to phone EMS on his behalf should he ever be found coming near the composer’s own 1940 New York PO or one of the better Igor Markevitch renditions. A general shrug of ‘much ado about nothing’ then to anyone who found Gatti’s choice of encore deflating – perhaps his pitch to the green hill toward picking up next big assignment there – Act Three prelude to Die Meistersinger. After a much reckoned slow, but overall just inoffensively dull Parsifal two summers ago, the noble profile Gatti found - delivered well by especially ONF strings and brass – for this brief excerpt’s eloquent lines made for sensible conclusion to an evening of lifeless reading to repertoire with which this celebrated ensemble has been associated for many years.

BBC Proms 2010 - Proms 6 and 8. BBC SO, Jiri Belohlavek, Paul Lewis (Beethoven cycle opener). BBC Nat'l Wales, Thierry Fischer. Alexander Toradze.

Prom 6. Beethoven Piano Concerto cycle. Paul Lewis. BBC Symphony Orchestra. Jiri Belohlavek. Royal Albert Hall, London. July 21, 2010.

The BBC Proms continued festive with opener to complete Beethoven piano concerto cycle – one better in having Paul Lewis as soloist. Two of the concerti comprised this series opener - the First and the Fourth. As Lewis explains, the First is obviously the more outward looking of these two, the Fourth the more inward, but enough to trade off between them as opportunity for Lewis to work in much subtlety, if not quite to fully academically achieved level of his mentor, Alfred Brendel - with that from Brendel sometimes some spontaneity abandoned.

The prom opened with Egmont Overture, some luftpausen - lyrical receding from which compelled some interest - toward start of it coming off indecisive. Jiri Belohlavek resorted to a little clipping to attempt firming up shape to first tutti in the Exposition - following noble arch in line for his cellos to introduce the main theme. Underlying accents with the main overriding line in tutti above got calibrated less fully than optimum. As matters wore on however, things gradually began to adopt more definitive shape with goal of achieving for the noble Egmont Overture a bright, heady conclusion.

One however had to wait past the First Concerto to find Belohlavek near his best. He had nobody better to emulate than Paul Lewis in this collaborative effort. Paul Lewis, much in alla breve manner of early Brendel, lavishly played up the brilliance of the solo writing and gregarious opera buffa element to this concerto’s outer movements. Occasion even to be outlandish, including big glissando into decisive start to the Recapitulation – as to have burst out of the shadows lurking about right before – was always right on target.

Belohlavek attempted making the BBC Symphony phrase about exactly as Paul Lewis was streaming all forth himself – albeit without their parts being functionally alike to his at all. With so much internally worked in device and rubato, the effort for orchestra to keep up with or capture much of the same became futile – glad nevertheless that soloist and maestro should indeed be very like-minded. There was much delightful here – the winsome smile with which Lewis characterized his opening solo, the on purpose garish brilliance with runs, rapid sequences and other feats of display. Belohlavek rendered phlegmatic a few introspective moments in the orchestral exposition, but Lewis searchingly, poetically the more deeply probing Development. Cadenza optimally came off with great wit, brilliance, and panache.

Bellinian line and reverie, never encumbered by any layering on - such as may have run Lewis aground on handful of movements during traversal of all the thirty-two sonatas two years back - characterized the Largo here in full. Sensuous duet with principal clarinet offered very pleasing equilibrium, tranquility, both soloists interchangeably enhancing the other's expressive efforts to the uttermost.

The rondo finale here continued the overall high spirits, with after Schnabel’s example, light, playful rushing down on bouncing accents at opening thereof, to make all jocular and light. Paul Lewis was also lightly brash, angular with middle section, retreating lines from both him and winds ideally balancing with poise much shaping they contributed here. Zip through ascending, smoothly terraced upward runs toward ending the rondo, playing off reprise of its main theme, was infectious. Lewis sang out last phrase to fine bel canto length, with only furious, rousing affirmation left to go.

Belohlavek then hit his stride with more vigorous than norm account of the Prometheus Overture, as to hint at much fire to draw up from underneath in the Fourth Concerto to follow. Belohlavek’s getting mix of both Italianate leggierezza and sturm und drang just in sync set all ablaze, as to make all galante or Biedermeier accents retreat. In doing so, he cut neither himself nor this music, its inherent charm short. All sufficed certainly well here to give the dilettantes in first audience ever for this a good jolt, Lord knows, what we always need these days, from anywhere, to do the same afresh.

