MISHUGINA weapon's music guide

Best Bartok's Concerto for Orchestra evar.

2011-10-30T01:04:00.002+08:00

Ok, it is a little bit of exaggeration to say that since I have not heard virtually ALL recordings of this warhorse. But this knocks the socks off the efficient but SNOREfest overrated Fritz Reiner's recording with Chicago Symphony Orchestra. Its in bloody mono but who fucking cares, this is Bartok in one of his earthbound best, with much soul and humanity than much of mechanized precision of today's orchestral recordings. This should be on SACD ages ago goddammit.

Nice Mandarin, ho-hum Baldie, forgettable Rite

2010-08-23T03:49:00.002+08:00

On package the album's repertoire looked absolutely tantalizing; Mussorgsky's Night On Bald Mountain (reputedly original, not Rimsky-Korsakov's arrangement), Bartok's Miraculous Mandarin Suite and Stravinsky's Rite of Spring.

The first few minutes of the Mussorgsky is a knockout, however as the music progresses the excitement kind of fizzled off. Bartok's "abridged" Miraculous Mandarin in concert suite where the works ends abruptly at the climax is the high point of this disc and its a pity Salonen did not record the full ballet including choir. I especially love how the orchestral textures especially when the piano and winds blend seamlessly with each other. The chase "fugue" is taken at a much faster clip than usual but a little too fast and thus the savagery feels rushed which is the only flaw for that piece.

As for Rite, this is arguably the biggest letdown of the disc. Salonen and his LA players doesn't produce anything to set them apart from already crowded field of recordings. The excitement is probably robbed off from "distant" engineering with too throbbing bass drum prominence disturbing. Maestro Salonen's earlier recording with Philharmonia trumps their LA counterparts in every department. Take instant the french horns in "Games of Rival Tribes" by Philharmonia sounds like Arnie on steroids compared with velcro-clad Micheal Keaton's Batman which exactly how I imagine the LA horns sounded. Better investment somewhere else I guess.

Recording: 7
Interpretation: 7
Technical: 9

The Rise and Fall of the Classical Musician: Igudesman and Joo feat Gidon Kremer and Kremerata Baltica

2009-11-17T00:38:00.004+08:00

16 Nov 09, 8:30 p.m, Dewan Filharmonik Petronas

Disclaimer: Review will contain spoilers that may be "recycled" in upcoming Igudesman & Joo concerts.

The YouTube sensational duo Igudesman and Joo, classical musicians cum comedian entertainers stopped by Kuala Lumpur during their tour and Malaysian audiences were lucky enough they brought with them the legendary violinist Gidon Kremer and his chamber outfit Kremerata Baltica to perform the first night. Maestro Kremer, an ever thought-provoking and one of the most original minds in classical music has worked with conductors as diverse as Karajan, Bernstein, Ozawa, Abbado and Giulini then helped to champion and premiere works of his contemporaries Schnittke, Arvo Part, Piazzolla and Glass. Is there anything else Gidon Kremer haven't done? From a shallow point of view, to collaborate with Igudesman and Joo playing "circus music" might seem a step backwards to an artist of Kremer's calibre but there is more to the eye about "The Rise and Fall of Classical Musician" than just juxtaposing Bach with Piazzolla or Bond with Mozart.

Indeed the seemingly autobiographical theme of the concert indirectly tells the story of Kremer's journey as a musician, whether it is real or made up. One of the "sets" has Kremer in a sort of a mafia-style interrogation led by Richard Hyung Ki-Joo who must get assurances that this virtuoso will at least win the Paganini competition that he will be taking part while at the same time showing impatience with contemporary "garbage" such as SCHIT-nittke (pun intended). Then there is a classroom tutorial where a lesson in playing Bach turns into a riverdance jig (yeah y'all are screamin "We've watched it on YouTube already", pipe down). Igudesman turns into a violin coach, coaxing a Kremerata member with his satarical German accent and throws in Bahasa Melayu words into great effect! The most brilliant sketch is definitely "recording studio" where Igudesman played Kremer and records a Bach partita in studio where he is "tyranised" by an overzealous manager (Richard Joo on mikes) forced to add gimmicks such as "reverb" and 1930's era grainy noises to "sound like Yehudi Menuhin", an obvious dig to nostalgists who worship Heifetz, Kreisler etc.

The show raises obvious questions to audiences who could see through the humour and the slapstick effects. What is a celebrity's role in art? Can an artist still maintain his/her integrity despite pressure to "sell out"? What is their intention of juxtapoxing Mozart with James Bond even though their programme notes states that they hope the show helps to distance classical music from usual commercial "dumbing down"? Indeed there are a few numbers in the show where comedy takes a back seat, one which has Kremer playing a radical cadenza to Beethoven Violin Concerto's 1st movement with obvious quotation from Berg's Violin Concerto to a reflective final number of Mahler's 10th symphony Adagio which Kremer remarks before the Kremerata plays the abridged version "Would life be a mistake, if music didn't exist?".

J.S Bach's Mass in B minor (Malaysian Premiere)

2009-07-20T19:17:00.006+08:00

Conductor: Lee Chong Min
Soloist: Chia Yee Yean (soprano), Anna Koor (mezzo-soprano), Ndaru Darsona (tenor), John Tan (bass)
Choir: Yin Qi Choir, SBC Singers, Hallelujah Singers,
JB Chorale
Venue: Dewan Wawasan, Menara PGRM, Cheras, KL.
Date: 18/7/2009 (Saturday)

It took an awfully long time for J.S Bach's mammoth setting of the Catholic mass, premiering in Malaysia just recently (if not mistaken) when the American premiere was held 100 years ago. This is a very different league from Handel's Messiah or Mozart's Requeim if you consider the complex fugal writing for the choirs alone to tackle.

The performance was organized by Yin Qi Center and also Singapore Bible College and Te Deum Music Workshop (hopefully got my facts right) so obviously it is a Christian-sponsored initiative. It is good for these organisations to promote more of performances of classical works in Christian canon as opposed to attempts by so-called charismatic groups organizing "Christian metal" or Christian clubbing" events which is a lame way of using MTV to lure non-believers. While acknowledged that Bach's works were written for the glory of his God alone, his music does not necessarily be exclusive to Christians.

For starters I do not understand the abnormally imbalanced proportions of choir:orchestra ratio. The choir members I counted roughly 120 of them while the orchestra accompaniment is pretty sparse; 2 or 3 first and second violins if I remember, two violas and celli, one double bass, horn, 2 flutes, oboes and 3 trumpets. The orchestra played with influences of H.I.P school of playing (whether authentic enough is another matter) but still if they double the players to complement the choir and play it in old-school way (Klemperer or Karajan) it doesn't matter. Despite using miked settings, the orchestral parts are audible enough to be heard. The sucker are the two oboe d'amores that Bach required and even in non-H.I.P recordings under Karajan and Klemperer these were used. I was informed one of the oboists had to petition the organizers to at least borrow these d'amore oboes and they only got one (from MPO) while the other oboist have to substitute for oboe/cor anglais combination which is ridiculous. At least having one saves the evening although Bach purists may differ.

Conductor Lee Chong Min from the programme notes I understand is a seasoned conductor of Christian productions which includes classical Christian canon (Haydn's St Theresa Mass, Mozart and Brahms Requiem etc) and his credentials include training under a renowned Helmuth Rilling (who recorded the Mass with Bach Colleagum-Stuttgart on Hanssler). Chong Min's choices of tempi seems to be a "modular" style akin to a little bit like Jascha Horenstein, that means transitions from one movement to another seems very natural and not boggled down by "gear changes" and the music isn't drag down by "episodic" moments which may stood out and compromise the architecture of the work. One example that comes to my mind is Crucifixus where conductors often slows down the tempi to crotchet = 45-50 and Chong Min's tempi is also perfectly natural neither too draggy nor too swift, more Andante than Largo. However some profound music in the Mass, especially the moments with mysterious dissonances the performers sounded eager to glance over them. Also the concluding movement Dona Nobis Pacem was disappointing as it does not give the feeling of summation of the moment or sense of departure after two hours of meditation in music.

Technical wise, the choirs did a tremendous job and they are the heart of this work. Apart from a little shaky start at second half's Credo and the almost train-wreck at the first half of Et Rexurrexit (the dissonant harmonies sounded very comtemporary by still today's standards) you have to hand it to them for terrific hard work and effort put in. The soloists are fine and I adore Anna Koay's mezzo singing and the tenor Ndaru Dossana has a very fine clear tenor voice. The violin obbligatto for Laudamus te sounds as if the performer was zipping through, the ornaments played way too quick but that solo part is akin to walking circus tightrope anyways.

Again kudos to the performers and pulling off the Mass with minor hitches is already a tremendous achievement. The almost exclusively Singaporean orchestra has two MPYO members playing the winds. However the Mass is best experienced in a more appropriate acoustical setting (as in a church) and a balanced orchestra to choir ratio. It would be nice to hear this performed in DFP, if the day comes that the Powers to-be acknowledges the role of Christian music in classical music canon.

Mahler AGAIN?! Recordings of Tragic symphony

2009-06-27T09:35:00.009+08:00

For those who wants to purchase recordings of Mahler's Sixth Symphony entitled "Tragic" (especially in light of recent MPO performance by Claus Peter Flor) here are my rundowns on recordings I heard so far:

Chicago Symphony Orchestra, Sir Georg Solti (Decca).

This was my very first recording of this symphony, bought from Tower Records at neat RM 34.90. Decently played, the Finale thrilling but not quite in the league as the two MPO performances by Bakels and Peter Flor. The hammerblows sounded as if twacked from a bass drum. Better investment elsewhere.

Leonard Bernstein, Vienna Philharmonic (Deutsche Grammophon)

This is one recording I worship and a benchmark which others are judged. I have not listened to the earlier New York Philharmonic recording, but whoever says that one is superior to this should have their ears checked (we all know how hammy the NYPO recordings on Sony sounds anyway). A live recording that is stunningly and vividly captured, there are imperfections one must deal with first; an exaggerated and almost cheesy interpretation of Alma's theme, the trio of Scherzo ("Altvaterisch") crawls at a tortoise pace which sounds like a grandma doing tango just to name few. But the Viennese brasses are menacing and puts their CSO colleagues to shame. Listen to a howling cry on Viennese horn first few minutes into the Finale and also the way the brasses sustains tensions between the hammerblows at a superhuman stamina. I also like the cowbell effects which is a little more like muted clomps of coconut shells which is still more evocative than "tin kosong" clangings in other performances. No other performances of the Finale is as visceral and devastating as in this recording. In the coda, Bernstein swings an axe at our heads, and dump it into oblivion. It is that damned good.

Royal Concertgebouworkest, Riccardo Chailly(Decca)

My general complaint of Chailly's Mahler is too much polish on his Mahler and prefer the grit of Horenstein, Klemperer or even Bernstein. However this recording is exception, despite the first movement crawling at almost half an hour (or 25 mins roughly). But in Chailly's case his choice of tempi is convincing and RCO supplements it with much weight and dread. The wind department shows us again why they are the best Mahler orchestra in the world. The feel is roughly like Bernstein's recording with Vienna Philharmonic, but with less eccentric mannerisms we come accustomed with his conducting. If you only see this in your store, its worth every penny. The gorgeous Zemlinsky songs are a bonus.

Philharmonia Orchestra, Benjamin Zander (Telarc)

This recording is an audiophile Mahlernut's feast. There are numerous vivid details in that recording that are stunning and the hammerblows literally knock your socks off. However if you are accostomed to Bernstein like I do, you may want to ask "What is the fuss?". Bernstein may not be a literalist who follows everything that Mahler asks in the score, but there is no doubt who is a more superior Mahler conductor. It comes at whopping 3-cd package inclusive of an hour's lecture regarding the performance and the only recording which has two Finales, one the original with 3 hammerblows and the revised version with 2 hammerblows.

WDR Symphony Orchestra, Köln/Dimitri Mitropoulos

Finally, this recording may be sonically inferior to the above, but no less visceral and unnerving as the best recordings out there. A live recording, the orchestra is pretty much what you expect in the 50s, not perfect. Worse are the absence of cowbells and only ONE hammerblow in the Finale (the bugger forgot his first Hammer cue). Still Mitropoulos' vision of this symphony is undisputable and the human drama depicted are unforgettable. The performance comes with Debussy's La mer, Berlioz' excerpts of Romeo and Juliet and Strauss' Dance of Seven Veils, all with New York Philharmonic and sounds very good in this Great Conductors of 20th century package.

The greatest Bruckner 5th symphony ever?

2009-06-06T10:27:00.007+08:00

Anton Bruckner (1824-1896) is regarded as one of the giants of late Romantic era, despite his limited output to merely ten symphonies (including a Symphony no. 0 or eleven including curiously numbered"00"), three masses, a string quartet and some number of minor works. Therefore like Mahler, Bruckner is well regarded as a symphonist. But while Mahler's vocation as a conducting maestro with ridiculously hectic schedule justified his output of works, Bruckner's case was "squandered" by numerous revisions to his symphonies due to his insecurities and attacks by the Pro-Brahms camp led by notorious Eduard Hanslick. Even so I may use a wrong word since some revisions did justice, particularly the transcendent Eighth symphony.

This legendary recording is much touted in music forums as those who listened it will proclaim it THE Bruckner 5th despite the numerous versions in market; Gunter Wand/Berlin PO (RCA), Harnoncourt/Vienna PO (RCA), Sinopoli/Dresden Staatskapelle (DG) and overrated Welser-Most/LondonPO (EMI). Conductor Eugen Jochum gave his last appearance with the Royal Concertgebouw before his demise at the same year and the occasion was recorded. Here this 2-CD set is sold by Tahra at a single-CD price but then these days your only problem would be finding it.

This is one of the most vividly captured live performance ever on record. It feels like you're in the Concertgebouw itself and every instrumental balance is natural save some moments if you feel like nitpicking, such as some horn textures not coming out enough (alas too easy to consult the score) but still, terrific . It doesn't feel "artificial" as in example of Decca's Concertgebouw recording where sometimes the halls resonance feels exaggerated. I think this a classic textbook reference for a superb live recording demonstration.

On to the performance. Maestro Eugen Jochum at this very last performance achieved a somehow Zen-outlook on music and his trademark flexibility evident in recordings is notably absent in this performance. Jochum takes a more traditional approach adopted by Karajan, Celibidache etc; broad tempi which comes with intense concentration and focus on long lines and overall architecture. From the first moments of the pizzicato of the Adagio, one feels Jochum takes a Celibidache-ian view of the work, with broad tempi and a sense of space by use of pauses and dynamics. When the orchestra plays the Allegro theme at bar 80, Jochum adds a subtle sforzandi effect which raises goosebumps in my skin. Throughout the whole performance, maestro Jochum's masterful control of long arches of phrasing and dynamics demonstrates a Brucknerian at peak of his art. You wouldn't believe for example, the string tremolos do their descrescendo at some places in this recording. At the beginning of Finale, listen to the strings recap the beginning of 1st movement. The way they dig their bows ala Berliners is jawdropping, you just need to listen yourself.

How is the legendary coda of the Finale that this recording boasts also "teh most orgasmic coda evar"? Here Jochum enforced the orchestra by adding "11 apostles" consisting of 4 horns, 3 trumpets, 3 trombones and 1 bass tuba, which they enter from bar 583. The coda is also a culmination and the absolute Everest peak of this work, whom conductor Furtwangler proclaimed as the greatest coda ever conceived in a symphony. An Olympic feat for brass players, failing to sustain the momentous Coda of the Finale leaves some listeners feeling effects of "premature ejaculation" or feeling shortchanged after the 20 mins of intimidating double-fugue writing by Bruckner. There are pros and cons in this approach. For one, in lesser hands such as Frankly-Worst-Than-Most maybe, the brass "amplification" will stood out too much and the reversal of "premature ejaculation" is the feeling that the engineers abruptly tweaked the volume several notches up. Under Jochum, the purpose is simply to lessen the burden on the stamina of brasses and sustain the tension and energy until the closing bars. Nevertheless I still feel as if reinforcements of reserve brass battalions suddenly parachuted into Concertgebouw and blared their brasses at that moment, but after second listening the effect is still awesome.

Another shortcoming of this recording is the "Transfiguration" episode in Adagio, which I believe at the Recapitulation of that movement. Jochum took the tempi twice than what normal listeners would expect and despite terrific playing from the Concertgebouw players, the dirge was crawling too slowly for my taste and also despite the fact Jochum and his players managed to reached a stuning climax for this section of the Adagio before going to the Coda.

So in the end, the hype was a little bit disappointing for me. Not the perfect Bruckner 5 I've been waiting for but has this recording has the greatest playing of Bruckner 5 ever? I would not hesitate to say yes. The only recording to rival this in sheer terms of depth is Gunter Wand with Berlin Philharmonic, also live on RCA. This is still a disc every Brucknerite should listen in their lifetime.

Recording: 10

Technical: 10

Interpretation: 8

Botched Mahler legacy

2009-05-11T20:22:00.008+08:00

Finally the first complete Mahler cycle on DVD by no other than the great Leonard Bernstein. These performances were previously released on laser disc videos and the orchestras featured are Israel, Vienna Philharmonic and London Symphony Orchestra (for Resurrection). If you wondered, the videos were made after the complete sets with New York Philharmonic (made in 1960s) released on Columbia (now re-released by Sony) but before the later sets made on Deutsche Grammophon in 1980s. But is it really worth owning the whole DVD cycle?

These videos are excellent testament of Bernstein's art on interpreting Mahler and despite bonus DVD of rehearsal footage, I couldn't help feeling disappointed of the whole set. Sure the performances are great but the biggest drawback is the sound engineering. I tweaked my home theatre system tons of times and realised the sounds does sucked plain ass. One of the main factors are the climaxes which is muffled as if a shackled beast. Not the "Shit, here comes a huge fff, we have to turn the volume down!" but rather "Lets stick it to mf the whole time and little deviations from that" thus performances such as the Finale of Mahler 6th and the Resurrection final chorus suffered. You can sense collossal energy yet what blared from your speakers remains indifferent. Brasses seems "engineered" to be stuck at rear as if fearing they will "stood out". Something is very, very wrong when the dynamics for quiet ppp moments in Mahler 6 may even sound louder than most fortissimos for rest of the work. Listen to the Mahler 6th by the same orchestra on the DG cd. The visceral impact of the CD never fails to grab one by the neck each listening as compared to the DVD performance, and its sad. Obviously the DVD medium is much superior in terms of information storage compared with the CD but in this case, terrible engineering blew what could've been an unbeatable Mahler cycle on DVD. Soundwise, any Mahler by Abbado/Lucerne DVD knocks out the performances in this set. The 8th symphony is a joke, listen to Tennstedt with London Philharmonic on DVD and you get the real collosal "Symphony of a Thousand" as close as it gets.

