Bruch Violin Concerto and Mahler 5th

Bruch: Violin Concerto
Mahler: Symphony no 5 in C-sharp minor
Marie Elisabeth-Lott, solo violin
Malaysian Philharmonic Orchestra
Matthias Bamert, conductor.

The 2005/2006 season marks the debut of Matthias Bamert as music director for MPO after the departure of Kees Bakels. Previously James Judd was scheduled to replace Bakels but resources said he pulled out at last minute, probably due to his schedule with New Zealand Symphony Orchestra. Naturally, with Bakels reputation as a taskmaster who have shaped the orchestra throughout seven seasons the burden is all of maestro Bamert who had been apprentice to George Szell and Leopold Stokowski. Somebody from Good Music Forums said there are hundreds of such students out there so it doesn't mean he's all of a big deal. After the performance, I think the burden is really such on the Swiss born conductor. The Mahler Fifth paled with the stunning farewell Sixth maestro Bakels had given last season. Bamert seems to know Mahler, but so does tons of other conductors these days. But, to the Bruch concerto first and foremost.

Marie Elisabeth-Lott made her debut recording for EMI at the age of 12 and she was the winner for a contest which the musician had the chance to play on Mozart's childhood violin. At the concert, she presented the first impression of charm of a schoolgirl. Wearing a red dress and glasses to probably assist her eyesight, she looked different from the stunning young lady in the picture that set to boil adolescent bloods in that hall =P Probably nervousness had gotten into her, as she looked a bit naive and every time she made eye-contact with the conductor, she would give an approving smile. For the Bruch concerto demands maturity and insight that is different from the Mozart repertoire she was used to. She has no problems whatsoever with the most difficult passages at the concerto and seldom her playing squeled out of tune. However, at times the orchestra tried to catch up with her a little. At the end, I can only say she needs to be given a few more years before trying to tackle the concerto again. Maturity - one word lacked from the Bruch concerto that night.

I had a pleasant surprise! Marie Elisabeth-Lott stayed back after the interval to listen to Mahler Fifth. I am no stranger to young people these days embracing the Mahler fever, but her enthusiasm is remarkable. She sat at the most behind seat, just at my back few seats to my left and she took some autographs. I wished the MPO had given her a great impression of a Mahler performance here.

The funeral march at start didn't give a promising impression. The trumpet solo was played with little sensivity and care to dynamics and at a apathetic mf. When the orchestra entered, the cymbal was too intrusive and the brasses didn't gel the opening chords at all. The funereal weight present with Barbirolli, Karajan and even Anton Nanut recordings were missing throughout the movement, despite some fine string playing. It was the most indifferent funeral march I have ever heard and it cast shadow on the remaining performance, even though things started to pick up later on.

At the second movement, I get a little shaken by the entry of the strings. Some good start and the winds greet us with some characterful playing after the vehement entry. The "monody of lamenting cellos" passage was done with great care, without too much detachment. Later on, the mood starts to get unrelenting and at a quiet passage where the violins sing with melancholy and the lower strings swoop by like shadows, I was impressed by the use of sforzandos and impressive diminuendos(wish I could use a score and point out that part). At the great chorale outburst, I was struglling to hear the famed harp part (ffff). Nearly inaudible, despite the instrument position at the double basses. The great tam-tam clash could be better, again I was spoiled by the Bakels Mahler 6th.

The horn soloist didn't rush down to the conductor's podium like the Simon Rattle performance with the Berliners. It was rather strange I had to strain my eye to see who was the soloist, but that's a minor rant (Sabina Pade was playing that night as well). I like the horns with their voluptuous, Wagnerian sound. Tempo feels just right and I think that was the highlight for the evening. The pizzicato trio sounded rather clumsy though, as if the players have trouble suppressing the volume for their instrument. Maestro Bamert brought some fine playing for the Adagietto, not too slow and not too swift either. The Scherzo brought about a glorious end, but I'm one of the few people who thinks conductors can do little mistake with the movement (except for Barbirolli, whose "Englishness" needs some patience and time to adjust to). At one point the brasses blared out some ear-piercing fortissisimos and I hope they can focus more on sectional blending instead. At the end, I think...for the luxury of great Mahler recordings these days, players can learn so much from just listening and at the end that's where I get this gut feeling. Maybe with Mahler as a warhorse in concerthalls these days, the "Mahler" experience seems to get more numb.