DSO Berlin: Visit to Wiesbaden of thought-provoking clash, incongruities - Metzmacher, Tetzlaff - Webern, Mendelssohn, Schreker, Debussy - 26.08.09

Agon, battle for choice of aesthetic calling (applying also to how music is interpreted) between achieving precise formal rigor and sensual appeal – while taking on different properties, parameters, characteristics - still rages on. One became acutely aware of such incongruity with this program. Three works on the program here, written within space of eleven years, were composed on the dying breath of Romanticism - with what burgeoning Expressionism and Impressionism to develop alongside.

Such conflict was felt in how all this program got put together and music therein got interpreted. The most free, supple, even rhapsodic I have heard Ingo Metzmacher yet on the Passacaglia of Anton Webern is now as DSO Berlin played it in the very acoustically warm Kurhaus in Wiesbaden. How performances of this from the very same team have differed has certainly not been great. Pace at Wiesbaden was certainly slightly broader than six months earlier in Berlin. A week after Wiesbaden at the Edinburgh Festival, the Passacaglia was taken equally broad again, but approached in slightly more strictly hieratic fashion, as part of same quasi-Bachian program as got played in Berlin and Hong Kong last spring – with Berg concerto and Brahms Fourth Symphony. One here got in Wiesbaden the little extra space, beyond that of the highly linear, pushed forward go at it last spring. One relished here slightly more the inherent colors, nuance through process of being put through so many variations, over ground bass.

The diaphanous color of central episode in D Major received slightly more relief here than earlier, as did mirroring descant earlier of solo flute over bassoon. Febrile duet for French horns, playing in high register, was equally notable. The structural rigor so implicit in this music did not get undercut by freedoms taken here. Instead Metzmacher relaxed to make such internal rigor sublimated – approximated at best from anyone less well-versed at handling the language of later twelve-tone compositions. Ingo Metzmacher is clearly superior r among his peers, in his ability at making such repertoire and his intentions therein clear. There was also some risk-taking here in a few places, especially toward crest of the last loud tutti in the work, which excitingly became almost too propulsive this time. Culmination of stretto with seventh variation – similar enough moment - happened spot-on, variation with broken dotted rhythms in excellent stringendo fashion, as well. Pointing of colors, motif, last strands of activity in the passacaglia’s closing pages was deft and piquant. With solo work always exemplary, the Webern, though ironically, benefited the most by appearing on this program.

The Mendelssohn Violin Concerto, featuring Christian Tetzlaff as soloist, was nearly as successful. The headlong pace, with which this started, without grand-standing, was immediately arresting. The idea consisted predominantly of moving forward still well-delineated first subject of the first movement through well and incisively marked figuration as it builds up into the first orchestral ritornello. Freedom with rubato in shaping relationships between themes in the first movement was at once wide, open, and supple, all natural within the shape of the music. Though noticeably the lyrical second theme moving more broadly than the rest, Tetzlaff supported warmly by DSO winds maintained at once sufficient life and poised line running through it. The centrally located cadenza in the first movement and lack of break into the second movement certainly supports to some extent such a fantasia approach to shaping this piece. Tetzlaff and Metzmacher, however, only put at risk so far very inherent elements of classicism in the Mendelssohn. I was taken aback - referring to the classic Schneiderhan/Fricsay recording - to find less wide-ranging freedom in rubato therein than what Tetzlaff and Metzmacher very successfully achieved here.

The second movement, with expansively paced segue into it and beautifully moulded melodic line, very expressively caught one’s ear in its sub-mediant tonal relationship to the rest of the concerto. This is quite unusual - in place of the Adagio sounding as though to perfectly stand by itself. Matching of running tremolo during middle section under primary line in both Tetzlaff’s part and of DSO strings parallel to it helped keep one’s attention rapt to the melodic line.

While brisk, the elfin step through the finale elicited much more charm than it did empty show of virtuosity – it still in mind the conspicuously brisk treatment of passages and grandiose rhetoric (though with several strained acuti, pitch-wise) for nodal points from Tetzlaff during first movement as well. Some dust was sure to get blown off this warhorse, with it in mind how the two took on the Berg concerto during the same touring maestro and soloist did together last year. Astonishingly, Mendelssohn here got played with as much supple ease as would a fully traditional interpretation of the concerto.