Also performance wise, I think the DVD set is inferior to the NYPO Sony set and the DG. The Vienna Philharmonic performances are still "work in progress" in learning how to play Mahler, and the differences between the 70s DVD performance and the late 80s on DG cd set speaks for itself. One glaring flaw is the string opening in the first movement of Mahler 1st which the tuning is all over the place. The Das Lied by Israel Philharmonic is horrible, except obviously for the singing of the soloists especially Christa Ludwig. One of redeeming graces of this set is to listen to Vienna Philharmonic giving some Scherzos a "Viennese" feel no other orchestras can supplement. Example are the 2nd mvt of the Third Symphony and the Scherzo of the Fourth, with the Viennese portamento highlighting the singing line sounds unbeatable. The bonus rehearsal DVD is intriguing but the bummer is the rehearsals have no subtitles save when commentators speak. Meaning to understand any instructions by Bernstein to his VPO players during rehearsal process, we're left on our own unless with a translator.

I feel this set is strictly for Bernstein fans. Any top notch live performances of Mahler on DVD will render this cycle forgettable in few years time save for purely nostalgic reasons. Alas one awaits SACD remastering for either NYPO Sony set or the DG for a pure revelation of Bernstein's art of conducting Mahler.

Deutsches Radio Symphonie Orchestra Berlin

2009-03-18T11:30:00.004+08:00

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.

Karajan - Or Beauty as I see it.

2009-02-15T20:19:00.004+08:00

Finally, a biographical film that does justice to Herbert von Karajan after the awfully pretentious and apologetic version I reviewed some time ago. This documentary made by Oscar-nominated director Robert Dornhelm simply delivers Karajan as he is without airbrushing controversies surrounding the Man himself or sugarcoating his myth paraphrasing a quote of Simon Rattle, "enough bullshit to cover whole Middle Europe". Throughout almost 90 minutes of the film, there is no narrator instead all narration are done by compilation of interviews from famous musicians and contemporary of Karajan including Anne-Sophie Mutter, Seiji Ozawa, Evgeny Kissin, Mariss Janssons, Christa Ludwig and orchestra musicians who worked under him.

No question Herbert von Karajan is the most recognisable conductor in history of music, whose concerts and records with Berlin and Vienna Philharmonic Orchestras were household bestsellers in classical music. The "Karajan Sound" which the maestro cultivated with his Berliners for 30 over years cast divided opinions between music lovers and critics call what you may - plush, homogenous or as Harvey Sachs add "highly refined, lacquered, calculatedly voluptuous sound". Some music benefitted with maximum effect as result of "Karajan sound" - hypnotising sensuality in Daphnis et Chloe suite no.2 (Ravel), cathedral organ-blocks in symphonies of Bruckner, terrifying Bernard Herrmann-like horror in 2nd Viennese orchestral works and disastarous results also - Saint-Saens Organ Symphony (with "dubbed" organ lol), Brandenburg Concertos of Bach and some music of Beethoven which its silken homogeneity is anathema to the composer himself. No doubt as Karajan ages over the years he became even more obsessed with producing the most beautiful sound possible from his orchestras. He detests an ugly note in a rehearsal of Beethoven 9th, likened it to "throwing sack of coal from a wagon". Nevertheless whether one agrees with his approach I digress.

Testimonies and interviews confirm the Karajan persona; he is a "discipline incarnate" who sets incredulously high standards to himself and obviously people around him. For starters, Karajan wakes up at 4 a.m every morning to study his scores, or whenever he has spare time especially on rail journeys. He is also a egoistic "hands on" person who knows how to direct an opera from a Directors chair, flying his own airplane and navigate his own yacht. Christa Ludwig (if not mistaken) jokes,"The plane won't crash, if Karajan is in it".

Interviews and most imporantly, rehearsal footages exposes Karajan as feared control freak. In his early days in Ulm, his uncomprimising hand in artistic matters almost got him assasinated by a scorned former concertmaster, because Karajan demoted incompetent 1st-desk violinists to 2nd desk. In footage of orchestral rehearsals, Karajan speaks and nobody else does, even throwing insults when the players doesn't give what he wants. Anne-Sophie Mutter could not get some of the Berliners on her side when she had a brief brush with the maestro over her insistence of tempi in a concerto, and Kissin found out as well nobody can try to be bigger than the "Dirigent".

Interestingly in one segment of the film Karajan is compared with "Lenny" Bernstein who is diametrically opposite of himself; Lenny is unabashedly hedonistic, loves life and is an expressive man. Karajan doesn't drink alcohol (he claims in an interview), is a cold, detached man and his only vice is his fascination with airplanes, yachts and sport cars. Both men were compared conducting Mahler which is fascinating. Ironically for a man whose controversy was his Nazi membership, Karajan has no interest in politics; Lenny supports Black Panthers, lobby support for Israel and had a brief time in trouble with the FBI.

Bright side of the "maestro" shows he can be a humourous, wicked joker. In one rehearsal with the Vienna Philharmonic Karajan praises an oboist, telling him to discard his "inferiority complex". The results afterwards was priceless! Obviously the Maestro knows how to use his humour to diffuse tense situations in rehearsal.

Controversy about Karajan serves to rather fortify instead dismissing the fact that he is a fiercely devoted musician in pursuit of his craft. In spite of his Nazi membership, his ruthless pursuit for power, Karajan's devotion to his craft is unquestionable. For that, Robert Dornheim deserves praise for what I see as the greatest documentary of classical music I have ever watched period. Its the best tribute for the Karajan centennary year.

Han Na Chang plays Prokofiev: Sinfonia Concertante and Cello Sonata

2008-12-31T10:48:00.008+08:00

Sergei Prokofiev: Sinfonia Concertante and Cello Sonata
Han-Na Chang, cello
London Symphony Orchestra
Antonio Pappano, conductor.

The CD I have is a budget reissue from their previous "award winner" release. The original which was universally acclaimed by critics had a much more decent, classy cover. I don't know if the hideous cover is the intention of the marketing gurus who wanted this album to scream BUDGET GREATEST HIT so much. The fonts which formed the words looked blah and add insult to injury there is this hideous clay doll or whatever that "graced" the bloody cover. And lets not mention the pretentious copyright disclaimed in the disc that tells us how much money the people involved in the recording would lose yak yak yak. But it explain why Cheng Hooi (my friend who ordered this online for me) charged me only RM 38 for that CD, considering its from overseas. I don't mind paying extra money for the cover above since I'm going to ask Han-Na Chang to autograph it (Me: Miss Chang, this is NOT a pirated cd and yes, this legit cd exists and its from EMI) - the horrors. No, Mr Cheng Hooi I'm not blaming you, sorry.

The only significant recordings of Prokofiev' Sinfonia Concertante are done by late maestro Rostropovich, who premiered it alongside a orchestra conducted by Sviatoslav Richter. Yes, you read that right and the cover analysis claims it is the only time the legendary pianist ever hold a baton. Subsequently he recorded it with other orchestras and you should watch the video of him playing it with a French orchestra despite its rather dry acoustics. This is the most difficult mainstream classical work for cello, a work that would've made Paganini bang his head on the wall and wish he could write like that. The elusive enigma that remains is that the late maestro never recorded it with a top-notch orchestral accompaniment, say Leningrad Philharmonic or a Chicago Symphony. When this present recording came out, it is of no surprise it went straight to "benchmark" acclaim. This is the reference recording, boast the critics.

Miss Chang's virtuosity tackles the work with relative gusto and finally a London Symphony Orchestra does justice accompanying her. One particular vivid moment was in 2nd movement where the trumpets gave a squael that sounded like those old-fashioned Russian brasses from Leningrad Philharmonic (at around 6 mins and 11 mins recap on the CD) and it sounds stunning. Miss Chang's highlight is the Herculean 2nd movement, where the soloists alternates from "heavenly dreamness to frenzied madness" to quote her. She does that with ease, jumping from beautiful lyrical melodies to a series of cellistic Olympian gymnastic hurdles. Prokofiev wrote that with Rostropovich's virtuosity in mind, no surprise after all. Better, her tempi is faster than what Rostropovich normally does if that doesn't freak you out.

Miss Chang's rendition of the Sonata for Cello and Piano is very fine, although to be frank the work doesn't move me. In fact I am not a great admirer of Prokofiev as much as Shostakovich. Han-Na Chang isn't just a flashy virtuoso cellist. In fact watching a YouTube video of her playing Shostakovich 1st concerto with BBC Symphony her slow movements moved me a lot with her genuinely anguished rendition, which shows the maturity of her interpretative powers, although only a glimpse. The power of her playing and vision has much compared similarities to Rostropovich and won't be surprised if she is indeed the heir to the Late Maestro of cello. All fans of cello and cellists should listen to this recording.

My only quip (or grunts) is the recording sound. Somehow for an album made in 2002, the engineering isn't quite up to par. There are a little "glare" typical of early digital recordings made in 80s and I am annoyed by the "whooshing" sounds and the breathing grunts in the Prokofiev, presumably from the soloist. The engineers could do a lot better making sure these annoyances are least distruptive as possible. But then EMI engineers don't really match those from DG especially evident in Simon Rattle's Berlin Philharmonic recordings (I welcome brickbats regarding this). Still, considering Han-Na Chang's visit to DFP this January, this album will give a glimpse of her talent - for those who are curious.

Technical: 10
Interpretation: 9
Recording: 8

Public Service Announcement UPDATED

2008-12-10T22:54:00.008+08:00

To percussionist Mr Steven Wassmansdorf, apologies for calling you a ***** in Ma Vlast blog, thinking it was just a bloody light banter. These things happened because there isn't a Editor around to check and censure my writings to approval.

Vänskä/Hamelin winning combination makes it concert of the year 2008

2008-12-08T10:50:00.012+08:00

Sunday 7th December 2008

Carl Nielsen: Symphony no. 2 "The Four Temperaments"
Brahms: Piano Concerto no.2

Marc-Andre Hamelin, piano
Malaysian Philharmonic Orchestra
Osmo Vänskä, conductor.

I do not think the general audiences in yesterday's performance had ANY idea the potent combination of two musical giants that graced that hall that weekend. Finnish conductor Osmo Vanska is one of the best working conducting talents today whose Sibelius cycle with Lahti Philharmonic and Beethoven symphonies with Minnesota Symphony won widespread acclaim. He is a great champion of today's contemporary composers such as Kalevi Aho, Rautavaara, Gubaidulina and Robert Kajanus. Marc-Andre Hamelin on the other hand is the biggest pianist for the 2008-2009 season whom is pitifully underrated here. Demonstrated by lack of autograph session and general atmosphere of his reception, Hamelin's celebral but intelligent and sensuos virtuosity is probably more well received at Carnegie or Concertgbouw as opposed to DFP audiences accustomed to circus antics of Bang Bang.

All praise to maestro Vanska who drew out one of very best and most unified ensemble playing I have ever heard live in DFP. I've never heard the lower brasses sounded more ferocious playing the Nielsen symphony. The first movement began and ended with a bang with the strings weaving in and out effortlessly and the brasses belowing like CSO on steroids. At one moment the trombones suddenly bellowed out three razor-sharp sforzandos which was jaw-dropping. The pastorale second movement is gorgeous and I like how the dynamics is gradually reduced to needle-dropping silence at the coda. After a melancholic Andante, the jaunty finale; Allegro Sanguineo sounded more restrained compared to boisterous renditions in other recordings but Vanska made a distinguishable contrast when the previous Andante movement was recapitulated halfway and then goes back into the jaunty mood moving into coda.

I was seated four rows from the stage and I could not hear the Steinway balances properly during the first movement of Brahms 2nd Piano Concerto. I had a little trouble trying to hear Hamelin's left-hand during the 1st movement although by subsequent movements I could hear his playing more clearly. Hamelin gave a literal reading at that movement and it was a little shaky even for a virtuoso of his caliber with a couple of wrong notes here and there but he is a human being after all. Vanska actually gave a powerful, taut accompaniment pretty much like how his Beethoven with Minessota sounds like. After a driven Allegro Appasionata, we has a pretty swift reading of the Andante which has none of the over-indulgent pathos and sentimentality of other typical recordings. That said I thought at one turbulent passage before the music began to wind down (bar 51 shortly before C figure) Hamelin played that passage too quick as if he just glossed through the notes. Nevertheless it is a minor quibble. Finally for the last movement, Vanska and Hamelin gave a spirited and upbeat rendition which is a much needed break from typical Viennese-salon interpretation we're accustomed to. I like the tempi for a playful, scherzi-like passage (bar 97) where the mood is more upbeat than the usual. Overall this is not a typical Teutonic Brahms concerto. The orchestral accompaniment-like texture is almost HIP-like, very muscular and I am fascinated by various small details in Vanska's interpretation, the little attacks and accents in phrasings. You have to admit Hamelin doesn't have much problems with the Brahms despite some minor slips and his insight on the concerto is enlightening (he already recorded it with Andrew Litton and Dallas Symphony if not mistaken).

Hamelin gave two encores after the Brahms; one an arrangement of a French song by pianist Alexis Weissenberg and another a piece entirely of his creation called Little Nocturne. The French song has a certain jazziness of a salon-kind of a feel and Hamelin's Nocturne recalls the late romantic feeling of Godowski's pieces.

I met Hamelin after the concert and the person, as one of the very few super-virtuoso pianists who tackles Alkan, Busoni, Godowski pieces he is a charming man with modest airs. I asked whether he could come here and have a recital next time and he replied "well, that is not my decision. Of course I would love to if I am invited next time". Terrible gaffe by me. I noticed the bulk of scores he carried and asked what it is. It is a Saint-Saens work for piano and orchestra called "Africa" which he would perform in New Jersey. I am particularly fascinated how he practices everyday so I asked him. He replies that he doesn't have any fixed routines or methods for practices and maybe typical for virtuosos like him he could pound a Busoni concerto in the morning without warming up. But a fascinating advice he gave me regarding practice; "You have to do a LOT of practising without the instrument. You think about the work, how certain passages are to sound, how the nuances are to be shaped." When I ask does it involve studying of score he replied that by doing so it reveals a lot of insights you do not notice earlier as you spend more time practising the same work. I asked whether he enjoyed his stay here and he replied absolutely, except for the previous night at 11 pm when it was abnormally warm.

I do not know whether the rest of audience appreciated the concert. Certainly to open a solo recital here, one main concern would be to sell the seats. Even when Arcadi Volodos came here the seats wasn't as packed as one would expect. And maybe it would be the only time Hamelin performs here like how Pierre-Laurent Aimard came here once playing Beethoven Emperor in 2001. Even so, how often such as potent winning combination of a conductor and soloist happens at DFP?

Abbado conducts Mahler 3rd with Lucerne Festival Orchestra

2008-11-23T22:50:00.003+08:00

Claudio Abbado's Mahler 7th with Lucerne Festival Orchestra is the finest presented on DVD bar none. One could claim it is not surprising with very few performances on DVD (other significant one being Bernstein's rendition with VPO) but consider that technically this performance surpasses Abbado's Chicago SO reading which is already a classic recommendation on its own alongside Bernstein's early New York Philharmonic recording. The schizophrenic, radical nature of the 7th which inspires the 2nd Viennese school suits the Lucerne players very well, whom are top virtuosos from finest orchestras in Europe yet play collectively under guidance of Abbado. You have one of the most jaw-dropping orchestral playing which is very Straussian on DVD but instead of just flash and no substance the recording benefits from Abbado's experience and intimacy with this work. In short in whole discography of Mahler 7th, Abbado owns the work in my opinion as he understood the nocturnal drama of the night including romance under the moonlight and things that bump around in the dark. It is amazing that now he has the greatest readings of the 7th on three orchestras; CSO, Berlin philharmonic and this ensemble.

So I had high expectations for this DVD recording which is the latest release from 2007. Suffice to say the disappointing thing is it is not as good as the Mahler 7th. My dilemma for reviewing this is that it is a sort of very mixed bag.

How mixed? Interpretatively you are better stuck with your Horenstein, Bernstein, Boulez, Chailly etc. Abbado does not really capture the mystical pantheism of Horenstein or wild hedonistic abandon of Bernstein or swashes of colour and special effects by Boulez and Chailly. It is a pity his reading of the 1st three movements is nothing remarkable. On the technical side, you cannot dispute the Lucerners despite now missing star oboist Albrecht Meyer. The most remarkable section I heard was the horns and they're bloody formidable. It is too bad the orchestra doesn't favour of producing "nasty" sound* since their timbres are pretty much "rounded" which is pity despite their calibre. This shows in the march moments of the 1st movement where it just lacked the abandon or adrenaline rush it needs. I think Tony Duggan hits the point as he mentions in his Mahler survey; Any attempt to "prettify" or "smooth out" the first movement leads ultimately to a blunting of its special power and so to failure. Sadly is the case for this one.

Beautiful playing there is plenty. Anna Larsson's rendition of "O Mensch" in my opinion is the finest since Kerstin Meyer (Barbirolli/BBC) and Norma Proctor (Horenstein/Unicorn). She doesn't caricaturise the Mensch pronunciation like some contraltos do (eg: Menssssssss-ch) and she is assisted by brilliant accompaniment of the Lucerners. The principal oboist did a fine hinaufziehen but what is even more remarkable was the same technique by the cor anglais player which was breathtaking. This command by Mahler which meant an extraordinary upward glissando is rarely heard in most Mahler 3rd recordings. Abbado's rendition of the last movement is magical, with perfectly judged ebb and flow and also the climaxes comes naturally rather than forced. My only complaint is that the strings could have a little more solid sound and texture but the silk-like transparent quality that Abbado prefers pays dividends. It shows in the final bars where the culmination is the organ-like sonority so moving and different from most performances it has to be heard to be believed.