The Fourth Piano Concerto turned out altogether a fine warm, glowing success. An unerring simplicity in setting all up quickly became rule of the day. The necessary poise was there for the opening unaccompanied soloist entry, without any affectation in the least. Lewis, after gently allargando inflected ritornello from Belohlavek, infused much opening elaboration with excellent singing quality to draw in full upon the roots from which this kind of writing lies - light air of fantasy infusing the arpeggios to spin off from that. While maintaining complete classical poise, Lewis expanded out for transition into the flatted mediant with open freedom, space liberally allowed for such. Lewis clearly provided this place specific shape regarding this music’s classical proportions, and at same time, indicate how they on a grand scale verge on bursting apart. He then scaled down virtuosic right-hand figuration to mid-ground behind prominent line in the woodwinds toward closing the Exposition. As though observing the solo part from alternating prism angles, Lewis ideally proportioned opposing tendencies under-girding much here.

A hushed sense of wonder, of foreboding opened the Development. Agitato ascending arpeggios Lewis played as only slightly more prominent toward crest of each sequence of these than overriding line orchestrally. After passionate spinning forth of ensuing mini-cadenza, Lewis then made retransition gleefully light into stretto to open the Recapitulation. Spinning forth of descending elaborate writing off the second theme was brilliant, but as to avoid calling attention to itself. Lewis prudently framed opening of the cadenza with its alternating octaves, and then made Lisztian fancy of what then spins off from them to gently limned reprise of the second theme. Capricious agitated writing in the right hand very proportionately contrasted with sternly enunciating first subject, with stylized quasi-operatic turbulence to follow - all as though to clear the air through spinning forth single line through level upon high to limn orchestral re-entry.

Prudently enunciated intermezzo followed, with beautifully timed, proportioned rhetoric from both Lewis and Belohlavek. What virtues had transpired thus far infused the sonata-rondo finale with airy lift and winsomeness, while still in context of music turned more inward than that for the First Concerto. Fine, excellent calibration of agitato passages in mostly the Development Lewis made open in their impulsivity, contrasting them with unaffected soaring line up high over long pedal point in the lower strings. Reprise of the main theme, especially one variant on it with light melodically broken octaves, became exceptionally playful and witty. Belohlavek contrasted hushed rustle to opening of the finale with fine heft with matters arising toward direct confrontation between soloist and orchestra. Cadenza went by forthrightly - fine virtuosic spinning off the octaves and deftly upward bouncing trills to lead into Elysian legato singing of the main theme from woodwinds in reply. Spark infusing huge secondary dominant clash helped inexorably bring all to a fine conclusion, making overall conception of the rondo complete. Among three very fine performances of the Fourth lately, the Elysian Freire/Metzmacher and more impassioned Barenboim, this one captured the Fourth with fullest sense of perspective. It all proved very satisfying – anticipating a second all Beethoven evening from Bremen-based chamber orchestra that in affecting much accomplished very little.

Prom 8. BBC National Orchestra of Wales. Thierry Fischer. Alexander Toradze. Royal Albert Hall, London. July 22, 2010.

In order to hone in better on central work on this program – Britten programmed as its direct accessory, good to start by discussing the Prokofiev First Piano Concerto placed in-between. Thierry Fischer is frequently welcome guest at the Proms for his very formally astute, rhythmically incisive, and dramatically insightful to even searing interpretations.

Alexander Toradze, who recorded all five Prokofiev concerti with Gergiev and the Mariinsky, asked rightly so for more orchestra behind what commonly is very forceful playing from him on Prokofiev. Fischer accommodated Toradze best he could, therein helping develop quite a meeting of the minds, as can be expected in imaginatively approaching Prokofiev’s music from contrasting angles. Whatever few notes were missed, a few chords stumbled over, much imagination and vitality invested here into a slightly off-center interpretation of early Prokofiev, neurotic and plentifully insightful, paid off. BBC Nat’l of Wales sounded slightly thin for the very start of this; Toradze's pro-actively helping make his playing of the often clangorous introduction integrate with the rest, from a customarily heavier approach one is accustomed to from Toradze, was most beneficial. Toradze played scherzo passages with spiky incisive wit – precariously arched negotiation made of ascending passages toward arousing much excitability.