The second half of this concert met with qualified success. Schreker’s music for Der Ferne Klang (‘The Distant Sound’ – loose translation) has often been alluded to as Impressionistic – comparative mention of Paul Dukas’s Ariane et Barbe-Bleue being more apt than of Debussy’s Pelleas. No doubt, however, Schreker is betterat being Impressionist than Claude Debussy. ‘Franz Schreker? Oh, I’ve never heard of him’ one can hear from near back of music appreciation class. Debussy, sublime classicist too he was, was the much better, more objective realist of the two. Debussy most certainly can be played overtly Impressionistic; except for isolated places in which it might be apt, it serves as good time to run for cover.

Schreker and Debussy do not normally work well adjacent to one another. Only to a qualified extent they did here. Getting past that, the virtuosity of DSO Berlin in playing this, and surplus of energy that they invested in Nachtstuck (Act 3 Interlude) from Der Ferne Klang, was something at which to marvel. With Metzmacher in this repertoire, thinking somewhat far ahead, one picks up perhaps a little more than the individual listener can digest of this music. Certainly a most dramatically relevant unnerved quality, anxious tone was felt throughout. It was more subtly the case than with Die Tote Stadt, last year, because that at full length is much longer than such expansive interlude (at 17 minutes) from the Schreker. The warmer, more pliant approach of DSO Berlin, compared with orchestra of Royal Opera in London, also fits much better.

In taking this on somewhat academically, Metzmacher unwittingly gave us a slightly two-dimensional perspective on this. He certainly knows his way through harmonic thicket present; we clearly hear the multi-faceted, interwoven enharmonic, tertiary and at tritone harmonic relationships infusing it. Mild intrusion of portentousness emanated through opening cortege in clarinets - built on triads, subtly buttressed by extra third beneath.

If however Metzmacher wanted to convey the fractured psyche of Schreker’s characters, Fritz and Grete in particular, the element of fragmentation he disclosed here was most apt. Place or two suggesting Act 3 of Strauss’s Frau ohne schatten had me surmise that any complaint made before about Frau being over-scored sure must be churlish. With such exemplary playing, it could hardly be Metzmacher alone who makes Schreker arduous listening. Having the stage picture in view, such as will happen soon in Zurich, should ameliorate matters. Whatever Daniel Herzog’s production offers, images via google of Peter Mussbach’s out of Berlin (conducted by Pedro Halffter) are very striking.

Hopefully, Metzmacher for complete opera in Zurich will rely more greatly on the power of suggestion – in place of making so much overt out of its innards, nooks and crannies. There was nothing near so crude here as the idea of appropriating equal weight to everything in this score. Certainly darker, more widely spaced moments, contrasting well too with fine tracery in the most delicate pages in Schreker’s writing, spoke in greater relief than in taking a lighter, more hands-off approach. Essentially, this music is not so much full of a plethora of ideas as music constantly in state of motion between, at a handful, different strands of material. So much often superficially seems in constant state of flux. One can very seldom keep attention to any one thing for more than ten seconds at a time. Such a superficial take on Schreker, you say, but there is some grain of truth to this – considering the glaring light up to which Metzmacher can subject this music.

Protagonist Fritz is seen just past where this music has finished playing, in final scene of the opera old and almost crashed out, so to speak, on a sofa. He is despondent over both his loss of Grete and failure to finish his own opera – project part of his sole obsessive quest on his own to find the ‘distant sound’ he can not identify until moments later right before the end of Der Ferne Klang. Not uncommon in Schreker, there is in the mean time much debauchery that has happened to Grete; such need not detain us here.

Anecdote out of biography of Richard Wagner is relevant – with as an aside some of Der Ferne Klang taking place in Venice. Wagner could not think of how to start composing the Ring until overnight cheaply lodged in La Spezia (on opposite coast) trying to sleep on a very hard sofa or couch. Output from the effect of his head swimming was the ‘water music’ to begin Das Rheingold – all for three or four minutes thereof stuck on chord of E-Flat Major. First hearing of Nachtstuck makes such notion inconceivable for Schreker – of composing music at all similarly. In mind of the diaphanous mists that momentarily occlude tonality in Das Rheingold, Schreker with no reason to doubt was a master impressionist - very apt at the power of suggestion, something that hopefully Metzmacher will tap into more when he soon conducts the complete opera.