Conclusion? You may want to listen to this DVD for the Nietzche night song and the final movement but Abbado's Mahler 3 outing with the Lucerners isn't even the finest modern reading. Riccardo Chailly's recording with Royal Concertgebouw has the same technical proficiency but with more riotious festive of tone colours and unfortunately suffers from a too-superficially pretty last movement. Pierre Boulez's Vienna Philharmonic recording is my pick for best modern Mahler 3rd recording despite a little sterility in maestro Boulez' reading it is an all-rounded monumental reading from start to finish. Horenstein's reading is still my favourite, despite aging in sound and technical playing this is one recording every person who claims to be a Mahlerite should listen.

Technical: 9

Interpretation: 7

Sound: 10

* originally wanted to use the word "incapable" but that would be an insult to this virtuoso orchestra

Christine Brewer made grounds of DFP rumble

2008-10-20T20:20:00.008+08:00

19 Oct 2008
Richard Wagner (1813-1883)

Overture and Bacchanale from Tannhauser
Wesendonck Lieder
Siegfried Idyll
Brunhilde's Immolation from Götterdämmerung

Christine Brewer, soprano
Malaysian Philharmonic Orchestra
Claus Peter-Flor conductor.

Some few months after I wrote a letter in defence of MPO in The Sun, I was thankful to witness a live Wagner that I would never imagine listening here in Malaysia. We have a maestro strongly rooted in the Teutonic tradition leading a world class ensemble and a soprano worthy of Birgit Nillson's mantle singing the climax and closing finale of the Nibelungen Ring quadrology where the heroine Brunhilde immolates herself into flames followed by fall of Valhalla. One can be forgiven to felt been righ at home in Bayreuth!

Maestro Claus Peter-Flor gave a rousing rendition of the Tannhauser overture followed by bacchanale which is seldom performed compared with the traditional overture standalone. The MPO is virtually untouchable and at their perfect element, from the opening solemn chorale to the frenetic bacchanale episode right until the lush, romantic winding down after the frenzy. it helps also the strings had the weight for the Teutonic sound and not sounding anemic like an American orchestra. Amazingly for the bacchanale maestro Flor manages to sustain the enormous tenson while manages to draw out one climax after another, truly remarkable. My only gripe is the celli could've been a little more audible.

For the Wesendonck Lieder, Christine Brewer gave a heartfelt rendition with great support by MPO and maestro Peter-Flor. Compared with his operas, Wagner's Wesendonck lieder is more intimate and personal work and also a study in preperation for Tristan and Isolde as some of the movements mirrors some moments in the opera such as the Act 2 Love Duet. Ms Brewer's mellow and convincing adaptibility of contralto tone helps to deliver the text poems while occasionally highlighting some part of the text with emotional utterency. The otherwise moving performance was marred by inconsidered DFP patrons who had a cellphone ringing once and I swear at one moment I even heard someone mutter "Hello" as if into a mobile. The hall needs an Etiquette Police for god's sake.

After the interval unfortunately I had to endure Siegfried Idyll for some 20 minutes before the spine-tingling Immolation later. No offense to maestro Peter but I thought even though there are wonderful moments in the Idyll, it is one of the most boring work that Wagner had wrote only because it has tendency to linger on forever, or maybe he meant to wrote it to lull audiences to sleep =P

Finally the MPO came out full force for the Immolation scene from Gotterdamarung. The orchestra was a thumping Teutonic force and when the trumpets blared the Magic Fire theme I had one hell of goosebumps. Ms Brewer has no problems holding out on her own, belting out a performance that was akin to listening to Birgit Nillson singing. She had many similarities resembling the great Wagnerian queen after Kirsten Flagstad - an effortless penetrating, powerful voice and even remarkable stamina control. When I gave her the compliment after the performance, she commented Birgit herself was her teacher. Wrapping up for encore, Ms Brewer gave a luscious Richard Strauss lieder.

Malaysian audiences who attended this performance are a lucky lot. Ms Christine Brewer maybe the greatest living Brunhilde soprano who graced this earth. And here's hoping she will return, and a performance of Strauss' Four Last Songs maybe an ideal one.

Furtwangler sets his own feet in Nirvana with this Beethoven Ninth

2008-07-11T12:05:00.002+08:00

Beethoven: Symphony no. 9 in D, op. 125 "Choral"

Elisabeth, Schwarzkopf, soprano
Elsa Cavelti, contralto
Ernst Hafliger, tenor
Otto Edelmann, baritone

Philharmonia Orchestra

Wilhelm Furtwangler, conductor.

recorded live in Lucerne on 22 August 1954
available on Music and Arts

There is no fewer than several Beethoven 9 recordings by Furtwangler himself and the most famous three stands; wartime 1942 with Berlin Philharmonic, 1951 Bayreuth Festival recording on EMI (which is the mos famous of all) and this 1954 Lucerne Festival featuring Philharmonia at its peak. At the time I consider the Philharmonia ensemble the finest orchestra in Europe at its time, the others like BPO, VPO and Concertgebouw still rebuilding itself from the devastation of Second World War.

The text in the CD booklet quoted from The Furtwangler Record, gives listeners rare insight on Furtwangler's views and opinions that formed his interpretation of the work. There has been confusion on the text set on a part of An die Fruede by Friedrich Schiller, since explanations had been given for example by Richard Wagner. Wagner criticized that the text does not fit the music but Furtwangler argued "Beethoven approached the text purely as a musician". Furtwangler argued that the composer was searching for suitable words to illustrate musicians and was not concerned with the explicit details of the text which would hinder his musical expression. "A more realistic poet would perhaps had given preference to one definite manifestation of joy rather than to the idea of joy. But the latter suited Beethoven's purpose exactly," quote Furtwangler.

Beethoven's Ninth had been a revolutionary work, incorporating voices into the last movement and in the beginning recapitulating themes from earlier movement. Charles Rosen has characterized the movement as "a symphony within a symphony" with four sequences played without interruption. Thus the whole movement alone was realised perfectly by Furtwangler in which every episode is seamlessly interlinked and happens with purpose. In addition, with outstanding engineering the chorus is unlike anything you may hear in a typical Beethoven 9th, Teutonic and brimming with authority. The voice casting is exceptionally perfect without any flaws whatsoever from Scharzkopf, Cavelti, Hafliger and Edelmann.

This recording is probably the best Furtwangler recording to introduce the conductor himself. Here, his interpretative powers reached its absolute peak with the Adagio at its most transcendent. It sounds rather like a church hymn than a Bruckner Adagio and the transition that follows to the Finale is absolute genius. The Philharmonia was familiar and receptive to the Maestro's command and every single bar, every note, every line pulses with organic creativity. If you love music, you must own this album.

Technical: 10
Interpretation: 10
Sound: 8

MPO new 08/09 season sets to be promising

2008-07-03T23:16:00.003+08:00

Who would've thought? After drab seasons last few seasons, there is optimism in new 08/09 season. Claus Peter Flor taking over as Music Director is the best news for Malaysian classical music scene as he is one of the most consistent guess conductor who has ever graced the podium after Kees Bakels. Not just that, Borodin Quartet has been announced as official Artist-in-Residence for DFP. Now if that's not mindblowing, I do not know what because they're the oldest and most respectable string quartet group since Amadeus Quartet. They will play two evenings with MPO which one of them features Spohr's concerto for string quartet and orchestra and two evenings of recitals featuring works by Smetana, Tchaikovsky, Shostakovich, Beethoven and Borodin.

Speaking of soloists, no surprise Bang Bang is coming back for what, 3rd time? He obviously needs suckers here to lick his overrated ass. Subscribers can lap his tickets off while the single ticket buyers has no chance two days later. Why can't pianists like Zimerman and Volodos come back here as often as Bang Bang? I'd rather watch Yundi Li but anyway I digress. Marc-Andre Hamelin is coming to play Brahms 2, and Cyprien Katsaris will play Mozart with MPO too w00t! Sarah Chang collaborates with MPO for a Bruch violin concerto. Christian Tetzlaff will play Berg with Deutsches Radio Symphonie Orchester Berlin, which is the only foreign orchestra coming (other than a period ensemble from Italy). The hoo-haa about Simon Bolivar Youth Orchestra coming didn't materialise.

What about the repertoire? This probably is the most disappointing although given credit, we're hearing a Lutoslawski 3rd, Suk's Astral symphony, a Szymanowsky 4th and Malaysian premier of Smetana's Ma Vlast (after 10 seasons? sheeesh). The Mahler 3rd, gigantic and long still possible to be performed at DFP remains a pipe dream with MPO now rehashing Mahler 6 (although with Claus Peter Flor conduct it is still awesome). And Malaysians are not having one, two but THREE BRUCKNER symphonies! MPO will perform Bruckner 4 and 5 while Deutsche Radio Berlin Symphony will perform Bruckner 7. Bruckner symphonies are usually one long snoozefest even if performed properly, so is this necessary (not that it's a bad thing)? Speaking of Messiaen centenary, MPO STILL HASN'T GOT BALLS TO PERFORM TURANGALILA SYMPHONIE! We're still waiting dammit!

I defended MPO in The Sun.

2008-06-10T00:01:00.002+08:00

Bloody hell, you think they didn't bother after almost three weks they published it. Better than nothing I guess:

http://sun2surf.com/article.cfm?id=22929

Youth orchestra trained by MPO members

I was appalled to read that Lim Guan Eng had described the Petronas-funded Malaysian Philharmonic Orchestra as a waste of money in a recent Parliament debate. Apart from the figures he pulled out, his argument holds little merit, and Guan Eng should attend a few concerts before shooting off his mouth. The cheapest tickets cost the same as cinema tickets (or twice the sum for a symphonic concert), so one cannot say the average Malaysian cannot afford it.

One also gets more than a bang for the buck since he can listen to the work of Mahler, Shostakovich, Bartok, Stravinsky or Ravel, which other local ensembles cannot play due to their high technical demands, and which thus can only be tackled by an orchestra of MPO’s calibre. Compared with other orchestras in Asia, MPO stands on top of the heap and can even be called Asia’s finest.

Guan Eng said the MPO has not benefited local musicians. That’s laughable, since he forgets the Malaysian Philharmonic Youth Orchestra consists entirely of local talents trained by members of the MPO. Other local musicians have benefited from training under MPO musicians via the Encounter programme, not to mention numerous workshops and masterclasses which are open to the public.

We cannot deny that a lot of money has been spent on this orchestra – half a billion ringgit in 10 years since its inception. However Malaysians have no qualms about paying RM1000 for a Celine Dion concert or some pop act performing here. No prize for guessing how much of our local currency flew out when they performed.
MPO musicians are trained under rigorous conditions at music conservatoires and universities, not from some American Idol reality show.

If Guan Eng still insists MPO is a waste of money, how about also disbanding FAM and other sports organisations that have wasted millions of our taxpayers’ money? After all, money is better used to build hospitals, schools or fund food subsidies for the people, right?
There is a reason governments spend considerable sums of money on preserving and promoting the arts and culture. Virtually every big city in the world has its own world class orchestra, and Berlin alone has taxpayers funding four symphonic orchestras (including the world famous Berlin Philharmonic) and two opera houses. It would be shameful if KL has the Twins Towers and Formula 1 but no world-class orchestra to boast. The biggest shame of all if the MPO is gone is where do classical music lovers go? An Akademi Fantasia concert?

Sow Yoong Wai
Kuala Lumpur

Hannu Lintu leads Malaysian Philharmonic in Haydn 103 and Mahler 10

2008-06-01T21:48:00.005+08:00

Haydn: Symphony no. 103 in E flat "Drumroll"

Mahler: Symphony no. 10 (Cooke edition)

Being a Mahler nut, I attended two concerts consecutively on Saturday and Sunday. The audience attendences are a little odd, with virtually full house on Saturday and 70% filled hall on Sunday. Saturday had "backup" audiences in form of a battalion of Malaysian Philharmonic Youth Orchestra(MPYO) members chartering their own bus for the performance. I doubt they're called by MPO management to fill up the seats because even the very-frontal seats which is a little too close to stage is filled with brim, so yeah they forked out their own cash for the bus rental and tickets.

Now first with Haydn. Maestro Lintu gave a very immaculate performance of the "Drumroll" symphony. Wah brother, u sure with that word ah? Of course it wasn't totally spotless, with some minor glitches here and there (especially some delays and slips by the winds). Maybe it doesn't help that this is my first time listening the symphony (listen to knives sharpened). I thought Haydn symphonies are a bore compared with Mozart (or classical style Beethoven of 1 & 2) but this strucks out as my favourite Haydn symphony (period duh). No wonder Haydn has always been known as a "wicked" composer with humour especially the idea of long timpani roll opening the first movement. In his notes, Marc Rochester wrote that the timpani roll mimics the longtime tradition of announcement of monarch's arrival and playing of national anthem. Of course the English audiences were thoroughly owned when they realise it was just Haydn's gimmick of "attention-whoring" (dodges knives). I find it fascinating also that the first four notes of opening Adagio matches the "Dies Irae" chant before the movements goes to typical happy skipping of Allegro tune and the first two movements has ambigous keys moving between C minor and E flat major. It is one of those few tonal works where you can't bloody tell whether the piece is obviously major or minor in mood. It is a little similar to Mozart's 40th symphony in G minor in terms of its melancholic mood and harmony. The orchestra is a little too large for a classical work but then on the day of premiere there was 60 performers performing the symphony so it ain't much of a big deal. Maestro Lintu does an excellent job managing the contrast of dynamics, careful phrasing of nuances and some observation on HIP playing.

The Mahler was painful to sit initially in the Adagio on Saturday. Violins were very patchy as if they haven't played for days, phrasing was flat and tension especially dynamics were nonexistent. I felt as I regretted buying two tickets for two friends I was going to invite and one for myself. Things were catching up in the next Scherzo, despite the horns collapsed out of tune a few minutes into entry. Despite odd changes of metre which foretells Stravinsky, the MPO managed to play everything into order, not as Cleveland-laser perfect but good enough not to collapse into heap of noise. Yes, the brasses especially horns are struggling to get in tune but there is much character in their playing so credit to them. The following Purgatorio had a sinister air in its mood followed by raucous intrusion by the brasses and playful winds. Lintu whips the orchestra straight into the following Scherzo without respite and he manages to convey the dualistic conflict and increasing frustration of Mahler's state of mind, piling up demonic scherzo with a light-hearted waltz on top of another with the scherzo getting increasingly violent in every turn culminating in a collapse that leads into a ghostly procession leading us into the Finale.

History tells that the movement was inspired by Mahler observing a funeral procession of a New York fireman which the drum beat was heard. The air was initially filled with death and nihilism as Brett Stemple's tuba solo was heard, interuptted by a loud twack from the bass drum a few times. It leads to ethereal flute solo, played beautifully by Hristo Dobinov which brings peace and gradual modulation to B major and climax before being cut by the same drum twack (reminds me of Mahler 6th). A nervous Allegro follows after the darkness but only I notice during the performance the "death" motif heard persistently everywhere to almost a point of parody. Even the harsh climax that came seems rushed, but then this is a unfinished work. A long, traquil, hymn-like melody follows in what seems like a period of reflection before leading to a final climax of reconciliation and longing for Alma, one of most heartful and moving passages in history of music. All the MPO players need to do was to wear the music to their sleeve and they did a pretty fine job, and my bit of gripe is the lacking extra tension in the strings. Despite flaws, the MPO was showered with appreciative applause by the audiences and a foreign patron remarked to me "That was the most beautiful piece of music I've ever heard".

The MPO improved on the following day with the Adagio properly shaped in phrasings and nuance and the Finale played a little bit more movingly that previous night. I think its a pity Kees Bakels did not get to conduct this work since he did indicate he wanted to conduct it with MPO, but credit to maestro Lintu for still a remarkable job, especially the middle Scherzos. If you observe the player roster, there are quite a number of substitute players flown in (especially this female clarinettist whom my eyes were fixated for some number of times, hehe). The cor anglais solo player looked like as if he belonged in a rock band, but credit for his terrific solos. I cannot figure out what Mahler MPO will play next season as they will either rehash or premiere the momentous 3rd symphony for next season.

Paul Mann conducts MPO, R.I.P Towers Malaysia

2008-05-12T13:11:00.003+08:00

9 May 2008

Bernstein: On the Waterfront symphonic suite
Copland: Clarinet Concerto
Barber: Symphony no. 1
Bernstein: West Side Story symphonic dances

with Phillip Arkinstall on clarinet

Too bad there isn't much pics of decent resolution of conductor Paul Mann, because he's a lovable grizzly-bear looking conductor who has penchance for speaking on mike before audiences when conducting a concert. Last time I heard his concert was a intense Shostakovich 11 while impressive, isn't really a work I am fond off compared with symphonies no. 5, 7, 10 (not any fault of the players or conductor though). I love it how he commented that Bernstein composed only one film score in his entire life, yes the legendary film starring Marlon Brando and how the directors toned down his music whenever Brando grunts on screen (LOL). It was a brilliant performance and I was impressed how the sforzandos from the violins were scary enough to grap your heart out. The Aaron Copland concerto was a wonderful piece, despite patchy playing from the violins, with singing, hymn-like opening played by the strings typical of Copland, then the jazzy, swing-like tunes later when the tempo goes upbeat. Phillip Arkinstall gave a fine performance, and funny enough he looked like a schoolkid with his attire while holding his instrument. But if a clarinettist say, Sabine Meyer plays this piece I bet the performance would've been jawdropping, but that's asking way too much.

The Barber symphony is episodic in manner as Sibelius 7, with soaring romanticism and Paul Mann giving the most Lenny-like gesture to his players as much as possible (after all he remarked Bernstein is his hero and he once mailed a package containing his unpublished piano pieces in response to Maestro Mann's "fan-mail" letter). West Side Story as usual was mindblowing and the players shouted "Mambo" as opposed to unusual silent omission when Eiji Oue conducted it last few seasons ago. The MPO trumpets was having a freaking blast, seriously. My worst complaint? The deadpan audiences who seemed not giving a hoot it was good shit. And I shake my head in amazement when eccentric and overrated performers like Lars Vogt and Lang Lang gets shouts of "Bravo" when they play simple encore pieces like "Rondo Alla Turca" >_>

On unrelated note, Tower Record in KLCC is officially packing up. I guess the whole franchise is shutting down in this country already. Few weeks ago, the classical section has pretty impressive titles including Naxos Historicals despite it's craazy cut-throat prices of RM 37.90 (normal price is RM 27.90 dammit!). Few years ago the whole store was flooded with DG originals titles. Classical music enthusiasts can only window shop at Borders and some Rock Corner shops which its titles are already stagnating. 90% of cds in my library are all bought from Towers. Not surprisingly it is already difficult for music shops here to survive due to downloads from internet being the norm now. It's a bleak future for Malaysian classical music scene now.