Without being as self-conscious as Gergiev, Fischer gave this music a restive sense of nervous anxiety already near this music’s surface - to run as strong undercurrent to much at hand, in joining Toradze toward intimating what is ahead in the G Minor Concerto. Peppered by upward glissandi from Toradze, all lurking shadows for first somber intermezzo were intact. Fischer’s feel for romanticism may not be so naturally full-throated as from a Slavic podium for extended slow passage midway through; Toradze presented himself fully poised to bring it all out - with Fischer his very close ally in fully reassuring all it would. Stringent push forward into final scherzo reprise toward segue into grandiose reprise of the opening of the concerto was riveting. This Prokofiev proved informed energetic antidote to sobriety of the two works book-ending this program, major work in key semitone lower than this concerto - opening Britten in key a semitone above.

Kurt Masur’s Orch Nat’l de France Shostakovich Seventh became outstanding climax to recent Shostakovich centenary year at the Proms. Before discovering Mravinsky’s recording of the Seventh ten years ago, I hardly at all well reckoned this work's very real importance. Mravinsky gets to layers beneath others a little beyond how I had ever heard anybody do the Seventh before – really since. The not particularly Slavic Thierry Fischer gave the Seventh an unusually probing look. Such was halfway expected, but extent to which he took matters was truly outstanding. With lean textures, even slightly detached quality Fischer opts for, one had to wonder how he might fare with such epic Shostakovich. My gut had me think back to, in wake of devastating Eleventh Metzmacher did last year, to retrying an old Andre Cluytens recording of again the Eleventh, beautifully transferred (Testament) from muddy sonics before (EMI).

A drier quality of the playing, rhythmic, expressive simplicity and substantial emotional reticence Fischer and Cluytens now share, quite inimitably so. They now both have made music of something justifiably reckoned of encompassing historical relevance. When one hears ‘cosmopolitan’ referring to Shostakovich, one often first thinks Haitink or Simon Rattle, who each can rise to the occasion, less the agit-prop, shibboleth of a Rostropovich, Bernstein, or of even Toscanini – latter whose Seventh the composer despised (should Solomon Volkov be trusted).

Fischer began the symphony in somewhat ironic style – majestic start to ‘calm before storm’ episode – in giving it a regimented feel and even lightly interjected brash lift to succeeding line – that all with crisp gesture and much insinuation underneath fully started getting various points across. Fischer traced lines through contrasting orchestral voices with acute sensitivity – with much ominous hint of what is to come infusing so very much, as in almost comparably individual way to Ancerl or Mravinsky on disc. Richly voiced interaction between winds and lower strings well anticipated the gently limned second theme plus much else.

With Fischer, one had not the voice of the people so to speak, but that of the individual, that of a small voice through it all - without cheapening anything, humanizing Shostakovich in the process. Uneasy peace prevailed well until the ‘war march’ with out of all development of lyrical and melodic strands also would come on another level the darkest and most sinister motifs to emerge here as well. As has been said before, it is two sides of one coin that get depicted here. The Seventh is not quite two types of music that all as though through happenstance got stitched together to make some program out of it; it certainly was not here.

After benighted good cheer from piccolo and tense, thinly played high cadence by Lesley Hatfield, ensued the non-Development ‘war march.’ Fischer was unabashed in giving first full brass variation of it good swagger, and at what uncertain goal he hears everything here - with it no longer specifically the Wehrmacht any rationalization. Shostakovich, in writing the march, more likely had much noise, celebratory balloons surrounding Stalin’s five year plans in mind - source for the march being both German and Russian (including motif from Lady Macbeth of Mtsensk). A certain cool, glibly detached steady push forward on Fischer’s part here accurately depicting such behemoth - suggested mechanization, bureaucratization of society, of all human impulses thereby - moved forward to crush all. Without inculcating any untoward accelerando, Fischer had all inexorably strut forward through passing terror to very impassioned grief, especially in trumpets and high strings. Following somber long bassoon solo was most eloquent - amidst much sullen, numbed, shocked grief; it was starting with the loud opening of the Recapitulation at which Fischer logically found the heart of this sprawling movement. Expected reprise of opening material followed - with mildly less thrust, thus plentiful space for single pitch warnings in lower horns over low tremolo in timpani to sustain full sense of foreboding to its conclusion.

Fischer wisely chose to take the scherzo moderately swift - it too easily achieved some bonhomie, bourgeoisie sentiment in keeping with this music’s supposedly populist appeal otherwise. Even in single line in the violins approaching pizzicato reprise of the opening to segue in the middle section Fischer found element of harmonic impetus behind it, not just that of the Scherzo, but of continuing train of thought throughout the entire symphony. Fischer made for middle section insistent rocking motion forward with shrilly played piccolo clarinet high above agitated and very stark. He gave middle section of the Adagio - with its close-interval trumpets over driving percussion – similarly vigorous, virile stringency, despondency. The shudder, choked back tears associated with flutter tonguing in the flutes toward end of the Scherzo was subdued, as instead to sparsely depict numbed frozen expression of grief. If less moving than example set before, there was still the somber, distraught bass clarinet to eloquently fill all out.