‘Ls Mer’ reappeared from final concert of 2008-09 subscription series in Berlin (programmed then with Wagner, Mahler, and Strauss - Deborah Voigt giving eloquent voice to both Liesbestod and Four Last Songs). Perhaps to compensate for the Philharmonie’s diffuse acoustics, Metzmacher’s interpretation on that occasion seemed angular close to point of being stilted. Improvement, at Wiesbaden, in making more of the mystery and elusive qualities of this music, and more play of much arabesque through its textures was very notable. Strong delineation of this music’s proportions was almost too luxurious earlier last summer at home. Shifts in color, especially from the strings spoke at Wiesbaden with most subtle refinement. Truly achieved pianissimo from DSO violins with clear shimmer above the staff was very impressive - at restful moment halfway through ‘Jeux de vagues.’ Without self-conscious pointing of motif, the very opening of ‘La Mer’ formed out of beautifully probed recesses from the deep; all in supple proportions developed organically, very effectively from there on out.

Still there were moments in this ‘La Mer’, where Metzmacher might still mistake hard push forward for true animation that in French music must almost always emerge from within. One then can easily run risk of excessive reveling in how lavish, even svelte Debussy’s sonorities can be. When however such arrives as compromise to inner flexible rhythmic pulsation, upon which this music must rely to remain alive, cause for it all then runs risk of becoming lost. The only places where this here became an issue were two spots in ‘Jeux de vagues’ – one almost rescued by beautifully calibrated, light harp glissandi following it - and then always risky coda to the finale of ‘La Mer.’

Building of climactic stretto right before calm mid-point in the finale was impressive. Light bird-call descant in flute spoke very freely in open relief far above. DSO winds made the opening then to ‘Plus calme’ remote upon high all very arched and languorous - remote from high pedal in violin section harmonics and quiet undulation well beneath. It was from shaping this so, however, that playing turned phlegmatic, rough, for later accenting.

Metzmacher, granted, is not quite entirely to manner born to conduct Debussy –that putting him in good company. Precise pitching and calibration of numerous percussion effects throughout certainly belied the fact; there was still much here with which to be impressed. Play of waves through ‘Jeux de vagues’ and lusty appeal with shanty tune that starts from divisi cellos midway through the first movement all came across unabashed. Registration of most timbres, sonority throughout, best when informed by complete rhythmic sense, was clear. The elemental quality of this music - much of it so well breathed from within, spoke eloquently throughout.

In the fine acoustics of the Kurhaus, one got treated to lofty feast indeed of incongruities – program in hindsight not to be reckoned as having merely been thrown together. Even with what risks get taken, one is very seldom the loser to attend something like this, to become very confounded by the effect of it all.

BBC Proms 2009. - Proms 73 and 74 - Vienna Philharmonic, Franz Welser-Most and Zubin Mehta

One might think ‘easy sailing’ from here – the Vienna Philharmonic on Haydn, Strauss, Schubert, Brahms. Well, as it says in Gershwin, “It ain’t necessarily so.”

Franz Welser-Most, stepping in on short notice for Nikolaus Harnoncourt switched choice of Haydn symphony for his prom from fifth to the sixth of the ‘London’ symphonies – 98 in B-Flat Major. It opened with somewhat portentous solemnity - with sagging cadences and odd funkiness with dotted rhythms anticipating start of the Exposition. Tutti were simply big-band here with heavy buildup to second half of the Exposition and sloughed off series of turns toward closing same section with quasi-period clipping of Haydn’s rhythms therein too just mixed right in. Welser-Most managed to tighten ensemble for the mostly fugato development section, but then while into the recapitulation punched already stuffy accents. Welser-Most, like many others before, missed the humor of horns underpinning final return of the opening statement – consistent with so much else missed as well.