My favorite Mahler 9 - period.

2008-04-30T23:03:00.002+08:00

Mahler: Symphony no. 9 in D
Chicago Symphony Orchestra
Carlo Maria Giulini, conductor.
DG catalogue 437-467-2

Lets face it. It is difficult to get an ideal utopian Mahler recording. A perfect one would combine Bernstein's passion (not to mention klezmer), Klemperer's stoicism, Walter's lyricism, Horenstein's edginess and analytical ears of Boulez. Only in a utopian world, my friends. Of course there are some few which everything is nailed perfectly and you don't need to listen anything else. Abbado's Mahler 7th with CSO and Lucerne Festival Orchestra, he nailed all the elements and chemistry needed for that piece you won't be bothered of newer versions from say, a Barenboim. Of Mahler's symphonies, the 5th and the 9th I had yet to find a perfect recording. Why? For the 5th even though the Barshai recording is my clear cut favorite I'd wish the middle Scherzo has a little more verve and maybe some groove in Bernstein's for example instead of Boulez-ian coolness which makes me feel a bit dozy to keep awake (the rest of the movements I have no complaints).

I'd thought before I encounter this recording, the Horenstein/LSO on BBC Legends is top notch. It is everything Tony Duggan of Musicweb hyped about, the dark dark night of the soul, the nihilism and dualistic struggle that is non-existent in Karajan/BPO and the painful but inevitable acceptance of death in the Adagio. Too bad the only drawback is the playing that isn't up notch to today's LSO standards. But pity you do not have conductors who could utilize that today, and forget Gergiev or Rattle, please (unless it's a Haitink). Of course David Hurwitz of classicstoday gave it a stinker for obvious reasons and if you like Mahler played on a Ferrari, go stick to Karajan BPO (zzzzzzzzzzzzzz). Or...

Here comes this recording. Both Duggan and Hurwitz gave glowing reviews to this one and you can't go wrong with it. The Chicago Symphony Orchestra is one of the most formidable Mahler orchestras on this planet simply because it has the brass section with the most balls. But you won't turn around and grab a Solti Mahler recording because it sounds like Mahler Out Loud or Mahler-In-Your-Face when you want to annoy kids who listens too much James Blunt. Do not forget though under guest maestros like Claudio Abbado, the CSO has a caliber that only rivals Berlin or Vienna Philharmonic Orchestras. Only when you put those brasses on leash.

Maestro Carlo Maria Giulini, another guest CSO conductor was often called "St Sebastian" because he is one of the few living saints holding the baton. He was not gay, or slept with women or has mistresses, a devout Catholic, doesn't flaunt ego or diva behavoir and players loved him. Now that is a true saint, unlike another lovable figure named Bruno Walter who actually has a few controversies that betrays his persona (you find that out). It is as no surprise that one would compare maestro Giulini with Walter over similarities of interpretation. Both are lyrical, "moralist" conductors (quote dear ol' Klemp) who tries to gloss over "nastiness" or rough orchestral edges as much as possible. Negative reviews of this recording seems to reinforce that sort of stereotype; the middle two movements lacked earthiness and the grotesque of Bernstein or Klempere who doesn't lack. Is it really true?

The first few minutes in 1st movement Andante Comodo is tender, dreamy, perhaps too cantabile in the phrasings of the strings that may seem a bit odd for a Mahler but which one may get used to it. Towards the first climax before the first call of "death knell" trombones the CSO brasses sounds superb here. Maestro Giulini manuevers through the alternating episodes without great contrasts than Bernstein does, but that it because he is more focused on delivering the "big picture" of the whole movement. Come the big climax despite one of the most brutal brass blasts it felled short of knocking one out of their seat, like Karajan or Horenstein does but there's little complaint for that. However Giulini delivers probably the finest rendition at the aftermath, the funeral procession and then to a haunting and mournful solo for flute before gradually the movement subsides into a peaceful close.

The landler is a pleasant surprise because it displays underrated woodwind playing, especially the bassoons which is highlighted very prominently. Whole movement sounded a little too stoic, despite the fact he demonstrated contrast from Tempo I to II but the whole effect sounded very heavy footed like a country bumpkin which probably is well-intended effect. Listen also to how the strings dig in the waltz and the violin solos are grim and sinister if you think Giulini will eschew the grotesque.This is the only recording I've heard so far which highlights the contrabassoon solo before the coda and it's playing brilliantly although the one in Haitink's RCO recording is more sinister sounding. Terrific brass snarls and mutes as one expects from CSO again.

I also loved the Rondo-Burleske and despite not played as abandoned and frenzied as (again, Bernstein) it is still a formidable performance of tour de force for counterpoint as Mahler intended and the interlude is the most moving I have ever heard, like a flashback, before one's life fade away forever. And the last few minutes of that movement has formidable "collapse" that one has to hear to believe. Finally for the Adagio, it is as long breathed as one could expect like a Bruckner Adagio and although doesn't match the inevitable and tragic acceptance of Horenstein, Giulini interprets it differently. In this movement, Mahler probably found God while in Horenstein, he resigns to Fate. Thought provoking for listeners.

In short this is one recording one MUST listen for fans of Mahler and the Ninth symphony. If one laments that good interpretation always hampered by poor or subpar playing, this recording has first class orchestral playing to back it up.

This copy of Mahler 9 is probably out of print and rare to find, but it is much better for you to get the new Originals repackaging coupled with a Schubert 8th which is a better bang for your buck. The new remastering eliminates the supposedly disruptive engineering noises in this recording I am reviewing. But rest assured it is the same performance.

Sharon Bezaly's debut at DFP

2008-04-27T21:48:00.004+08:00

"God's gift to the flute" made her debut at Dewan Filharmonik Petronas this week with Malaysian Philharmonic Orchestra. Sharon Bezaly is one of very rare full time professional flute soloist, unlike Emmanuel Pahud who still plays with the Berlin Philharmonic and other ensembles from time to time. A graduate of Paris Conservertoire and student of Aurèle Nicolet, both Ms. Bezaly and Mr Pahud shared the same upbringing and sure comparisons have to be made, despite the lack of it. Mr Pahud has been hailed as successor to Jean-Pierre Rampal's mantle with his clear, wide tonal palette and vibrant musicality. Ms Bezaly meanwhile, has quotes attesting her flute playing comparable in virtuosity with names such as Vladimir Horowitz and David Oistrakh and has virtually perfect flute technique, including laser-precision tonguing (no shit, Sherlock) and perfect use of circular breathing. Both flautists has vastly different repertoires with Pahud specializing in Baroque masters such as Bach, Telemann,
Vivaldi while Bezaly champions contemporary composers such as Gubaidulina, Kalevi Aho and Christian Limberg to name a few (and has 7 concertos dedicated to her name).

This season for Dewan Filharmonic is an extremely auspicious year for flute enthusiasts, for when again can you have two best living flautists in the whole damned planet coming to Kuala Lumpur? Mr Pahud came down with his Berlin Baroque Soloists band and brought the whole house down with his two nights dedicated to Baroque masters last October. Sadly Bezaly's debut seemed to be dampened last Sunday, with lacklustre accompaniment by Malaysian Philharmonic Orchestra and Mathias Bamert plus what I think is a equally lacklustre work, Nielsen's flute concerto. Or maybe we're just unlucky to have caught one of her Bezaly's off-days. Goodness knows whose choice is it, whether it's Ms Bezaly or the management or Mr Bamert or whoever, the Nielsen concerto dubbed a "Pastoral" piece isn't a really piece that's my cup of tea. Even though Mr Pahud recorded it with the Berliners and of course technically the work isn't cakewalk but it just ain't memorable.

However I may dead wrong. I was lucky enough to catch the rehearsal on Friday where they ran through the Nielsen thrice. Even seating at the back, Bezaly's tone could penetrate through the orchestra at some climaxes (although barely) although her tone isn't as commanding as Pahud. And her playing beguiled the group of schoolkids and observers with her typical virtuosity, especially those lightning sharp staccatos, non-existent need of breath and the golden tone from her luscious 24k gold custom-made Muramatsu flute (look at em' sparkle, ma!). Also I noticed Ms Bezaly requested Mr Bamert to speed up some passages a few times. See where's the fault? No wonder her virtuosity was virtually non-existent on THAT day in the Nielsen with the orchestra scrambling their way through the work Mr Bamert probably forgot some requests by Ms Bezaly at some passahes >_> and when she tried to shook Mr Bamert's hand at applause, he did not notice it and Ms Bezaly looked back at the audience, cheekily bemused. That guy's gone as soon as possible, the better since he looks totally clueless and I sure as hell won't miss him.

Overrated? God's gift to the flute? A flautist virtually without peer, not even Pahud could touch her? Those quotes were repeated in newspapers and promo ads prior to the concert and the Nielsen just turned out so-so but Ms Bezaly took out her encore, which was a piece from Sweden (as she told the audience) and then finally she showed them light. It was a sort of a folk-like piece with insane fast passages inserted in between which Ms Bezaly used flutter tonguing or goodness-knows-technique to produce a unnatural series of harmonics in the low registers, and a kid exclaimed "Wah" at my back. My jaw dropped as fast as anvil and could the wunderbar kid Pahud top that? Still the applause at the end indicated the audience still felt it wasn't a big deal but from Ms Bezaly's response, she may have took it in stride. Contrary to some rumours that she was cold and unfriendly, she was terribly warm and even more friendlier and receptive than Pahud when I met her after the Friday rehearsal. My newly-bought gold pen didn't work much effect on the "Bridges of Pyranees" cd I bought and she took the trouble trying to get another pen from her handbag (I think I'm going to weep!). So I got my programme book and cd autographed and despite some mispelling of my name (no fault of hers, I insist) I was in rapture, naturally.

The following Brahms 2nd wasn't too shabby, but again I switched to Bernstein/VPO after the whole thing. I can tell you those who attended the rehearsal on Friday noon must've felt it was the best RM 5 they've ever spend. After all, it was said that the great Toscanini produced more results in a rehearsal than in a concert. If you think Ms Bezaly ain't no big deal, listen to her "Bridges across the Pyranees" cd and listen to her Rodrigo's Concerto Pastorale, Ibert's Flute Concerto or the Carmen Fantasy by Borne and be prepared to be blown away. Ms Bezaly's "Nordic Spell" is on my next shopping list!

One of Bernstein's finest achievements

2008-04-21T21:30:00.003+08:00

Brahms: Symphony no. 2, Academic Festival Overture
Wiener Philharmoniker
Leonard Bernstein, conductor.

Critic David Hurwitz is a unabashed Lenny arse-kisser. To him, Lenny is the greatest conductor ever to grace the record (move over Karajan!). But somehow the symphonic cycle of Brahms recorded with Vienna Philharmonic detests him, in which he remarked "Most people like chocolate, but not as a topping for fried liver and onions. Well, like that combination, Bernstein and Brahms just don't mix. ". He supported his assertation by arguing Lenny's typical mannerisms; wild fluctuating tempos, too much indulgence in music making and sometimes agonizingly slow tempos don't work with Brahms which Hurwitz wants to listen in "simplest, most unaffected manner possible". I think he'd rather stuck his head with HIP specialists like Mackerras, Norrington, Harnoncourt if I get his gist.

Hurwitz has no problem with such approach in Mahler which he incase he forgets, also work in typical, most unaffected manner possible too. The composer is notorious for super-attention to details marking in his works, like how he demands the oboe to play a certain "hinaufziehen" or an extraordinary upward glissando in a 4th movement of the 3rd symphony or the conductor should adopt the same tempi as the previous movement in "Stürmisch bewegt" of the Fifth. Conductors like Klemperer, Horenstein who adopted literal approach to his symphonies didn't interpret them less exciting. Anyways enough digressing for listeners who appreciate Lenny's conducting like me accepts his music-making as a sort of gambling, taking chances no different from say, Furtwangler. There are good and bad results to expect and it is part and parcel of real music making. Most awful results of Lenny's "experimentations" for example, Tchaikovsky 6 with NYPO on DG which is most notoriously slow on records, Elgar's "Enigma" variations but for these shortcomings he make it up among them, Barber's "Adagio for Strings" recorded with Los Angelas Philharmonic which is probably unparalled in anguish and intensity, a individualistic but distinctive Shostakovich 5 with NYPO (Sony) and also this Brahms 2nd, recorded with VPO.

VPO has maestros who knew how to utilize them as a incandescent instrument and Lenny is among the very few. Despite being Jewish and gay which would've turned them off instantly, the players enjoyed making music under his direction as demonstrated by their recordings of Sibelius, Mahler, Beethoven and Brahms. Contrary to the Brahms 3rd, which probably sounded too distorted and out of character, Lenny hit all the right spot in the Brahms 2nd. There isn't any saccharine-induced melodrama moments, only very human performance. I've rarely heard the violins of VPO sang with much cantabile in the first movement and has the celli ever sounded so longing, like a child who yearns for its mother? The last movement is played with genuine jubilation, instead of hyper-frentic dash. Coupled with the symphony is no less finer performance of Acedemic Festival Overture. To think that before listening to this recording I despise Brahms 2nd. Thank heavens for maestro Lenny!

Technical: 9
Intrepretation: 9
Recording: 9

To all Good Music Guide users

2008-04-01T08:39:00.000+08:00

HAPPY APRIL FOOLS.

Akiko Suwanai's debut at DFP. Stunning!

2008-03-31T18:26:00.003+08:00

8th march 2008, Saturday 8:30 p.m

Adams: Short ride on a fast machine

Sibelius: Violin Concerto

Copland: Symphony no. 3

Akiko Suwanai made her Malaysian debut on 8th and 9th March 2008 with the Malaysian Philharmonic Orchestra. Previous season she was scheduled to perform Dvorak's Violin Concerto but she cancelled last minute due to sudden illness. Unlike other soloists who cancelled and never made an appearance again, she came! Now that my friends is what I call professionalism. I know musicians are contend to perform in elitist venues (read: London, Paris, Vienna, Tokyo or Beijing) instead of some obscure location somewhere around Singapore. But I digress, so how was the performance? Stunning in every bit of word.

First of all, she is tall, baby - six feet. Not monstrous but daunting enough like standing alongside Uma Thurman. Concertmaster Markus Gundermann looked like a hobbit when he went and shook her hand lol! Clad in silver-coloured dress, she stood out like an ice queen throughout the performance. Indeed because she's performing a violin concerto composed by the most famous Scandanavian composer ever existed.

Now in her biography it states that she's currently using a Dolphin Stradivarius that was used by none other than the legendary Jascha Heifetz. No wonder the tone that emits from her violin sounded so familiar. Among all the violinists whom I heard live, her sound oozes with pure luxury. Technically she isn't as virtuosic as Heifetz or even Christian Ferras who recorded the concerto with von Karajan but every note she played was flawless and if you've seen her fingers stretch coping with Sibelius' difficult octave leaps your jaw would've dropped. Kevin Field's tempi for the third movement was too quick for her but she managed her solo pretty well. Thankfully the Malaysian Philharmonic accompanied her very well.

After the intermission despite some sloppy playing (especially from the string section) Kevin Field and the MPO managed to give a very spirited rendition of Aaron Copland's Third Symphony. Serge Koussevetzki praised it calling the work the greatest American symphony ever composed. Copland's use of folk melodies and songful writing for the strings made it quite moving at times. The last movement was an inspiration for Copland's famous work "Fanfare for the common man" and credit should be given for good work by the brasses.

