Deutsches Radio Symphonie Orchestra Berlin
Deutsches Radio Symphonie Orchestra Berlin
Monday 16th March 2009
Wagner: Prelude to Lohengrin
Mahler: Kindertotenlieder (feat. Matthias Goerne, bass-baritone)
Bruckner: Symphony no. 7
Tuesday 17th March 2009
Webern: Passacaglia Op.1
Berg: Violin Concerto (feat. Christian Tetzlaff, violin)
Beethoven: Symphony no. 3 in E-flat op. 55 "Eroica"
The current 2008/2009 has only the Deutsches Radio-Symphonie Orchestra Berlin as the only big orchestra ensemble to visit the DFP hall, a far cry from four visiting ensembles during its opening season (including Philadelphia Orchestra led by Wolfgang Sawallisch and a Sinfonia Versova led by the late Yehudi Menuhin who would pass away few months later after his visit). Looking at the current economic climate, the prospect of not having a single guest ensemble in
the upcoming 2009-2010 season looks grim. While not as significant as London Symphony Orchestra's visit some time back, the Deutsches Radio-Symphonie Orchestra Berlin is still a formidable ensemble, despite the fact it is not as illustrious as their famous counterparts in Germany; Leipzig Gewandhaus, Staatskapelle Dresden and of course, their big brother the Berlin Philharmonic. Some would cynically commented the ensemble is Manchester City to their Philharmonic counterpart's Manchester United but the ensemble has a nonetheless glorious history. It started off as RIAS Berlin ensemble led by no other than the revered Ferenc Fricsay, whose career was cut tragically by cancer. His recordings of Bartok Concertos with Geza Anda, Tchaikovsky 4,5,6 cycle, Beethoven 9th to name a few on Deutsche Gramophon belonged in pantheon of classics. Subsequent directors includes young Lorin Maazel carved his career with this ensemble and so is the pianist-conductor Vladimir Ashkenazy. Ricardo Chailly released some fine recordings including Mahler 1oth and Schoenberg's Gurrelieder and Kent Nagano notably recorded Bernstein's Mass which won a Grammy for Best Classical Recording.
The Monday programme began with Wagner's Prelude to Lohengrin, taken at a much swifter speed by maestro Metzmatcher than one is accustomed with this piece, thus producing a more lyrical and flowing mood. The pianissimi, couped with perfect pitching in the violin harmonics, is terrific. Matthias Gorne's rendition of Kindertotenlieder is a little surreal to me, having accustomed to mezzo-soprano/contralto renditions of the work and it felt as if Wagner's Wotan is singing lament of his Valkyries demise. It's a little tongue-in-cheek thing, not to belittle Goerne's singing. I love his singing which is very dignified, sometimes reminding me of the great bass Hans Hotter, accompanied by appropriate body gestures and never sought to force the text
like Fischer-Deskau or exaggerate them like Bryn Terfel. Metzmacher's ensemble gave a fine accompaniment, with this outstanding contribution by the winds. "In diesem Wetter", the last movement started off ferociously by nasty-sounding entry by the celli and chilling opening words muttered by Goerne. While the storm is ferocious, the tempi was a little too fast for the orchestra to halt by the time we arrived at the lullaby. Nevertheless it was a fine Mahler by Matthias Goerne but my only complaint are too much restraint in the orchestra in first four movements.
Perhaps the one nagging complaint that comes to my mind when the DSOB played 1st movement of Bruckner was it sounded like Diet Coke compared with their more illustrious other orchestras in Germany; Gewandhaus, Dresden Staatskapelle and BPO. While the lean sound in strings may contribute to their "plasticity" and flexibility in tone colour it was not appropriate for that movement which i fear would disintigrate into a borefest feared by patrons who shudder a trip to Brucknerland. Thank goodness for the weight and volume in the Adagio, a dirge for the passing of Richard Wagner. The "Valhalla" music I call at bar 33 shortly before Moderato theme
is the highlight for me in this particular movement with its otherworldly transition showcased by Wagner tubas, tuba and horn solo. Somehow one of the Wagner tuba came in too loud spoiling this transition. However I love the second subject wonderfully sung by the ensemble, highlighting the lyrical Schubertian qualities aspect that is underrated in Bruckner. Thankfully Metzmacher's pacing prevents the movement from falling into a crawling Celibidache-like dirge which could stretch to half an hour. Terrific and stunning brass playing dominated the last two movements, with the Wagner tubas blazing in all their glory in the last one. This is one performance I would say a "kickass" Bruckner playing, save for a rather anemic first movement.