Curiously sloughed off too was the opening of quite Andante like Adagio to follow. Triplets, for purpose of getting them light, quickly lost shape. As a result, the sublime lyrical second subject opened tentatively and then continued with weakly conceived consequents within continuing line. Violins were a little too much louder than lower instruments carrying theme beneath into the Development, resulting in disproportionate balances. Restatement of opening lines was casual, flabby, over straight line through stately octaves in cellos. Horns benevolently assisted violins with shaping the second theme, as though VPO strings should ever be in need of any props – found here working way toward precious closing they gave one of the noblest of Haydn slow movements – composed just after news arriving of the passing of neighboring younger genius.

Third movement minuet was taken impatiently fast - period clippings and hiccoughs paprika’d in, I suppose, to spice Haydn up a bit. Haydn however caught up with Welser-Most in tripping him up at his own game right before the first double bar. Single beat timpani announcement of arriving at last cadence in the minuet, with Welser-Most, before catching himself, made for epitome of incurable over-emphasis at this one fine, exquisite moment. Welser-Most had also just brushed off due emphasis on the interesting harmonic changes that happen in the Development (of the Minuet). VPO principal bassoon understands phrasing for the trio section, obviously better than did Welser-Most here. Welser-Most steamrolled his way through interjecting string octaves and then hit return of Minuet more loudly, more vulgar than sufficed two minutes earlier.

Welser-Most characterized well both main themes in Exposition of the rollicking finale, while clipping phrase endings to the first of these; he also in-between got more interested in grace-note offbeat octaves in brass than in the carrying line above. Repeat of Exposition became more vulgar instead of less. A VPO concertmaster led Development heavily, and then imitated Welser-Most to perfection on how to badly phrase the first subject. Light, jangling fortepiano matched awkwardly with all the rest - with final descending runs getting steamrolled.

The Schubert ‘Great’, seemingly so in length here more than in anything else, even at moderate tempos and overall reasonable length, started off stolid with mater-of-fact straight line through principal horn solo, which cellos fortunately responded to better than they heard. Lower brass entered Brucknerian in weight, mildly inconsistent with finer limning of what had just transpired. After only a slight accelerando, the Exposition opened with heavy jaunt to it. Ensemble turned tentative for bridge theme, with just passable attempt to give this passage some lift. Certainty with placement of accents then began to drift, out of which bulge developed toward final cadence thud and lumpy accenting into the Development. By time of re-transition, one had enough flab hanging out to remind one of Celi - with lean, refined looking Welser-Most on podium instead. Command of the beat got lost, only to be almost apoplectically regained a moment later, during bridge, after inconsistently light step to open the Recap. Speed-up in sequencing brass for the coda was scherzo-esque, layered on, helping anticipate heavy clipping of final excitable return of opening horn call.

Welser-Most’s continuation of liking his Schubert practically almost two different ways at once, even switching ways at times midway through phrases persisted through first two-thirds of a slightly breezy, glib Andante con moto. This continued so before insisting on more focus to proceedings for most all that proceeded from sturm und drang climax to this - just adequate here - with straight pitch trumpets drowning out more important end of line at cadence at this nodal point. Intonation issues from within the VPO had already begun to become apparent. Nevertheless, after soggy attacks and flat-line phrasing, Welser-Most got things more focused, flexibly back on track well before close to this - feature of these last five minutes missed most of what would then come.

A lumpy, stodgy rendition of the Scherzo followed. Opening wind chord failed altogether to speak over accompaniment at one point of reprise during the trio section. Inability to resist going for making something epic every time out of steady, ascending rush up quasi-stretto sixteenths in heavily octave doubled strings was also characteristic - each time the lissome second theme would be on verge of making arrival. Idiomatic gentle soft grass down accenting and line for the second theme was followed by increasingly jerky swing and sway to alternating ascending, descending half and quarter chordal notes. All repeats were taken, which had me remind myself of endless Scherzo in a 1991 Houston Eschenbach Schubert Ninth that had me scrawl down a note to friend about Alfonso and Estrella having had a few and thus having started singing for far too long (after which we joined each other in muffled laughter as the music played on). Same applied here. ‘Alfonso and Estrella’ made visitation on this Schubert Ninth as well.

Disorganization, stodginess persisted infamously into the finale, as it had on mentioned local occasion as well. I actually attended a much better Schubert Ninth with lesser orchestra here three years earlier than Eschenbach’s under Michael Gielen.