My classical albums list

2008-02-26T19:12:00.002+08:00

Bach J.S: Sonatas and Partitas for violin; Podgers (Channel)
Bartok: Violin Concerto no. 2, Piano Concertos nos. 2 & 3, Concerto for Piano & Percussion, Rhapsodies for violin; Isaac Stern, Philippe Entremont; Bernstein; NYPO (Sony)
Bartok: Concerto for Orchestra, Music for Strings, Percussion and Celesta; Reiner; CSO (RCA)
Bartok: Music for Strings, Percussion and Celesta + Stravinsky's Apollon; von Karajan; Berlin PO (DG)
Beethoven: Symphony no.2 & Piano Concerto no.3; Richter (piano); Kurt Sanderling; Leningrad PO and Vienna SO (DG)
Beethoven: Symphonies nos. 5 & 7; Carlos Kleiber; VPO (DG)
Beethoven: Symphony no. 6 "Pastorale" + Schubert Symphony no.5; Karl Boehm; VPO (DG)
Beethoven: Symphonies nos. 6 & 8; Wilhelm Furtwangler; VPO (EMI)
Beethoven: Symphony no. 9; Furtwangler; Bayreuth Festival Orchestra (EMI)
Beethoven: Missa Solemnis; Harnoncourt; COE (Teldec)
Beethoven: Missa Solemnis; Sir Colin Davis; Bavarian RSO and Chorus (RCA)
Beethoven: Violin Concerto and Romances; Arthur Grimiaux; Sir Colin Davis; RCO (Phillips Eloquence)
Beethoven: String Quartets "Rasumovsky" and "Harp"; Amadeus Quartet (DG Eloquence)
Berlioz: Symphonie Fantastique; Charles Munch; Boston Symphony Orchestra (RCA)
Bruckner: Symphonies nos. 0 & 8; Georg Tintner; National Symphony of Ireland (NAXOS)
Bruckner: Symphony no. 2, 3 (seperate) ; Georg Tintner; National Symphony of Ireland & Royal Scottish National Symphony Orchestra (NAXOS)
Bruckner: Symphony no. 5, 6 ,7 (separate); Gunter Wand; Cologne Radio Symphony Orchestra (RCA)
Bruckner: Symphonies no. 6 & 7; Bernard Haitink; RCO (Phillips)
Bruckner: Symphony no. 8 + Dvorak 8th; Carlo Maria Giulini; Philharmonia Orchestra (BBC Legends)
Bruckner: Symphony no. 9 (with fragment of Finale); Harnoncourt; VPO (RCA)
Brahms: German Requiem; Fischer-Deskau, Schwarzkopf; Klemperer; Philharmonia Orch and Chorus (EMI)
Brahms: Symphony. no 4; C.Kleiber; VPO (DG)
Chopin: Piano Concerto (+Grieg); Lipatti (EMI)
Debussy: La Mer, Nocturnes, Jeux, Rhapsodie; Boulez; Cleveland Orchestra (DG)
Debussy: La Mer, Nocturnes, Iberia; Munch; Boston Symphony Orchestra (RCA)
Dvorak: Symphony no 9 "New World" plus Czech concert pieces; Reiner; CSO (RCA)
Falla: Spanish Works (+ Chambrier Espana); Bernstein; NYPO (Sony)
Faure: Requiem + Lili Boulanger works; Nadia Boulanger; BBC Symphony Orchestra (BBC Legends)
Haydn: Paris and London Symphonies; Bernstein; NYPO (Sony)
Holst: The Planets; Steinberg; Boston Symphony Orchestra (DG)
Mendelssohn: Symphony no. 4 "Italian"; Sinopoli; Philharmonia (DG)
Mendelssohn: Violin Concerto, Italian Symphony, Herbrides; Bernstein; NYPO (DG)
Mozart: Requiem; Sir Colin Davis; BBC Symphony and Chorus (Phillips)
Mozart: Symphonies nos. 35, 40 and 41; Szell; Cleveland Orchestra (Sony)
Mozart: Great Mass; Sir Colin Davis; LSO (Phillips Eloquence)
Mahler: Symphony no. 1 & 9; Masur; NYPO (Teldec)
Mahler: Symphony no.2 "Resurrection"; Klemperer; Philharmonia Orch and Chorus (EMI)
Mahler: Symphony no. 3 (backup); Horenstein; LSO (Unicorn)
Mahler: Symphony no. 3; Boulez; VPO (DG)
Mahler: Symphony no. 3; Barbirolli; Halle Orchestra (BBC Legends)
Mahler: Symphony no. 4; Kubelik; Bavarian RSO (DG Eloquence)
Mahler: Symphony no. 5; Barenboim; CSO (Teldec)
Mahler: Symphony no. 5 & 10; Barshai; Deutsche-Junge Philharmonie (Brilliant)
Mahler: Symphony no. 6; Solti; CSO (Decca)
Mahler: Symphony no. 6; Mitropoulos; Cologne RSO (Great conductors IMG)
Mahler: Symphony no. 7; Boulez; Cleveland Orchestra (DG)
Mahler: Symphony no. 8; Horenstein; LSO (BBC Legends)
Mahler: Symphony no. 9; Giulini; CSO (DG)
Mahler: Symphony no. 9; Horenstein; LSO (BBC Legends)
Mahler: Das lied von der erde; Fischer-Deskau, Dickie; Paul Kletzki; Philharmonia (EMI)
Mahler: Das Lied von der Erde; Mitchinson, Hodgson; Horenstein; BBC Northern SO (BBC Legends)
Mahler: Das Knaben Wunderhorn; Fischer-Deskau, Schwarzkopf; Szell; LSO (EMI)
Rachmaninov: Piano Concertos 2 & 3; Zilverstein; Abbado; Berlin PO (DG)
Rachmaninov: Symphony no. 2; Temirkanov; Royal PO (EMI)
Ravel: Daphnis et Chloe (complete), Scheherazade; Bernstein; NYPO (Sony)
Ravel: Alborado del gracioso, Bolero, La Valse etc; Bernstein; NYPO
Rossini: String Quartets (transposed for winds); Ensemble Wien-Berlin (Sony)
Strauss: New Year's Concert; C.Kleiber; VPO (Sony)
R.Strauss: Also Sprach Zarathrustra (+Holst's The Planets); William Steinberg; Boston Symphony Orchestra (DG)
R.Strauss: Also Sprach Zarathrustra, Burleske, Rosenkavalier waltzes; Reiner; CSO (RCA)
R.Strauss: Symphonia Domestica; Reiner; CSO (RCA)
R.Strauss: Four Last Songs, Metamorphosen, Death and Transfiguration; von Karajan; Berlin PO (DG)
Stravinsky: 150th anniversary album with Violin Concerto, Rite of Spring; Frautschi; Craft; Philharmonia (NAXOS)
Schubert: Late Piano Sonatas; Pollini (DG)
Schubert: Symphony no. 8; Sinopoli, Dresden Staatskapelle (DG)
Schubert: Symphony no. 9; Furtwangler; Berlin PO (DG)
Schubert: Trout Quintet, Death and Maiden string quartet; Curzon; Vienna Octet (Decca Eloquence)
Schumann: Symphony no. 4 + furtwangler symphony 2; Furtwangler; Berlin PO (DG)
Schoenberg: Gurrelieder; Boulez; BBC Symphony and Chorus (Sony)
Tchaikovsky: Manfred Symphony; Previn; LSO (EMI)

Scorching Tchaikovsky by Karl Bohm and Czech Philharmonic

2008-02-10T22:41:00.000+08:00

Beethoven: Piano Concerto no.5 "Emperor"
Tchaikovsky: Symphony no 4. in F minor

Emil Gilels, piano
Czech Philharmonic Orchestra
Karl Bohm, conductor.

I ordered this from the net after reading this review here. Karl Boehm is one of truly great giants of Teutonic conducting in my opinion the greatest baton holder worthy to be compared alongside Furtwangler and Klemperer. Anybody who is familiar with his discography knows his repertoire covers almost exclusively composers of the Austro-Germanic tradition; R.Strauss, Mozart, Beethoven, Wagner. When one hears Karl Boehm conducts Tchaikovsky 4th with Czech Philharmonic naturally a classical music enthusiast would pick up the CD immedietly for: it is unusual for him to conduct a work outside of his usual suspects; Mozart, Strauss to name. Secondly the Czech Philharmonic is under-represented on records as compared with its more illustrious counterparts such as Berlin, Vienna Philharmonics and Royal Concertgebouw of Amsterdam. The ensemble has a truly unique sound; it has some dark, military characteristic of Russian orchestras such as the Leningrad Philharmonic yet unlike it's counterpart the oboes for example are brilliant sounding. And the french horns, wow! The czech horns are flamboyant, yet distinctively mellow like the Viennese horns and you can hear that in the opening bars of the first movement, in my opinion the most memorable I've heard - period. Those notes announcing Fate is the most distinctive I've hears since Beethoven's Fifth.

Despite not a prominent Tchaikovsky specialist, Bohm highlights the architectural grace reminiscent of his ballet works especially in the quiet moments of the first movement and the whole Andante. Being a live performance, the dramatic parts are scorching and the last movement has never sounded so redemptive and victorious. The scherzo was the only weak part with the trumpet chords sounded a little shaky. Kurt Sanderling's Scherzo with the Leningrad Philharmonic remains my ideal, with it's cheeky piccolo solo and flawless trumpet chords.

That being said, I find the Emperor disappointing. It has got to do more with the engineering than the performance which made the orchestra sounded distant and lack oomph, especially in the bass department. Still the Adagio is one of the most gorgeous interpretations ever and judging from the bonus rehearsal footage, Boehm gave more attention to shaping the orchestral accompaniment for Gilels. I do not think still you would want to pass a simply electrifying Tchaikovsky 4th with a truly unique collaboration of artists.

Emperor:

Technical: 8
Interpretation: 9
Recording: 6

Tchaikovsky:

Technical: 9
Interpretation: 9
Recording: 10

In love with this box set

2008-01-15T20:18:00.000+08:00

I finally got this box set I've been craving for (nor realising that good friend Hock Doong has this). The most ridiculous myth about Herbert von Karajan was that his repertoire of works is conservative and limited to celebrated works of Mozart, Beethoven, Brahms and Tchaikovsky. It's interesting to note that nobody has surpassed his re-recordings of Beethoven's Nine symphonies which he made FOUR times throughout his life (once for Philharmonia and three versions from Berlin Philharmonic). The conservative myth is still nonsense, since those closed-minded buggers failed to notice he recorded contemporary (in his time, of course) works from Stravinsky, Prokofiev, Bartok to name a few. Richard Osborne noted that Karajan premiered the radical Bartok's Music for Strings, Percussion and Celesta in Vienna amidst cat-calls. There is also his only Shostakovich recording of his 10th symphony he made which is now hailed as "best recording evar" and his Prokofiev 5th shared similar honour as well. Recently DG (if not mistaken) released a Walton 1st with Philharmonia which sat on dust decades after forbidden by the composer himself to it's release.

Who would've thought Karajan would record a set devoted to composers of none other than the "elusive" and "elitist" 2nd Viennese Schools? It was released on LPs in the 70s and amusingly Karajan boasted it sold copies enough to stack up the height of an Eiffel Tower. It's not limited to their accesible, pre-12tone, tonal works such as Passacaglia op. 1 (Webern) Pelleas et Mellisande and Verlarkt Nacht (Schoenberg). Karajan also recorded the first ever atonal work (Variations op. 31 by Schoenberg)for a large orchestra, some most difficult piece ever written for orchestra (Berg's Three Orchestral Pieces) and also some of most intellectual (albeit hard to digest) works by Webern. One wonders why Karajan did not record Messiaen, Ligeti to name a few.

In Karajan's disposal is his magnificent Berliners, played at all their glory. In my experience of his recordings, surprisingly he is the best "modern" exponent after Boulez or Gielen. While Boulez might be on the intellectual side, his exposes more on the orchestration, texture and sound effects of the works he conducted, which doesn't make the music trivial. The timbre of the best string section in the world helps to produce a sensous "Verklarte Nacht". While most listeners find Variations to be a little bit inaccesible, the orchestra projected a haunting, yet one of the most alien performances ever captured on record. And the brasses surpasses even the legendary Chicago Symphony for sheer savagery and ferociousness in Berg's Three Orchestral Pieces, which is probably the most relentless sonic assault ever performed in my experience of classical music. The three cd box set have since gone out of print, and these cds have been produced seperately ever since. Now condensed to merely 2-series single cd set, these cds are hard to come by as well. Freaking grab these if you see them.

*UPDATE: The rest of Webern's works (Op. 5, Op. 6, and Symphony Op. 21.) are MISSING from either of the two. They only included Webern's Passacaglia op.1 in the new cd re-release. Looks like any used copies of either the 3-CD or 4-LP box sets would be scarce to find.

MPYO concert again! National tour (Kuala Lumpur) review

2007-12-14T09:10:00.000+08:00

Programme:

Wong: "Ria" Fanfare for Orchestra
Ahmad Muriz: Senandung Malaysia (World Premiere)
Brahms: Hungarian Dances 1, 3, & 10
Arnold: Four Scottish Dances
Vaughan Williams: A London Symphony

13 December 2007, Dewan Filharmonik Petronas, KLCC

The folks of MPYO went on their first national tour starting 7th Dec from Penang, then performed at Ipoh, Johor Bahru, Kuantan before playing their last stop back at their "crib" Kuala Lumpur. It is school holidays and the tour gives the MPYO players exposure on rigours of playing on tour (imagine 9 hours of bus rides, hopping from one performance to another in different state in two nights). While it is fun especially to orchestra members who are having their school holidays, their last performance here in KL may be threatened by exhaustion and burnout. However they managed to give a splendid performance yesterday night. Not to say the performance is entirely perfect though.

Adeline Wong's "Ria!" was the opening piece for their last debut concert and it was featured yesterday night. Again, I do not think the piece is appropriate for an opening act, because: 1)It is contemporary. 2) The piece is too demanding for an orchestra that needs to be warmed up, especially for a youth orchestra who only played together barely two years. Just imagine asking MPO to open a concert with Respighi's "Pines of Rome" and you get what I mean. At the beginning, the orchestra opened up with a riot of sounds, but that ain't exactly sensous. You can see the orchestra fumbling through here and there, trying to work their way through a mesh of a work. The percussions saved the day by churning out seductive Messiaen-influenced, gamelan sounds. If the last concert the piece sounded like Messiaen's Turangalila Symphonie, this time it kinda like merged with Gustav Holst's "The Planets".

Ahmad Muriz' "Senandung Malaysia" was a pleasant surprise because, the piece (sorry Adeline) was more cohorent in structure and it has more originality. The malay dances of Joget, Asli and Zapin were fused with western composition method producing a truly funky work*. Muriz didn't do what I would expect some Malaysian contemporary composers to do, quoting exactly Malay melody/themes and juxtapose them with each other then sounds like some pathetic medley for "Malaysia Truly Asia" or "Visit Malaysia 2007". You do not recognise the local themes at first in what sounds like a typical Western work until the percussionists start thumping out kompang tunes that comes right out of a Malay wedding. I thought it was brilliant. And the greatest compliment I can pay to the composer is that the narrative structure pays homage to Ravel's "Alborada del Gracioso" or Falla's "El Sombrero de tres picos" (Three-Cornered Hat) not to mention both also share groovy percussion beats.

For Brahms' Hungarian Dances, it looks weird to see Kevin Field trying something different, eh trying to be Leonard Bernstein. The dances were subjected to "Lenny" style mannerisms eg: stop-and-go, push and pull tempos. The orchestras didn't sound too shabby although the "oompahs" wasn't too clear. Thankfully, orchestra and conductor revert back to usual mode for Malcolm Arnold's "Four Scottish Dances".

Like the last time MPYO played Scheherazade, the band shines in "big feature" works and Vaughan William's "A London Symphony" showed what a truly professional class the whole ensemble sounded. The highlight was 2nd movement's "Lento" described by the composer as "Portrait of Bloomsbury". I have not heard MPYO strings played with such attentive concentration the pianissimi of the passages and Lee Chun Hawe's cor anglais solo was truly haunting. One of the true hallmarks of a professional ensemble is how well you can cope playing piano as soft as possible enough to grab attention and MPYO succeeded in doing that. I have not heard the work before, but can you imagine NSO tackling this symphony? Not a fat chance! Give the orchestra ten more years and they can tackle the most demanding and most difficult of repertoires, eg; Strauss' tone poems or 20th century orchestral works of Bartok or Stravinsky. Hell, maybe they can try tackle Mahler as early as their next concert!

I am very eager to hear MPYO again in concerts to come. But there is one peculiar habit I noticed and that the orchestra takes some time to warm up as they progress through the concert, from Wong's piece to "A London Symphony". I think Kevin Field should begin with orchestra overtures always a plenty eg; Brahms' Acedemic Festival or Tragic Overtures, Mozart's Le Nozze da Figaro, Beethoven's overtures like Egmont, Coriolan etc. As to Howard (MPYO oboist)'s question are there improvement, well...I need to hear one or two more concerts to make that verdict.

*I've ran out of bombastic, scholarly words to use, bleh.

Unlikely duo's Beethoven concertos produces a bang

2007-12-04T21:47:00.000+08:00

Talking about quirky mismatch collaborations, some few I could think are Glenn Gould/Leonard Bernstein, Richter/Karajan and
Barenboim/Klemperer. Gould/Bernstein recorded a "Emperor" which was controversial in its eccentricity, and which even the very "schmalzy" Lenny finds it too hard to keep up (you get what i mean). Enigmatic Sviatoslav Richter recorded a Tchaikovsky Piano Concerto with Herbert von Karajan which critics pointed out as a classic "mismatch". A fiery, passionate Richter in odds with the cool, icy Karajan. They never recorded anything after that (although I do not know if the legendary Triple Concerto with Oistrakh and Slava were recorded before or after). And the recording I so want to hear for the hell of it; the same Beethoven concertos with Daniel Barenboim paired with the Otto Klemperer. That's right, how could a young brilliant pianist such as Barenboim be able to cope with Klemperer's granitic conducting and penchant for slow tempos? The only complaint criticism I've heard about the set is rather the recording quality, not the performers so I cross my fingers and hope to find it someday.

Meanwhile the collaboration of Nikolaus Harnoncourt, one of early music pioneers and contemporary music specialist Pierre-Laurent Aimard doesn't really sound quirky. Both has in common intelligence and eagerness to find new life in an already familiar set of warhorses. Harnoncourt as we know, isn't really a pure HIP (Historically Informed Practice) scholar unlike some very dogmatic interpreters like Sir Roger Norrington and his Beethoven cycles on Teldec demonstrated his own sync of "Harnoncourt" mannerisms combining his decades of HIP knowledge with his own ideas of interpretation and orchestration. Pierre-Laurent Aimard was 20 when he graduated from Paris Conservatoire and was invited by Pierre Boulez to join Ensemble Intercontemporain as a founding member. Today he is a revered name in pantheon of today's celebrated pianists with his CDs of Ligeti, Debussy and live recitals critically acclaimed. From an article on New York Times, quotes "

Mr. Aimard admits that not long ago he would have deemed ''preposterous'' the very idea of adding yet another account of these war horses to a market already saturated with high-quality recordings. ''I had always preferred to do something 'useful,' '' Mr. Aimard writes, ''by recording music not found in catalogs, especially the works of our own time.''

But when Mr. Harnoncourt asked him to collaborate on the Beethoven project, he found the invitation too intriguing to resist. ''To some, we seemed to be fundamentally opposed through our musical cultures, the type of repertoire we championed, our respective images,'' Mr. Aimard writes. ''It turned out, however, that this experience was the most natural, the most moving, the most fortunate that one could imagine.''

I have to admit I was not exposed to monsieur Aimard's playing much (my first experience was sampling one of his Ligeti Etudes cd). What struck me first was the crystal-like clarity (typical characteristic of contemporary pianist) but also at the same time there's display of immense energy and at same time probing intelligence. But again, being familiar with 20th century composers such as Ligeti, Boulez, Debussy etc the fingerwork and pyrotechnics of these concertos are effortlessly tackled by monsieur Aimard.

I have grown to admire Harnoncourt's Beethoven and I think today he may be worthy to be placed alongside pantheon of Beethoven interpreters such as Furtwangler, Karajan, Klemperer etc. My experiences of his recording of symphonies with Chamber Orchestra of Europe is mixed, at times the results could be dazzling, revolutionary even and at worst, he typically will make you want to look at paint dry instead but like Furtwangler, he is a risk-taker and not the type who would stay safe like say, Mr K =P In this recording, his typical direction of the COoE players (50 players playing H.I.P style on modern instruments save period trumpets) ironically is safeproof because there is right amount of balance just to accomodate the soloist. Big band orchestras has tendency to overwhelm the soloist and too small, too H.I.P may sound a bit too "sissy" for the composer himself.