For the second evening, the Passacaglia of Anton Webern always sounded appopriate for a film-noir soundtrack but otherwise this form of Baroque dance made popular in last movement of Brahms 4th showcases Webern's ingenuity in orchestration which one will recognise in his later miniaturist, pointillistic works. While the ensemble's ebb and flow and contrast between violent episodes and shadowy pianissimi passages were well done, each solo entry could be done more convincingly especially in the latter.
Christian Tetzlaff's Berg would forever be etched in my mind as a devastating account of the most famous 12-tone work in whole entire 2nd Viennese School output. Written in response to Alma Schindler's loss of her daughter Manon to polio, it should be remarked that Alma
already lost a daughter Maria Anna to dipheteria. Gustav Mahler, who fathered Maria Anna was devastated by her demise until his last days. Tetzlaff has an outstanding bow control, perhaps accentuated by his body gestures and his stops were frightening in clarity. Also noted the infamous left-hand pizzicato in the 2nd movement were so effortless as if a third hand is doing the job. Tetzlaff's frightening ferocity in Allegro first half of 2nd movement was white hot, as if Grim Reaper had waltz into the hall and wrestled with the orchestra. My only gripe was the Adagio which started the variations on Bach chorale the ensemble focus became lost until the last few minutes. Tetzlaff then gave an encore of a Bach Partita, comforting the audience from the horrors of the Berg.
Metzmacher and his ensemble performed the Eroica with the latest "trend" of incorporating H.I.P elements including lean textures, flowing tempi, bowings as detached as possible etc but once one hear the work, the grim Kapellmeister renditions of Klemperer becomes almost an anathema to listen to. Metzmacher's approach with tight phrasings, articulation and chamber-music like clarity contributes to youthful vigour of the work. It may seem as tribute "H.I.P" but I think Metzmatcher approach may even be called "Modernist" for this Eroica. The famed Funeral March sounded twice as fast as Klemperer's, but never least convincing and the "race" to the coda of Finale is exhilirating. I thought this to be the most effective Eroica I've heard to date. Many thanks to maestro Metzmacher, Matthias Goerne and Christian Tetzlaff not to mention the wonderful DSOB ensemble for wonderful two nights of pure music-making.
Monday 16th March 2009
Wagner: Prelude to Lohengrin
Mahler: Kindertotenlieder (feat. Matthias Goerne, bass-baritone)
Bruckner: Symphony no. 7
Tuesday 17th March 2009
Webern: Passacaglia Op.1
Berg: Violin Concerto (feat. Christian Tetzlaff, violin)
Beethoven: Symphony no. 3 in E-flat op. 55 "Eroica"
The current 2008/2009 has only the Deutsches Radio-Symphonie Orchestra Berlin as the only big orchestra ensemble to visit the DFP hall, a far cry from four visiting ensembles during its opening season (including Philadelphia Orchestra led by Wolfgang Sawallisch and a Sinfonia Versova led by the late Yehudi Menuhin who would pass away few months later after his visit). Looking at the current economic climate, the prospect of not having a single guest ensemble in
the upcoming 2009-2010 season looks grim. While not as significant as London Symphony Orchestra's visit some time back, the Deutsches Radio-Symphonie Orchestra Berlin is still a formidable ensemble, despite the fact it is not as illustrious as their famous counterparts in Germany; Leipzig Gewandhaus, Staatskapelle Dresden and of course, their big brother the Berlin Philharmonic. Some would cynically commented the ensemble is Manchester City to their Philharmonic counterpart's Manchester United but the ensemble has a nonetheless glorious history. It started off as RIAS Berlin ensemble led by no other than the revered Ferenc Fricsay, whose career was cut tragically by cancer. His recordings of Bartok Concertos with Geza Anda, Tchaikovsky 4,5,6 cycle, Beethoven 9th to name a few on Deutsche Gramophon belonged in pantheon of classics. Subsequent directors includes young Lorin Maazel carved his career with this ensemble and so is the pianist-conductor Vladimir Ashkenazy. Ricardo Chailly released some fine recordings including Mahler 1oth and Schoenberg's Gurrelieder and Kent Nagano notably recorded Bernstein's Mass which won a Grammy for Best Classical Recording.