Recapitulation, starting momentarily in this movement in E-Flat, had a late-Celi(bedache) sag and wiggle to it - quite funny, humorous in fact. Rhythms, accents were crude, phlegmatically conceived throughout. Strings of the VPO did their valiant best to hold on through this – no casual feat on their part - but it became obvious that fatigue was setting in, with woodwinds sounding a bit whiny, wheezy before end of scherzo. Transition into the coda was good, making one hope for some restraint from the podium; alas, things less than a minute later turned into the usual shouting contest one might expect of orchestras among second or third tier –and whoever conducting them. Violins held on, reminding us that this was still the Vienna Philharmonic, but as part of progress to all this ending in numerous loud thuds, through final chord. Frankly, I do not know how they still maintained sounding like even modern-day Vienna to the end; fortunately they sounded more similar to their former selves under Mehta the following evening.

Passacaglias are not quite Zubin Mehta’s strong suit, but his flexible command of same forces as above guaranteed acceptable performances of both the Webern and finale to Brahms Fourth book-ending this program. A little sag to flute obbligato during first variation of the Webern so early hinted at somewhat uncertain conception of this music, but as anticipating anything to fear that fortunately went partly unfounded. Control of dynamics was good, violins supple and not quite dripping with melos, but internal rhythm through early marking of ‘belebend’ became bland - with contrast in dynamics during fifth variation also undercut. A gently broad treatment, alert to colors to be able to deftly draw from the Vienna Philharmonic, characterized most of the Webern, so if one wanted more interpretative specificity and sharper formal demarcation lines drawn, one had to look elsewhere. It was also clear here that both Mehta and the VPO had been around the block on this piece a few times before and thus had credibly opened their prom together with this piece. Transition out of lightly gilded lyrical episode in D Major was circumspect, though starting with slightly questionable tuning from high strings; concertmaster solo later emerged sweet as fully expected, idiomatically so

Zubin Mehta’s suave way with the Vienna Philharmonic benefited him more with the Strauss, here the tone poem “Don Quixote.” The guileless innocence with which Strauss starts out was caught close to perfection; even if Mehta got a bit stodgy with two or three heavier passages later on, his doing so did not remove much from the rest of what he and the VPO accomplished here. Transitions through the Introduction – before soloists enter – were handled with light hand and aplomb, including through passage for gaggle of militaristic sounding trumpets. The supple ardor with which the strings followed this was, as expected, further reassuring. Muted horns, with great sense of parody, were pungently bucolic; the threat of some menace intruding upon things right before solo entrances got conveyed as broadly as would suit matters just fine.

Principal cellist Tamas Varga entered with ruddy tone and profile, finding more rounded tone and warmth for both affectionate lines that follow and easy exchange with the Sancho Panza of principal viola (Christian Frohn). Very well played duet between basset horn and tenor tuba disarmingly gave off a fine bucolic old-world regality to its affectation. Quixote was found tossed off his horse in quicksilver reaction to horse taking fright - all lightly, incisively put - at the windmills. Shepherds’ calling out to sheep - with the variety of noises sheep make - Mehta gently goaded to graphically make very colorful case for the second variation, thus the fright they take while under attack certainly sounded palpable and so raucous to indeed be sheep. Alternating chant and chatter of Virgin statue carrying priests, two variations later was equally onomatopoeic, full of most incisive parody and wit.

Christian Frohn’s playing of Sancho Panza, on viola, played acting into his part jquite well, with despondent reaction after two disasters so far for his Lord, and then complete gain or restoration of confident air and poise. Such poise framed so well the Don’s expansive rhapsodizing over Dulcinea - so warmly put across here. Varga played the deeply pensive fifth variation with increasingly probing, broadly paced introspection. This passage may have somewhat marked a turning point for Mehta and his approach to the tone poem, in that this music took on a heavier, self-conscious air, even through dramatically etched portrait of the Don attempting flight through the air (Variation 7) - lavishly evoked here. Much was also made very characterful of the pungent drops of water dripping from clothes and gristle of the Don and Pancha’s chins as they recuperated from the sinking boat incident. Rustically played basset horn quote in full relief of Sancho Panza tune heard earlier returned things to perspective; the finale with twilit atmospheric hues and evocation of hero at peace eloquently held sway to the end.