Reviews have been mixed, but for me these concertos is the one I will keep listening until I discover Serkin/Szell, Kempff/Ferdinand or even Klemp/Barenboim. There are some mannerisms that may be annoying (for instance the "delay" in chord punctuations in 1st movement of Emperor) and even a fluffed note (around 5 minutes in 1st movement of 1st Concerto) but if you love Beethoven, you must listen to this set. You will either love it or despise it and nothing else.

Recording: 9
Technical: 10
Interpretation: 9

Claus Peter Flor next Malaysian Philharmonic Orchestra director

2007-12-03T14:49:00.000+08:00

Ok, its been official for quite some time, maestro Claus Peter Flor has been appointed as Music Director for Malaysian Philharmonic Orchestra come this 2007-1008 season. Since early this season, rumours had been abound this would be the last season for current Music Director Matthias Bamert. General consensus were despite his impressive CV (he studied conducting under Leopold Stokowski and George Szell, released a number of acclaimed recordings including Stokowski's Bach transcriptions), his leadership paled in contrary with Kees Bakel's ten-year reign at MPO. Everyone I knew who went MPO concerts would give a collective shudder everytime one mentions a Bamert concert. The management should be congratulated for making such a wise choice electing maestro Claus Peter Flor as the MPO's new music director. His concerts for the past few seasons since his debut in 2003 were much anticipated events. Although I only attended his Bruckner Fifth concert last season, the response of MPO under his leadership were clearly etched in my mind.

Most important for maestro Claus Peter Flor is to rejuvenate the programme repertoire which was as dull as dishwater this past few seasons, which he mentioned in last Sunday's interview with The Star that he would plus getting feedback from subscribers. There has been too many rehashes of familiar warhorses and diversity of repertoire were lacking. I remember looking back at Kees Bakel's 2000-2001 season was surprised by quality of the concerts (including late Mtislav Rostropovich's debut) including a Lutoslawski Concerto for Orchestra coupled with a mouthwatering Beethoven's Emperor played by Pierre Laurent-Aimard. I hope maestro Claus Peter Flor could generate similar excitement for next season's programme, boy can't I wait!

Bruckner 5 review: http://www.musicandcdreview.com/MPO-Bruckner5.htm

Emmanuel Pahud and Berlin Baroque Soloists

2007-11-09T10:21:00.000+08:00

Berlin Baroque Soloists

Rainer Kussmaul, violin and director
Emmanuel Pahud, flute
Wolfram Christ, viola
Raphael Alpermann, harpsichord

Tuesday 16 Oct 2007

All Vivaldi programme consisting of:

Concerto Grosso in D minor (Rv565)
Concerto for Viola d'amore in D (Rv 392)
Concerto for Four Violins in B flat (Rv 553)
Concerto for Strings in G minor (Rv 156)
Concerto for Two Violins in A minor (Rv 522)
Concerto for Flute in D "Il Cardellino" (Rv 428)
Concerto for Flute in G minor "La Notte" (Rv 439)
Concerto for Flute in F "La Tempesta di mare" (Rv 433)

Wednesday, 17 October 2007

Pisendel: Sonata in C minor
Telemann: Viola Concerto in G (TWV51.G9)
J.S Bach: Bradenburg Concerto No. 5 in D (BMV 1050)
Telemann: Concerto Ripieno in E flat (TWV43:Es1)
Handel: Suite from Alcina (HWV34)
Telemann: Concerto for Transverse Flute in D (TWV51:D2)

blogger with Emmanuel Pahud

The Berlin Philharmonic virtually came to the Dewan Filharmonik Petronas hall in form of Berlin Baroque Soloists. You can say it is the biggest event happening early in 07/08 season in light of absence of at least two big foreign orchestras that used to grace the hall every season without fail. Not even one, but hey we brought for ye a chamber group consisting of Berlin Philharmonic members! (present or former) Emmanuel Pahud is arguably the successor to Jean-Pierre Rampal as the prince of the flute instrument. He is still playing for the Berlin Philharmonic and used to play in superband Lucerne Festival Orchestra under Claudio Abbado. Joined him is a less-renowned but very experienced ex-Berlin Philharmonic member, violist Wolfram Christ who was a former principal violist selected by late Herbert von Karajan 19 years under BPO starting from 1978 until 1999. He is a founding member of Lucerne Festival Orchestra and no wonder I spotted a recognisable "Einstein"-like figure (minus the moustache) who starred in DVDs of LFO, latest being the stunning Mahler 7th.

The first night was a Vivaldi feast, the term itself might sound dreadful for those who thinks he is the most unoriginal, repetitive composer ever. Some critics argue his over 500 concertos sounded like one single material recycled the same number of times over. But miraculously the BBS made each piece sounded very different one after another. One of my favourite highlights is the Concerto for two violins (Rv 522) in which Rainer Kussmaul and another violinist (I assume probably was Rudiger Liebermann) grinded out sounds imitating nature. Vivaldi is one of the earliest composers who knows how to churn out special sound effects from the orchestra (notably the Four Seasons). Another is watching Wolfram Christ tackling the 13-stringed viola d'amore. In addition to six or seven strings on the fingerboard are another additional seven sympathetic strings below it o_O Despite being a very different instrument from the conventional viola, he produced a virtuosic playing for the concerto, which occasionally made my jaws drop. Holy moley!

Emmanuel Pahud played "Il Cardelino" concerto before the interval and the remaining two afterwards. Listening to him live, he proved to be a successor to Jean-Pierre Rampal's mantle. He produced instant warm, vibrant sound that very, very few professional flutists can boast and one colleague remarked he was born to play the flute, because the word "emboschure" doesn't exist in Pahud's vocabulary. Flutter-tonguings, staccatos, legatos and various articulations that many flutists struggle with he made it effortless. In masterclass I went next day, he often remarked that it is not the lips that produce the sound, it is the air itself.

Ironically the hall was expected to be packed, but only 80% of audience were in the hall at Tuesday night. The hall was full house on Wednesday, but the performance wasn't as enlightening as previous night. J.S Bach's Concerto for Flute, Violin, Harpsichord and Strings in A minor was omitted which was a crying shame from very generous eight offerings of Vivaldi last night. Still it was a joy to watch Raphael Alpermann playing the harpsichord cadenza in the Bradenburg Concerto no 5. My flute teacher remarked that they didn't give our Malaysian audiences enough respect they reserve. Regardless listening to the Berlin Baroque Soloists for those two nights were a very enlightening experience. At least the Berlin Philharmonic did come to Kuala Lumpur, though not in full! =P

blogger with violist Wolfram Christ

Malaysian Philharmonic Youth Orchestra Debut Concert

2007-08-27T20:37:00.000+08:00

Finally after months of hard work, the MPYO had it's first public inaugural concert yesterday. The MPYO consists of practically the best talents scouted from all over Malaysia through auditions held last year so it's feverish anticipation to hear how they would sound like playing as a cohesive ensemble. Tickets for the only public concert were snapped up like hot cakes yet they had a concert played at previous night for invited audiences. My feedback from fellow musicians who are MPYO members confirmed the orchestra were a little bit exhausted after previous night's concert yet they still displayed great playing and spirit.

The orchestra began the afternoon's concert by performing a world premiere piece composed by Malaysia's most celebrated contemporary composer Adeline Wong entitled "Ria". I felt the work was too daunting to be played as an opening piece, especially since the orchestra was still "warming up". There's terrific and gorgeous sounds projected by the percussion section and only by latter half of the piece the orchestra got it's groove on. Anyways, the Adeline Wong piece screams "Messiaen" all over, especially if you have heard Turangalila Symphony. Afterwards, the orchestra played the first movement of Schubert's "Unfinished" Symphony. There's great melancholic sound by the cellos in the beginning yet the oboe melody followed on was a little sharp. My first gripe with the second subject is the wind accompaniment which was rhythmically insecure. It was fascinating though to hear how Kevin Field highlights the classical form of the work rather than the romantic aspects of it. In the development, there's haunting mood by the violins and the frightening tremolos by the celli which leads to eventual climax reminiscent of the Giuseppe Sinopoli's Philharmonia recording. Tchaikovsky's "Elegy" for strings comes after Schubert and I was delighted that the string ensemble found a perfect tempo compared when I heard them rehearse the last time in Shah Alam. The result, of course was sensous. Kevin Field wraps up the first half as soon as the "Elegy" ended with the "Bacchanale" piece from Samson and Delilah composed by Saint-Saëns. Frankly despite great playing by the winds, the strings balances were underwhelmed and only in the frenzied last few minutes the orchestra gave sizzling playing which wowed the audiences.

After the intermission, the orchestra displayed it's greatest potential in Rimsky-Korsakov's "Scheherazade". Apart from numerous oppurtunities for orchestra principals to show off his/her solo playing, it is also an showcase of ensemble virtousity so it is not an easy piece especially for a new orchestra like the MPYO to tackle. Did they managed it? I am glad to report they handled their task superbly. Nami Mathi Baradan took over the concertmaster job from Lim Jae Sern and tackled the "Scheherazade" solos quite well. Other notable contributions including the gorgeous bassoon solo in the beginnning of "The Kalender Prince", presumably by Chong Chun Khoi, the killer exhausting trumpet triple-tonguing playing in "Festival at Baghdad" tackled superbly by Isaac and his gang and also another killer double-tonguing passage for flute in the same movement tackled with ease by the flute section led by Vincent. Well to say the rest of the wind section not doing as superb job as they are is simply not doing justice to them. While in Shah Alam I felt the shipwreck was underwhelming, Kevin Field managed to conjure adreneline rush this time round like how it feels to listen to the coda of a Bruckner Fifth. Concert(mistress) Nami wraps up the whole symphonic suite with her graceful playing of the recurrent "Scheherazade" theme.

There is little doubt that MPYO can compete with the other great youth orchestras in the asia region, especially given how they have been formed for only a year. Most string players in the orchestra did not have any ensemble playing background and the rehearsal sections plus camps have certainly moulded them to play in unison as ensemble players rather than individual soloists which credit must go with them. Yet they still have some work to do if they are to improve further. Firstly of all, perhaps they could be exposed to great youth orchestras of the world which are of much higher caliber like the Deutsche Junge Philharmonie (which recorded one of technically perfect interpretation of Mahler's Fifth Symphony), New England Youth Conservatory Orchestra and Simon Bolivar Youth Ensemble of Bolivia (led by the latest world maestro sensation Gustavo Dudamel). The MPYO's individual principal's calibre still needs loads of work to attain an international standard level where perfectionism is the norm and playing "safe" is considered dull. The string section has danger of being underwhelmed in balances and they need the Berlin Philharmonic strings as their role model. Most importantly, the MPYO needs the commitment from the management to continue to exist and to get continuous support from principals of MPO. Right now despite being back by wealth of Petronas, MPYO's future is still vague as to date. Please do not let that concert be the last for the sake of Malaysian classical music's future.

Glorious Tchaikovsky set by Abbado/CSO

2007-07-10T18:32:00.000+08:00

Tchaikovsky: 6 Symphonies
coupled with Marche Slave, Nutcracker (selections)
Voyevoda, The Tempest and Romeo and Juliet.

Chicago Symphony Orchestra
Claudio Abbado, conductor.

This probably isn't the best cycle in the market but to pass this up would be foolish. As usual when you hear CSO without their usual "in-the-face" bombast ala Solti, you might be forgiven to think they're the best band in the world as demonstrated by conductors who can "rein" them for example Giulini and Abbado. The CSO isn't just all about "teh greatest brass section in teh world," their winds and strings are top-notch as well and they have remarkable "chamaleonic" ability to form their own sound to suit works of different composers, for example French music under Jean Martinon, Eastern European sound when performing Mahler and so forth. There is the usual refined character of the "Abbado sound" which makes the CSO work the way he stunningly records the Mahler 7th. Take the Tchaik 4th symphony. The 1st movement is a little tad broad by usual standards (19 minutes) but the opening fanfare chords are momentous and if you think Abbado as being too restrained, listen to the development part of the first movement.

For those looking for pieces to brag to your friends about "teh awesomeness" of the CSO brasses should try listening to the Tempest overture, 2nd, 4th symphonies and also the 1812 overture. This set would not disappoint you if you're looking for a Tchaikovsky set free from homogenous polish of Karajan or the "drama queen" (drag queen rather LOL) excess of Bernstein DG sets.

Recording: 8
Technique: 10
Interpretation: 8

Shostakovich 5th rant

2007-06-06T22:57:00.000+08:00

I've grown used to the hype of Leonard Bernstein's celebrated recording of Shostakovich's 5th and 9th symphonies with the New York Philharmonic. Yeah, the composer himself witness Lenny conducted it in Moscow and although he did some "improvisations" with the composer's markings, Shostakovich himself was impressed. Yet as time passes, the recording got caught dated eventually (classicstoday gave it perfect 10 for recording sound, rofl!). The recording is as dry as a catacomb in egypt, which exposes some annoying shrillness, especially the hideous vibrato in the flute solo near coda of first movement of 5th symphony. There's no denying NYPO under Lenny kicked ass (otherwise NYPO is so overrated after him) and the finale of the Fifth is one roller-coaster of orchestral virtuosity but somehow I do not think he gets the work's emotional core. The terrifying march in the first movement lacked terror and the largo lacked emotional desolation. Just listen to Bernard Haitink conducting Concertgebouw Orchestra and you get the difference.

If like me, you think the recording is overrated here's one that is a breath of fresh air. Alexander Rahbari's recording with the BRT Philharmonic of Brussels is underrated considering how flooded the market is with number of well-played Fifths but come on, it's a steal at budget price! I love the way he steers the tempo of 1st movement's march with gripping urgency and the ethereal numbness in the concluding bars of the Largo. Better, the 9th symphony is my personal favorite. The Moderato movement seldom sounded so haunting and melancholic with underneath it bittersweet irony and dark humour. The following Presto is infectious thanks to brilliant wind playing. Although Bernstein's last two movements is slightly better, maestro Rahbari's overall conception of the Ninth won me over. Sure the BRT Philharmonic doesn't hold a candle against the NYPO, but then again the latter recording doesn't age well like a wine.

Bernstein/NYPO:

Technical: 10
Interpretation: 7
Recording: 5

Rahbari/BRT Philharmonic

Technical: 8
Interpretation: 9
Recording: 8

London Symphony Orchestra live in Kuala Lumpur

2007-05-08T19:24:00.000+08:00

3rd May 2007

Berg: Violin Concerto
Berlioz: Symphony Fantastique

violinist: Franz Peter Zimmerman
conductor: Daniel Harding (principal guest conductor)

I had knew when it was announced that the LSO was coming to town a year ago it would be quite an event, despite a bit of disappointment on the conductor's choice. The Dewan Filharmonik and it's audiences are aching for a Sir Simon Rattle, Bernard Haitink, Pierre Boulez, Nikolaus Harnoncourt, Claudio Abbado and instead of either seasoned conductors well-tuned with the LSO including new music director Valery Gergiev or Sir Colin Davis or Bernard Haitink (who recorded the well-raved Beethoven cycles with the orchestra) we got "unknown" Daniel Harding, despite the fact he recently debuted with Vienna Philharmonic and have conducted all major orchestras in Europe including Berlin Phil and Concertgebouw Orchestra. Mr Harding received mixed responses from critics and general consensus were he was exposed to big orchestras too early without experience of conducting or handling provincial orchestras. The great maestros of the past; Karajan, Reiner, Bohm started from scratch conducted in opera houses. Gustav Mahler being the most perfect example worked his way from a bath-house orchestra to being the first Jew leading the viciously anti-Semitic Vienna Philharmonic.

But even with a metronome giving beats on stage, the LSO proved why they're one formidable orchestral machine, with the same league and respect given to New York Phil, Berlin Philharmonic and Royal Concertgebouw. Their string section has no odd-ones out (unlike Malaysian Phil which the violas consistently outshine the first violins, pffft!), their basses growl with gothic German sound, their winds one of the finest in Europe and the brass section has the mean badassness associated with their American counterparts (notably Chicago Symphony). I mourn the fact I missed their Mahler Fifth and just imagining principal trumpetist Maurice Murphy playing the solo in Trauermarsch gives me the goosebumps. It wasn't totally in vain I managed to catch the second night which they played Berg's Violin Concerto and Berlioz' Symphonie Fantastique.

I have never heard Alban Berg's Concerto dedicated to "memory of an Angel" - the daughter of Alma Schindler, Manon Gropius who died tragically of polio. Nevertheless impressed by violin soloist Franz Peter Zimmerman's mastery command of the instrument and the quality of LSO's accompaniment I craved to purchase a CD of the work. In loud passages, noticably the violent beginning in the second movement the orchestral accompaniment did not overwhelm the violinist. The final chord almost "collapsed" due to shaky flute intonation but it worked out fine. Great first impression of the Berg concerto.

The LSO would have it's mettle worked in the Fantastique symphony. Harding directed the strings in the opening bars of Reveries, Passions to play as little vibrato or even sans as possible, giving a sort of HIP (historically informed practice) feel compared with vibrato-laden opening of most recordings. It's amusing to note at one point the first violins continued sans vibrato while the second violins on Harding's right played otherwise (the orchestra employed antiphonal violins which probably begin in tradition of performing Bruckner symphonies). I don't know if it was me or the whole movement felt like a rip-off of Charles Munch's direction with Boston Symphony, with it's flexible tempos employed throughout the movement. In Un Bal, the waltz is infectious and managed to get some audiences grooving and in Scene aus champs, Christine Pendrill gave an exquisitely beautiful solo

It's time for the LSO brasses to kick some balls for the remaining two movements. Harding employed a little bit slower tempos but it gave time for the brasses to knock our socks off, notably the growl of the trombones never sound that menacing in recordings. The songs d'une nuit de sabbat or Dreams of Witches Sabbath rarely sound phantasmagorically nightmarish as it was performed that night. Mr Harding mentioned about conducting Mahler that he laments today's generation of interpreters who "smoothened" out the crass textures and ugly sounds in his symphonies and here he drew a contemporary view of the work, while taking great effort exposing the audiences to various instrumental effects that would've sounded very alien in Berlioz' time.