The Monday programme began with Wagner's Prelude to Lohengrin, taken at a much swifter speed by maestro Metzmatcher than one is accustomed with this piece, thus producing a more lyrical and flowing mood. The pianissimi, couped with perfect pitching in the violin harmonics, is terrific. Matthias Gorne's rendition of Kindertotenlieder is a little surreal to me, having accustomed to mezzo-soprano/contralto renditions of the work and it felt as if Wagner's Wotan is singing lament of his Valkyries demise. It's a little tongue-in-cheek thing, not to belittle Goerne's singing. I love his singing which is very dignified, sometimes reminding me of the great bass Hans Hotter, accompanied by appropriate body gestures and never sought to force the text
like Fischer-Deskau or exaggerate them like Bryn Terfel. Metzmacher's ensemble gave a fine accompaniment, with this outstanding contribution by the winds. "In diesem Wetter", the last movement started off ferociously by nasty-sounding entry by the celli and chilling opening words muttered by Goerne. While the storm is ferocious, the tempi was a little too fast for the orchestra to halt by the time we arrived at the lullaby. Nevertheless it was a fine Mahler by Matthias Goerne but my only complaint are too much restraint in the orchestra in first four movements.
Perhaps the one nagging complaint that comes to my mind when the DSOB played 1st movement of Bruckner was it sounded like Diet Coke compared with their more illustrious other orchestras in Germany; Gewandhaus, Dresden Staatskapelle and BPO. While the lean sound in strings may contribute to their "plasticity" and flexibility in tone colour it was not appropriate for that movement which i fear would disintigrate into a borefest feared by patrons who shudder a trip to Brucknerland. Thank goodness for the weight and volume in the Adagio, a dirge for the passing of Richard Wagner. The "Valhalla" music I call at bar 33 shortly before Moderato theme
is the highlight for me in this particular movement with its otherworldly transition showcased by Wagner tubas, tuba and horn solo. Somehow one of the Wagner tuba came in too loud spoiling this transition. However I love the second subject wonderfully sung by the ensemble, highlighting the lyrical Schubertian qualities aspect that is underrated in Bruckner. Thankfully Metzmacher's pacing prevents the movement from falling into a crawling Celibidache-like dirge which could stretch to half an hour. Terrific and stunning brass playing dominated the last two movements, with the Wagner tubas blazing in all their glory in the last one. This is one performance I would say a "kickass" Bruckner playing, save for a rather anemic first movement.
For the second evening, the Passacaglia of Anton Webern always sounded appopriate for a film-noir soundtrack but otherwise this form of Baroque dance made popular in last movement of Brahms 4th showcases Webern's ingenuity in orchestration which one will recognise in his later miniaturist, pointillistic works. While the ensemble's ebb and flow and contrast between violent episodes and shadowy pianissimi passages were well done, each solo entry could be done more convincingly especially in the latter.
Christian Tetzlaff's Berg would forever be etched in my mind as a devastating account of the most famous 12-tone work in whole entire 2nd Viennese School output. Written in response to Alma Schindler's loss of her daughter Manon to polio, it should be remarked that Alma
already lost a daughter Maria Anna to dipheteria. Gustav Mahler, who fathered Maria Anna was devastated by her demise until his last days. Tetzlaff has an outstanding bow control, perhaps accentuated by his body gestures and his stops were frightening in clarity. Also noted the infamous left-hand pizzicato in the 2nd movement were so effortless as if a third hand is doing the job. Tetzlaff's frightening ferocity in Allegro first half of 2nd movement was white hot, as if Grim Reaper had waltz into the hall and wrestled with the orchestra. My only gripe was the Adagio which started the variations on Bach chorale the ensemble focus became lost until the last few minutes. Tetzlaff then gave an encore of a Bach Partita, comforting the audience from the horrors of the Berg.
Metzmacher and his ensemble performed the Eroica with the latest "trend" of incorporating H.I.P elements including lean textures, flowing tempi, bowings as detached as possible etc but once one hear the work, the grim Kapellmeister renditions of Klemperer becomes almost an anathema to listen to. Metzmacher's approach with tight phrasings, articulation and chamber-music like clarity contributes to youthful vigour of the work. It may seem as tribute "H.I.P" but I think Metzmatcher approach may even be called "Modernist" for this Eroica. The famed Funeral March sounded twice as fast as Klemperer's, but never least convincing and the "race" to the coda of Finale is exhilirating. I thought this to be the most effective Eroica I've heard to date. Many thanks to maestro Metzmacher, Matthias Goerne and Christian Tetzlaff not to mention the wonderful DSOB ensemble for wonderful two nights of pure music-making.
posted by Corgan Sow at 11:30 am
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