Fischer’s keeping line very well sustained through the Adagio - with stark, Stravinskian austerity with which he infused its opening heavily doubled chorale for winds - was most convincing. He settled for gentle lift to accompany long spun, developed several pitch falling figure Tchaikovsky Third String Quartet quotation. Cellos provided Tchaikovsky quote second theme fine tonal warmth to fill out what first flute stand had rhapsodized five minutes earlier. At moderately slow pace, this Adagio coming in close to nineteen minutes, Fischer let nothing meander off for anything merely incidental or to risk untoward over-emphasis. Better the simplicity this music conveys so well on its own. If not quite Shostakovich’s most inspired Adagio, it still has plenty to say, doing so most freely with much prudence regarding its construction - as encountered here.

The finale rustled with lightly setting off, urgently insistent press forward through the ‘battle music’, but toward no clear goal of victory in sight. Rapid swirling about, approaching fugato, turned furious – albeit wisely at level of controlled inexorably organic press forward. Fischer made very underlined and insistent his transition into the preponderant Moderato epilogue to both the finale and entire symphony – as for it to carry very significant weight as to counteract what false has often been construed of this finale. Fischer was so very specific, purposeful with it all to even have set in relief measure or two of caccia style triplets in the horns to catch all off guard. All remained lean, very tense through the end, as opposed to all loud and chutzpah, with fortissimo trumpets hanging on to dragging, but firm dotted rhythms on pitches of E and D-sharp to refer back to, crying out over all the rest, Fischer’s very dogged start to the Moderato. At pacing of the finale a little quicker than usual with pounding timpani to drive everything home at the end, all became much enhanced here, never short-changed.

Here was then indeed a resolution on purpose insufficient at resolving earlier accumulated tensions, thus as close to definitive an account of the finale I have yet heard. Fischer honed such with an ear for relationships at semitone, whole tone, tritone between harmonies - also as spun out in (quasi-) a cappella lyrical passages. As again voice here for the small voice or simple individual to carry weight, through such very thorough preparation Fischer provided here, there is unsuspected by dull-witted coterie of apparatchiks an ever strong element of formalism – more probing at it than possible earlier with the more popular Fifth.

For greater eloquence, Fischer might invite some of his principals to sing out their lines a little more fully. Ancerl’s opening out of space for fierce high trill in flutes above much racket had more fire (with such ample space Ancerl provides). than from tighter embouchures at work here. Such quip here is churlish, in context of everything here – a real ferreting out of all text that lies beneath other text; look of exhaustion, including very minor incidence off final chord, was fully earned. All most necessary to communicate here remained steadfast, paramount.

The program though opened with the Sinfonia da Requiem by Benjamin Britten. Thierry Fischer refused to comfortably settle with standard idiom for conducting Britten's music – complacent level at which can make Sinfonia da Requiem sound utterly formulaic – as happens so often. The fleshing out of the internal harmonic structure of the music and motion carrying through it, whether fast or slow, was highly compelling here, and impetus for Fischer to take slightly more extreme than the norm in what tempos he chose. Nothing stood out as being particularly at either extreme. It was most of all Fischer's tenacity to maintain his tempos in interest of a rock steady pulsation to persist through the outer slow movements. Such simply provided bedrock, against which all voicing, even open singing of the lines throughout spoke with febrile line to the uttermost - for what novel writing lies beneath and within to also fully register.

Jaunty ease with ‘Dies Irae’ death-dance of sorts got traded in for something more incisive, telling as such. Breaking apart of much activity at the end sounded as though having organically processed out of abundantly clear tendencies to all have emerged right before. Precision of ensemble, with everything very doggedly worked out, was indeed remarkable at the fast clip Fischer took, all for most musical of purposes. Especially in the Requiem movement, noting subtle dark coloring with which the winds underpinned ascending strings, things hinted at very similar harmonic relationships spelled out and developed in the Shostakovich to come. Such a purpose driven, historical and time relevant account of this piece - as to have fit entirely well the expressive to symbolic purpose of programming arranged here – seems rare indeed.

Such fragile impression of life communicated in febrile limning of very steadily paced chorale by which Fischer led the slow finale, highly affecting this way – several remaining voices at the end distinctive while fading away as well. Played with such conviction, all sense of foreboding emerged complete.