But the very last was saved in the encore surprisingly. The LSO would've thumbed their noses at the thought of playing a Harry Potter theme or Superman. Mr Harding introduced the encore as "not a famous piece" in celebration of a 30th anniversary of a LSO veteran. Whom is he trying to kid? Maurice Murphy was employed in LSO thirty years ago and that year too, he recorded Star Wars with the orchestra. The whole hall was shook to it's core when the very first notes of the piece was blared and we're already imaging the credits ascending from out heads; "A long time ago in a galaxy far, far away....I was in that same hall when LSO blared FUCKING STAR WARS!!!". Not even the best sound system in the world can reproduce the sound of LSO blaring the theme...live. They blared the same encore the night before and I only had myself to blame. To the LSO members and maestro Harding...thank you for the experience.

P/S: I heard from a friend who attended a masterclass with (if not mistaken) John Lawley that Maurice Murphy was unwell and almost could not make it to the first night's performance and had to be attended by a physician before Dvorak's work. His will be the last tour with the LSO. All the very best and take care Mr Murphy.

Lars Vogt's Beethoven Concerto no 3 blows ass

2007-03-09T19:51:00.000+08:00

3 March 2007, Saturday 8:30 p.m

Beethoven: Overture to Consecration of the House
Beethoven: Piano Concerto no 3
Richard Strauss: Aus Italien

Lars Vogt, piano
Malaysian Philharmonic Orchestra
Matthias Bamert, conductor.

Lars Vogt's stature as a Beethoven pianist had been raved, especially since his recording with Simon Rattle and City of Birmingham Orchestra of Beethoven's Piano Concerto no 1 & 2 received quite some accolades. And I won't be surprised if the accolades come from the typical British Press =P...eg, this quote: "Vogt's high intelligence, physical daring and clarity of vision seem to gain in power with every performance." from The Times. My first impression was definitely more than disappointment. It's like listening to a first Lang Lang record.

It doesn't help that Matthias Bamert provided one of the most numb and bland interpretation of the introductory bars that I was tempted to look at my watch and count seconds before Mr Vogt made his first entry. The left hand triplet figurations was messy and at times the right hand was louder than the left and vice-versa. There are moments of what I call micro-management ala Simon Rattle that exaggerates some articulations particularly in parts of the third movements. Kiyomi Kikuchi's timpani playing further exaggerates the third movement by tightening up the timps to make it sound like battering ram(s) pounding my ears. Add further two "gay" audiences who can't resist tingles of orgasm everytime Mr Vogt tries some kinky moves(on keyboard dumbass) and it was harrowing. What made it worse Manchester United vs Liverpool was on that same concert night. Now stone me, please. To please what I assume typical Lang Lang asskissing goons who were squirming and yelping every time he went out and acknowledge the audiences, he pounded out Rondo alla Turca as encore.

The Aus Italien was ok, and it's evident how pale Matthias Bamert's leadership was compared with Kees Bakels. To his credit, the third movement was gorgeous but otherwise the other three movements was almost a snoozefest. I walked out with a great lesson; unless the greats Lipati, Richter, Michealangeli, Gould rise from their graves and perform at that hall OR either of these living pianists performed at that hall - Zimerman, Argerich, Volodos...please do not ever find an excuse to miss a great footie match for another British raved, overrated soloist.

Mahler 5th and 10th conducted by Rudolph Barshai

2007-01-23T17:24:00.000+08:00

Gustav Mahler

Symphony no 10 (Barshai edition)
Symphony no 5
Junge Deutsche Philharmonie
Rudolph Barshai, conductor

When Tony Duggan gave the Barshai Mahler 5th a verdict that it is his personal favorite, it created a buzz on the internet and Mahlerphiles were eager to lay their hands on that CD and listened to it for themselves what could be argued "the finest Mahler Fifth ever recorded". Some serious musicphiles will scoff at such hype, especially those accustomed with classics Bernstein/VPO, Barbirolli, Walter/NYPO and the credentials of an obscure conductor and a bunch of high-school music acedemicians. I won't be surprised if they changed their mind and reacted as if they found the Holy Grail after listening this recording, because in my opinion it is the finest Mahler Fifth ever recorded - period.

Gustav Mahler's Fifth Symphony has been likened to Beethoven's Fifth, both symphonies started from a bleak and dramatic first movements moving on to victorious and redemptive finale - a journey from dark to light. Mahler's Fifth however even though part of orchestra's staple warhorse (unimaginable since 1950s) is technically challenging especially the contrupuntal writing for strings and interpretively no conductor in my opinion, ever hold the disperate elements of the Fifth symphony as an organic whole. As Mr Duggan claims, some conductors focuses on the dark/tragic/dark aspects of the work but neglects the other fantastic/joyful/light aspects as well. Then there's even vice-versa where Bernstein/VPO's tragedy sounds merely melodrama although his Scherzo and Rondo remains unsurpassed, in my opinion. Barshai is the first and only conductor to successfully intergrate the five movements and three disparate parts as a continuous, organic flow and which I can imagine Horenstein, Sanderling and even Klemperer would do (sadly none ever recorded or even have interest in this symphony).

It is a bit quirky to attribute Barshai's conducting as similar to Klemperer as the liner notes claim, as both conductors interpretation of Beethoven's Eroica emphasizes clarity of form. And it is how Barshai successfully interpreted this Fifth symphony, by not wearing too much heart on sleeve and let the score (or rather the notes) do the talking. The vehemently violent, schizophernic 2nd movement ironically benefits from such approach...just hear how the strings dig the opening notes and the amazing balances of the wind and brass playing throughout the movement. When it comes to the Scherzo and Rondo-Finale, the playing is a little too controlled and calculated save for amazing brass playing but maestro Barshai made sure the tempos employed keeps the momentum flowing, unlike (forgive me) the often-raved Barbirolli with New Philharmonia which his Rondo-Finale sounds like Klemperer at his grumpy, trudging worst. If you're sucker for dynamic extremes, this recording won't disappoint - just listen to the "collapse" by the last few minutes of the funeral march and the tam-tam crash in the second movement will definitely knock your balls off.

I do not quite share Tony Duggan's enthusiasm that the Mahler 10th here is the finest ever recorded. Ensemble playing is a little shaky compared with the Fifth and the strings sound anemic compared with the Berliner strings in Simon Rattle's recording. Barshai's re-scoring of the unfinished work sounds fascinating, especially his use of xylophones but it sounds more Shostakovich than Mahler and I miss the intimacy of the Deryck Cooke version. The intimacy is more apparent in the last few minutes of the Finale where the orchestration is too dense and there's little dynamic contrasts. But these shortcomings do not make Barshai's conducting of this 10th symphony terrible. On the contrary, the re-touches for the Purgatorio is haunting and I like the final chords after the harp arpeggio which leaves the mood of betrayal more apparent. Simon Rattle's Mahler 10th is still fine, although the obscure engineering is frustrating and Kurt Sanderling's rendition with Berlin Symphony Orchestra remains my personal favorite.

Mahler 10th

Interpretation: 8 Technical: 8 Recording: 9

Mahler 5th

Interpretation: 9 Technical: 10 Recording: 10

Richard Strauss: Death and Transfiguration, Metamorphosen and Four Last Songs

2006-12-05T20:24:00.000+08:00

Four Last Songs, Metamorphosen (study for 24 strings), Tod und Verklarung (Death and Transfiguration). Gundula Janowitz, soprano. Berliner Philharmoniker conducted by Herbert von Karajan

Herbert von Karajan is regarded as one of the supreme interpreters of Richard Strauss' works and it is not difficult to know the hype about him. The homogenous and glowing sonority of the Berlin Philharmonic ensemble suits the nature of these works featured here respectively. Obviously the Crème de la Crème of this CD is the Four Last Songs sung by Gundula Janowitz which is cited as the benchmark of Strauss' last great masterpiece. Miss Janowitz' voice not only has silvery, creamy tone but the same kind of radiating, intense glowing sound that can attract and even repel as Karajan Berliners. Listen to these songs and go back to another classic recording by Elisabeth Schwarzkopf accompanied by Radio Symphony Orchestra of Berlin lead by George Szell on EMI. Here, Schwarzkopf's lack of Janowitz power and vocal intensity is obvious. Also obvious are the accompaniment by Berliners which their Radio Symphony counterparts are of no match but the sonorous homogeniety of this recording obscures much of the score's details and it is Schwarzkopf's recording with Szell that you should go back for more intimate, chamber settings and transparency. The shortcomings are no fault of Karajan, but this recording seems only to be done justice with on a very sophisticated sound system. The Four Last Songs here screams for a SACD release if you agree with me.

The Death and Transfiguration and Metamorphosen here has some sort of quasi-mystical aura about it thanks again to Karajan's guidance. For Transfiguration, the opening quiet passage has an almost otherworldly quality about it, which when followed by the thud on timpani, listeners are sent to hell, literally. The loud passages are scorching, and I mean seriously with the Berliner brasses matching Chicago Symphony's form. This Transfiguration here is one of the most intense of Karajan's recordings ever captured on record apart from the famous Bruckner 4th on EMI and live Mahler 9th on DG. One downside is the timing, at almost half an hour Karajan stretches far, far longer than his counterparts Kempe and Bohm whom recorded this work at 20 minutes average. It is most obvious at the closing passages, which seems to crawl forever.

Metamorphosen benefits from one of the very rare moments where we get to listen to the Berliner strings toned down. R.Strauss post-war study was written for 24 string players, mourning the destruction of city of Dresden during WWII. It is a stunning showpiece for Berliner strings, although I heard a later recording in the 80s (also with Death and Transfiguration) is even better and won a Penguin Guide "Rosette Award". But with great price and very lengthy playing time (77 mins), this CD is a must grab.

Technical: 10
Interpretation: 8
Recording: 8

Debussy: La Mer

2006-11-26T22:30:00.000+08:00

Claude Debussy’s symphonic poem La Mer is one of the most frequently performed work and a staple in orchestral repertoire. It’s familiarity earns its place among pantheon of warhorses such as Tchaikovsky’s last three symphonies and Beethoven’s Fifth symphony – in case sometimes familiarity breeds contempt as they say. Why? Despite its familiarity, the work still remains revolutionary yet tolerable in the ears of musically conservative. Note the opening notes at the beginning which the harp imitates Javanese gamelan for example and as Peter Gutmann explains in his analysis of La Mer recordings other traits such as ornamental lines tracing back to Bach, influences of harmonic range of Chopin and Straussian orchestral colour. It is a wonder conservatives like Toscanini championed the work while works of other composers in Debussy’s time such as Mahler and Second Viennese school composers (Schoenberg, Webern, Berg) gets harder attention. The work retains the form of a standard symphony as observed by critic Louis Laloy in its premier that “the three movements have role and form of a first movement, scherzo and finale of a symphony”. Yet the first movement for example, does not adhere to typical sonata allegro form and Debussy utilizes uses of motifs and imaginative (in terms of radical and unusual) orchestral writing skills to conjure various moods and impressions of the sea throughout the three movements.

Debussy actually intended to depict the “feelings” of the sea rather than reproduction of nature. The composer originally intended to become a sailor and was encouraged by his father who was an ex-Navy man who ran a china shop. His father’s business collapsed and young Debussy caught up in trouble and was sent to prison. Debussy was released after a year and he stayed with a friend of family, who happens to be mother-in law of poet Paul Verlaine. She steered Debussy to his destiny of being a musician by sending him to Paris Conservatoire and the rest is history. Even so, Debussy still retained his feelings to the sea, particularly when he ran away from his wife and seek refuge to his mistress at an island somewhere in the English Channel. A reproduced print of Hokusai woodblock print “The Hollow Wave of Kanagawa” gave him inspiration, particularly the curl of a giant wave and he asked his publisher Jacques Durand to reproduce the work on the cover of the printed score.

There are a few famous recordings of the work that I have listened particularly by one of great French music exponents Charles Munch’s record with Boston Symphony Orchestra. Herbert von Karajan’s recorded this work with Berlin Philharmonic Orchestra on both EMI and Deutche Grammophon labels and the latter I’ve heard exposes the work’s great elemental nature. The orchestra’s homogenous sound helps to greatly intensify the dynamic mood contrasts and the crescendos particularly on first and third movements are as powerful as the turbulence of the sea. Conductor Pierre Boulez’ recording with the Cleveland Orchestra is the my favorite and combining the maestro’s astounding ear for clarity, balance and analytical mind with the orchestra’s reputation of seamless orchestral blending and colour, the result is sensous. This is one of the very few classical recordings which literally is a feast of senses. The record boasts transparency and exposure of the score than many recordings yet sounds as focused and powerful as Karajan’s recording for DG.

Karajan/BPO (DG)

Interpretation: 8
Technical: 9
Recording: 9

Boulez/Cleveland (DG)

Interpretation: 9
Technical: 10
Recording: 10

Back with vengence! BBC Symphony concert review

2006-11-03T15:19:00.000+08:00

Hi. I suffered some Writer's Block crap and couldn't write for so long. Enjoy this review!

In one review of violinist Ilya Gringolts album, classicstoday.com writer Anastasia Tsioulcas wrote that, "Every season or two another teenage musician is put forward by the media, an eager label, or an even more eager manager as the next great violin prodigy, the worthy successor to the lineage of luminaries. Most of these youngsters have technique but no soul, marching in an endless parade of Sibelius and Tchaikovsky concertos, one performance (and performer) just like the last. " The paragraph concludes, "Unlike some other youthful blazes of virtuosity, he's the real deal."

My sixth sense was screaming for me to attend the BBC concert on Thursday night despite the fact I was so damned broke I'm owing my flute teacher a class fee (sigh...). the ticket was bought last minute and I was seated at the very, very front A row luckily at the center right at smack where the violinist is positioned to unleash his interpretation on Dimitri Shostakovich's Violin Concerto no 1. Every single cent of the 55 ringgit I borrowed from my mum was worth it, what more pitifully my violinist friends couldn't attend.

It took a little while to warm up at the first movement, Nocturne with Gringolts' light and a little detached sound. The BBC accompaniment towards the serene but apathetic and numb emotional music was superb. By Scherzo, his famed Russian-style aggressive robust approach unveils itself to the audience. The highlight of the concerto is the Passacaglia which contains a lengthy, yet complex and difficult cadenza (solo playing without orchestral accompaniment). At beginning of the movement, Shostakovich juxtapoxes Stalin/invasion theme from his Seventh symphony (Leningrad). Shostakovich composes that symphony during the terrible Leningrad invasion by the Nazis. In what seems to be depicting the terrible emotional agony of the war and persecution of Soviet authorites, Ilya Gringolts was very involved with the anguish of the composer, moreso during the lengthy cadenza before the last movement. Every single note was articulated well, but the coupled with fierce bow attacks and Gringolts demonic intensity the effect was devastating. The burleske movement which follows up concludes that concerto. I am convinced Shostakovich's violin concerto is not only a showpiece of technical prowess, but a powerful work of art and statement. It is to my amazement the 24-year old Ilya Gringolts, youngest winner of Premio Paganini competition displays such maturity and depth of interpretation that is very difficult to find for a guy at his age.

The BBC symphony played before that Smetana's My Fatherland from Ma Vlast and Igor Stravinsky's Petrushka after the concerto. It is typical of Czech conductors that Jirí Belohlávek conjures fine interpretation of the Smetana piece and the Dvorak Slavonic Dances encore that follows up next. The Petrushka isn't perfect, with complex notations that the BBC winds and brasses find it a challenge. Off-pitches, blunt and uncoordinated attacks aside, maestro Belohlavek highlights the Mahlerian brashness and sarcastic nature of the work and the flops are forgettable by second half of the work. For violin enthusiasts, they could've just gone home and skip the Petrushka to treasure what seemed to be a emotionally intense performance earlier.

Malaysian Philharmonic Orchestra plays Mozart and Mahler

2006-03-17T17:07:00.000+08:00

11 March 2006, Saturday
8:30 p.m, Dewan Filharmonik Petronas
Susan Platts, mezzo-soprano
Jeffrey Lloyd-Roberts, tenor
Matthias Bamert, conductor.

This year in Malaysian Philharmonic Orchestra's Mahler itinery features Das Lied von der Erde (Song of the Earth), the unofficial Mahler Ninth for tenor, mezzo-soprano and a large orchestra based on German translations of Chinese poems by Hans Bethge (1876 - 1946). Written in 1907, this is the first in a series of trilogy from the "late" period of Mahler's life where he was preoccupied with death as dealt with the Ninth and (unfinished) Tenth symphonies. That year was likened to three hammer-blows prophesized by the composer himself in his Sixth symphony (Tragic). He resigned from post as music director for Vienna State Opera and Vienna Philharmonic due to increasing opposition, his beloved eldest daughter Maria died from scarlet fever and finally diagnosed with a congenital heart defect thus putting a stop to all his beloved outdoor activities including swimming and mountain hiking. He was given the book Die Chinesische Flote(The Chinese Flute) as a gift from a friend and he selected seven poems from the book and set them into a composition. It is his unofficial Ninth symphony, because everybody knows he didn't name it one in order to cheat Beethoven's Grim Reaper =P

Das Lied, along with the first symphony, moulded me into a Mahler freak. Since the first recording of Das Lied(budget Red Line recording of Murray Dickie, Fischer-Deskau and Philharmonia led by Paul Kletzki), this work remains one of my very personal favorite. In my criteria of judgment, there are two kinds of Das Lied - spiritual and Straussian. The latter focuses on the brillaint chamber-like writing and orchestration while the former evokes the music based on the core interpretation of it's lyrics. Very few recordings and performances could get into the core soul of the work where the conductors, singers and even the players must feel their very mortality of their being when playing this work. Therefore when I went into this performance, I am expecting at least expected to hear how the winds of MPO fare or how at least the conductor tackles the fiendishly difficult "Ohne rucksicht auf das Tempo" (Without regard for the tempo) section where even Mahler was at loss at how to tackle it. Glad to say, the Malaysian Philharmonic proves itself to be a formidable Mahler ensemble and the experience of listening to Das Lied live is truly one of the most moving experiences in my life.