Here was Strauss that did not attempt plumbing any philosophical depths with it as may have, so accomplished at it, the Luisi Alpine or Nott Zarathustra during earlier weeks. Even though noisy streams can run a bit shallow in Mehta’s Strauss, his way with it here at least bespoke good success, long experience with this music and won from the VPO a response of generous warmth and flexibility. The VPO made fine show of their suave virtuosity and moreover of strong, unaffected wit that pepper a good number of passages of arguably Strauss’s finest tone poem. Quite inarguably, it represents Strauss at his most humane and affecting as well.

With subtly weighted accents, Mehta started the Brahms Fourth Symphony as supple, lissome, and poetic as he promised in interview, bringing out the wistful, autumnal colors of this music - so very well vocalized too. We were already clearly at outset of the finest performance of orchestral Brahms for the entire festival, among three given this year. Several flaccid accents getting into bridge section of the Exposition momentarily slight inattention. Once the violins began their long arched line through this, Mehta’s shaping, with tiny break between A and G high up gave perfect shape and elasticity to much effortless legato playing in his employ. Woodwinds emanated a softly glowing fine shape through the second theme preparing a well-gauged climax at end of section if slightly holding back more excitable anticipation thereof. Mehta’s grip on rhythmic shape continued both flexible and secure, working in gradual buildup to still much ahead.

Flexibly molded line through G-sharp Minor duet of clarinets emanated fine melancholy thus it strongly framed re-transition to follow. The Recapitulation then emerged in fine relief, anticipating buildup of mood through it so atmospheric and ominous at once. Without elucidating great command of intellect in approaching Brahms, Mehta clearly proportioned coda to the first movement, bringing it to a fine, well churned up conclusion.

Mehta’s start to ‘Andante sostenuto’ elicited well honed mix of solemnity and supple line. Contrast between violins’ ascending line and pizzicato underneath continued to reveal very supple command of all at stake here. Minor issues with achieving complete finesse here emerged intermittently. After what had been heard the previous night from the VPO - with projected accenting then - anyone would’ve had to be churlish to complain about this Brahms. Strings achieved fine sinew to their lines through agitation to follow, even if with violins a bit heavily approaching their singing out of a few lines. Often ominous episode in coda was played light, wistful without it becoming bland, Mehta saving more ominous accents for the rich shaping, strong framing he gave ending phrases here.

Sense of occasion increased with festive, robust rendition of the scherzo, with fine spring to its rhythms, only bringing out flutes slightly too incisively at one point. Even late in the day here, Mehta still found more than sufficient lightness for reprise of the second theme that instead can get so jerked around by those less prudent at it. Luftpausen’d stretto toward the very end of the scherzo did not weigh things down. Contrast in color between sunny flutes and dark, burnished brass informed a well guaged re-transition at halfway point and calibration of both rhythmic spring and trenchant quality to partly ominous triplets building up to a practically, naturally bursting at seams conclusion.

Unqualified success with this Brahms Fourth ended with the scherzo, but some measure of success still persisted through the finale. Even so, the passcaglia got off to a start a little off-kilter that took wind concertato through third variation to restore equilibrium. Mehta intermittently cut excessive slack two other places before an otherwise very well prepared ideally wistful, tragic flute solo. Keeping bathos at bay as well, horns intoned their lines with fine depth and nobility. Mehta risked losing focus at end of reprise of the main theme, coming off this; beautifully gauged string tremoli quickly intruded to keep things well and alive. Mehta won on allowing, risking some slack for following agitated stretto variations, finding also incisively Mendelssohnian lightness in concertato triplets from VPO winds. It was only during the coda that Mehta mildly suffered loss of focus, even while building a satisfyingly tragic conclusion to this.

Coming off very musical, if not most profound way with E Minor Brahms, now being played on tour through Japan with stops in Seoul and Shanghai, Mehta and the VPO exuded - instead of streamlined breathless punch - out of Lightfoot and Tritsch-tratsch by Hellmesberger and Strauss, a far more irresistible obviously infectious joy in playing them - irresistibly Vienniese – such as I did not know Mehta could incite so well. It provided fine reason to bring all in attendance to their feet. After what sounded worse-than-most the night before – no pandering attempted toward the Brits here – the moment for such exhilaration had indeed arrived.