Jeffrey Lloyd-Roberts doesn't have as much Mahler credentials as his counterpart, Susan Platts. She recorded Das Lied with late Mahlerian Gary Bertini and have sung all alto and mezzo-soprano parts in Mahler's Nine Symphonies. In addition, Mr Jeffrey was struggling with his difficult tenor part, noticably the first movement where his voice almost broke at the verse "soll auflachend in die Seele euch klingen!"(...shall resound laughingly in your soul). But his efforts of interpretation were admirable, like his depiction of the ape crouching over the grave part which was chilling. His Von der Jugend (Of Youth) had good narrative quality, and in Der Trunkene im Frühling (Drunkard in Spring) the part where the bird sings of spring was sang in a child-like, naive manner. There's really huge differences when you heard Ja! Ja! (Yes! Yes!)and your eyes shone in delight.

Susan Platts reputedly learned singing under Christa Ludwig and Jessye Norman, so I wasn't surprised with her vocal quality and grasp of words which has a little influence from both masters. She had no problems mastering the required pianissimi for Der Einsame im Herbst (Lonely one in Autumn) and Das Abshied (The Farewell). Interpretatively she is no Ludwig, Baker or even Hodgson but for me that is asking too much. On the orchestra, the winds are marvellous; flutter-tonguings was effortless, the Oriental timbre-effect at Von Der Jugend and "Wunderhorn" squaks at Von der Schönheit (Of Beauty).

The Mozart Symphony no 40 was fine, decent performance. Thankfully no Romantic excesses, instead H.I.P tempos employed to zip through the whole work for half-an-hour even though maestro Bamert takes all repeats (for the record, the last repeat at Allegro Assai when observed, will turn the whole movement into almost ad nauseum =P).

Bartok: Music for Strings, Percussion and Celesta

2006-02-16T11:49:00.000+08:00

Finally after some long time, I have ample time to spend time on internet. I have three recordings to compare here, two by Chicago Symphony under direction of two different maestros and one by Berlin Philharmonics led by Herbert von Karajan. By all means my review would not glorify one recording and lambast another for one certainly cannot own just one recording of this work. All three are certainly fascinating in their own way although at the end, I cannot deny which recording is my favorite and least although the most inferior one is not to be entirely dismissed. By all means, all three certainly has it's own hits and misses.

Fritz Reiner's "landmark" recording needs no mention when it comes to it's popularity among other contenders in the market. Technically, it sounds unsurpassed when it comes to sheer brutality and rhythmic bite by the Chicago folks. Some critics also mentioned Reiner's affinity with Bartok and Hungary's cultural background thus the folk influence of the work is more apparent. The numerous gear changes in time signature seems like a cakewalk to them since it's easy for lesser-skilled conductors and their orchestras to slam brakes and slowing down just to prevent things from falling apart. Numerous praises heaped on this recording failed to mention some cons, notably the technical superiority of the Chicagoans and interpretation of Fritz Reiner. Their playing is so perfect that the tempo employed allow little for the music to breathe, and I have to mention this is most apparent in their recording of Beethoven's Coriolan Overture. As technically brilliant as the CSO strings, they lacked the muscle of Karajan's Berliners which is richer, intense, fuller and highlights Bartok's magnificent string writing like no other. Last but not least hile this record is much praised for recording technique that surpasses it's time, the sound is admittedly too dry and a little shallow in the acoustics. Boulez' DG recording with the same orchestra is on the contrary.

Pierre Boulez' recording with the same orchestra some forty plus years later sacrifices rhythmic tautness and a little momentum for clarity in details. The notion that Boulez is clinical to a point of being devoid of emotion is nonsense, of course. Thus, the melancholic gloom of the "Apollo" fugue of the first movement and the surreal, spooky night music of the third movement can be clearly felt. A little bit lost momentum in the fast movements robs the tautness and vigority one gets used in, say Reiner's recording. I particularly like the timpani better than the other recordings since's it has a little more punch but that doesn't save these movements from being a bit dull. Boulez approach works best for the spooky terrain of third movement's Nachtmusik. The climax centres around the combined arpeggio-like buildup of celesta, piano and harp and the textures presented are the best I've heard of all the recordings.

Lastly is the Karajan's Berlin Philharmonic recording on DG. This recording was recorded in 1969, so I am not sure if it's the 2nd or 3rd account here (other than the EMI version). This Karajan recording are for those who prefers emotion over the intellectual aspect of the work. If you think Fritz Reiner's account is overhyped because of it's coldness, this CD will probably appeal to you. Technically, rhythm is just perfect and not too overdriven. There are huge dynamic difference in the first movement for example, from the pianissimis rarely observed at the opening of the fugue until the mutes are removed where Berliner strings emerges uncloaked like ghouls crawling out from a grave. The last movement alone is worth the price of the disc with the opening bars executed with conviction, the dance interlude has best snap attacks ever and the agressive acceleration at the second subject will leave you breathless. Cons? The playing of celesta and piano seems a little bit weak and underperformed, but that doesn't mar the whole performance. Other "fillers" or "courses" like Reiner's Concerto for Orchestra, Boulez' Miraculous Mandarin and Karajan's Apollon Musegate are worth listening as well.

Reiner/CSO:

Technical: 10
Interpretation: 8
Recording: 8

Boulez/CSO:

Technical: 8
Interrpretation: 8
Recording: 9

Karajan/BPO:

Technical: 10
Interpretation: 10
Recording: 8

Hannu Lintu conducts Malaysian Philharmonic Orchestra

2006-02-14T12:11:00.001+08:00

Hannu Lintu, a Finnish conductor and a student of Jorma Panula at Sibelius acedemy conducts two weekend concerts here with MPO. The review here is the first week consisting of Stravinsky, Bartok and Sibelius. Somehow after listening to Karajan's BPO recording of Bartok's Music for Strings, Percussion and Celesta I've became a freak of that particular piece. Acclaimed as probably the finest piece he ever composed (apart from overplayed Concerto for Orchestra), I believe this masterpiece is best listened (and viewed) live, especially with particularly the innovative orchestral arrangements of two seperate string orchestra for antiphonal effect and central placements of percussion instruments.

The "appetiser" of Stravinsky's Symphonies for Wind Instruments starts off quite deliciously and the MPO stringless ensemble shows off myriad of various tone colours despite some weak attacks from the brasses. Particularly the lower brasses and basses are superb, the wind playing had fine phrasing. I'd definitely enjoyed this piece better than the boring London Philharmonic/Franz Welser-Most recording. When it comes to the highlight of the evening, I was ecstatic. The effect of muted strings in the first movement are good although the contrast are not as deliberate as the Karajan recording when the mutes are removed. When one first hear the celesta in a live concert, it can send spine-chilling goosebumps and the instrument responsed brilliantly to the fine accoustics of Dewan Filharmonik Petronas.

For the fast movements, Maestro Lintu and the MPO responded to the difficult rhythmic writings of Bartok and the antiphonal exchanges between two string orchestras are executed well with few minor lapses, or what I rather call "lags" but not too unsteady. The tempos employed are not volatile and hard driven, but thankfully not as cool as Boulez with his CSO in the DG recording. When it comes to the evocative and surreal third movement, timpanist Paul Thilbert's pedal-timp control almost cracked laughter throughout the whole hall when someone actually farted *whoops*, or rather creaked the seat. What followed made that up when the spooky violin solo episode came along. The background violin slides is highlighted instead of buried in the background as I heard in recordings and as it passes to the nightmare passage of harp, celesta and piano arpeggios to the central climax, it was truly terrifying.

I think it's rather difficult to get correct tempo for the opening of the last movement and along with Karajan, maestro Lintu managed to get that right. There was massive brakes when it comes to the dance interlude where it slowed down quite sluggishly and that was the only disappointing moment for the whole piece. Maestro Lintu ends the whole movement with massive ritartando, unwritten in the score but perhaps he didn't want the whole work to end so abruptly especially to n00bs (if you know what I mean). Overall, the Bartok was a great success.

The experience was dulled by some rather bombastic Sibelius, and maybe it would've been better to just walk home at the interval. I admire maestro Lintu's ability to draw wave after wave of pounding climaxes in crucial moments, but as much as exhilirating the accelerated race at the coda of first movement, it was vulgar. The winds didn't show the same commitment in Stravinsky as the slow movement with detached and sloppy wind phrasings. It shows MPO lacked ability in long-breath works like Bruckner, whatmore this symphony. At the third movement, the brasses dominated the whole movement to such extent the opening oboe passages was almost drowned by the horns. Not a particularly impressive Sibelius by a Finnish conductor if you ask me.

Some updates!

2006-01-25T12:38:00.000+08:00

I've been missing for quite some time, yet I've been deluged by great numer of recordings lately. To name: Bartok's Mraculous Mandarin and Music for Strings, Percussion and Celesta by Chicago Symphony led by Pierre Boulez, another Bartok's MSPC by Karajan/BPO (1969) paired with Stravinsky's Appolon Musagete, a charming Humperdinck's Hansel und Gretel by Solti/VPO and Schumann's 2nd symphony by Bernstein/VPO. Expect a review coming soon.

Eine Alpensinfonie

2005-12-16T12:51:00.000+08:00

Eine Alpensinfonie
Don Juan
San Francisco Symphony
conductor: Herbert Blomstedt

In a review of Karajan's same conducting of Alpensinfonie on DVD, John Quinn from Musicweb remarked that it is somewhat a maligned work. I do not know in general whether he is right, but I am not surprised since Strauss' orchestral repertoire is represented by these staple, often "bombastic" works such as Tod und Verklarung, Ein Heldenleben and of course, Also Sprach Zarathrustra. I have much more fondness for his less hyped works such as Symphonia Domestica, Aus Italien and of course this work. Alpensinfonie is one of the true great odes to Nature after Beethoven's Pastorale and the sprawling (often criticized as bloated) Mahler's Third Symphony. Originally entitled "The Antichrist", Strauss wanted the work as a "moral purification (rather) through one's own strength, liberation through work, worship of eternal, magnificent nature. (than religion)" In a sense, it reminds me of Mahler's Das Lied von Der Erde which has somewhat spiritual rather than religious overtones themed primarily on all-embracing Nature and hint of Zen Buddhism. But overall, Alpensinfonie is programme music no different than Beethoven's Pastorale and more absolute than Mahler's Third and First symphonies, which needs some narrative before it can perform on it's own - in my opinion.

The good thing about this CD is extra organ sonority I experience compared with other two i've heard (Bohm and Karajan)For example, I can hear some ascending notes from the instrument from the silent passage a few moments before the buildup to climax at Sunrise and also the solo organ chords at the peaceful interludes before the horn solo at Sunset. Blomstedt also manages to keep the programmic, episodic sprawling work from going too pedestrian with pace on swift side, especially the Brook episode and the long parts before the storm scene. Listeners familiar with this symphony would not want to doze off into slumber before then. Blomstedt's San Francisco symphony sadly, isn't Berlin or Vienna Philharmonics and they lack the extra sonority especially the brasses so lacking and the winds are slightly less than average though the string section is fine. Surprisingly, the Thunderstorm scene surpasses even Karajan in execution with differences - the brasses in Karajan recording is a little haphazard compared with their San Francisco counterparts.

There are tons of competition for this so-called "maligned" work with masters like Previn, Solti, Thielemann and Mitropoulos (Salzburg Festival) for VPO alone apart from the usual suspects; Kempe and Karajan. Look out also for Karl Bohm's most underrated version as well even though the climaxes and dynamics are muted and non-existent, it's one fine baby. For example the brilliant Wagnerian off-stage horns in The Ascent, not to mention the jaw-dropping string playing at the Waterfall episode.

Technical: 7
Interpretation: 8
Recording: 8

Schumann 4th and Furtwangler 2nd

2005-12-12T20:52:00.000+08:00

Schumann: Symphony no 4

Furtwangler: Symphony no 2

Berliner Philharmoniker

Wilhelm Furtwangler, conductor.

The Schumann 4th recording is one of the most celebrated Furtwangler recordings ever existed. It is no wonder why. The melancholy and sadness projected in the opening bars is enough to move a listener despite the old mono sound. Any criticism of the composer Schumann's ability to orchestrate is immedietly dispelled by Furtwangler's directive mastery. He balances and brought out various string parts and inner voices and the first movement is very Brucknerian in nobility. For a conductor who can bring out such wizardry from a mediocre symphony is a true testament of Furtwangler's genius.

Unfortunately, I think the recording is overhyped not through the fault of Furtwangler. My opinion is that the 4th symphony of Schumann is the most unremarkable of all his four symphonies - a pale shadow of one of the greatest symphonic masterpieces the 2nd and lacked the spontaneous youthful vitality of his "Spring" plus grandeur and nobility of "Rhenish" symphony. The weaknesses are apparent at the second and third movement where save the lovely violin solo, themes are recycled over and over to unremarkable effect (the beginning of Romanze reminiscence of the opening theme from 1st movement and Trio recycles the Romanze theme). By repeated listenings, the first and fourth movements stood by time.

As for the 2nd symphony of Furtwangler, I heard the 1953 VPO recording released on Orfeo and another by Daniel Barenboim/CSO is better. Even the maestro wasn't particularly happy with that recording. However, I think it comes out as a fine recording, even if I felt it was a little long-winded. Give it a thorough run through before deciding on buying.

Technical: 9

Interpretaion: 9

Sound: 5

Beethoven: Symphony no 6 "Pastorale"

2005-11-08T16:16:00.000+08:00

Beethoven: Symphony no 6
Schubert: Symphony no 5
Wiener Philharmoniker
Karl Böhm, conductor.

My CDs were stolen just yesterday since I left my bag at classroom. Along with the bag are my USB thumbdrive, Stravinsky's Rite of Spring by Leonard Bernstein/LSO, Rafael Kubelik's Dvorak symphonies 7, 8 and 9 on two CDs (DECCA and DG) and Furtwangler's wartime Beethoven 5 and 7. I hope those thiefs treasured those damned CDs because those were like my kids. I always shudder to think if the whole collection of my hard bought classical CDs were to wiped out in fire or something (bbrrrrrrr!!!).

Thankfully, I didn't kept this recording in my bag (I should've let my friend burned the Stravinsky CD beforehand). It is one of the most gorgeous recordings ever made. This is supposedly the benchmark of Beethoven's Pastorale, but then Klemperer and Cluytens had the same claim as well. I would go mad without this recording! After all, this has the best oboe soloist I've ever heard on record. Somebody please give me the name of that player!

The tempos employed in the Pastorale is swift, especially for the first movement which is contrary to the spacious, Zen-like approach by Furtwangler with the same orchestra. I always thought Beethoven's original tempo marking for the first movement is perfect, with it's clocklike momentum which isn't too rushed. But no complaints with Bohm and the second movement is literally sublime, you can doze off in countryside forever with gorgeous wind solos throughout. No sir, I don't think the VPO strings are dominant at all. The storm movement is furious and the Thanksgiving thereafter provided perfect end to one of the finest symphony ever written. As for the Schubert Fifth, it is a graceful counterpart to the Pastorale. I'd rather prefer Viennese approach and not too Germanic heavy-handedness for this work.

Technical: 10
Interpretation: 9
Recording: 9

Herbert Von Karajan (1908 - 1989): A Portrait

2005-10-17T12:29:00.000+08:00

Herbert Von Karajan was unquestionably the most hyped conductor on earth. He made more records than any other conductor on earth - 900 over commercial recordings according to James Wierzbicki (St Louis-Post Dispatch) not to mention videos. For core warhorses like Beethoven, he made recordings of his Nine symphonies no less than four times. He is easily comparable to Toscanini due to his MTV cult phenomenon, but Karajan has his advantage over the former due to advantage of digital technology. When he died, he left reputedly half a billion dollars worth in estates and his legacy of recordings.

When it comes to controversy, this man is more synonamous with the word. His Nazi membership debates rages on and some claimed he registered twice. Karajan registered in Salzburg at 8 April 1933 and according to Peter Guttman (classicalnotes.net) he re-enlisted again on May 1, 1933. What saved him from being labelled a total Nazi symphatizer was the fact he married during the war with someone who had a half-Jewish ancestry and Adolf Hitler's apparent dislike of him for conducting without a score. Later on he inherited the Berlin Philharmonic after Wilhelm Furtwängler's demise with addition of title "Conductor for Life". Accusations of his ego and authoritarian approach was plentyful. Musicians and singers complained apparently suffered from his "charisma" so to say. During a rehearsal of the Beethoven Triple Concentro with David Oistrakh, Sviatoslav Richter and Mtislav Rostropovich, Oistrakh asked Karajan if they could go over a passage one more time to which Karajan replied "No now it is time for pictures"1. Kiri Te Kanawa recounted in her biography during a Karajan rehearsal that he didn't even glanced at her once. And who could forget the infamous Sabine Meyer episode which eventually lead to irreconcilable rift between him and the Berliners for which he sought refuge to his "mistress" later, the Vienna Philharmonic until the end of his days.

In the biography, Karajan recounted a surreal experience as a child where when hiking through the mountains with his parents, he spotted a group of fiddlers playing a tune. Later on, a band of village drummers (all of them women) came barging from nowhere and surrounded the fiddlers. The head fiddler scampered away while his comrades stood there helplessly. The young Karajan decided that he would rather be a drummer than a fiddler. Karajan is cited having a background in percussion training which helped him as a conductor. The maestro admired Toscanini very much and he recounted hiding himself behind an organ when he came to rehearse. It doesn't take a fool to notice the "sheen" and showmanship which would be trademark and typical of Karajan that is similar to Toscanini.

The biography itself sets off in a pretentious, pro-Karajanesque tune when it comes to the Nazi episode. The narrator claimed Karajan was "indignant" when asked to conduct Horst Wessel - a Nazi anthem at newly invaded cities. Later on the video, it would touch on Karajan's efforts to help autistic children by bringing them to his reheasals. I could've been mistaken but I heard the narrator claimed some point during a Beethoven's Pastorale segment where Karajan wanted to "erase human suffering" or some sort - by his videos? The pretentious arse-kissing charade led the video being long-winded by second half. Besides video segments from Der Rosenkavalier, Claudio Abbado's rehearsal of a segment from Strauss' Four Last Songs and a showcase between two timpanists called "War off Drummers" which had little relevance to the biography, it is not helped with the narrator spewing philosophical mumbo-jumbo which "speaks" of Karajan's attitude to life. By the time we get to his "downfall", we get one last clip of a scene from Verdi's "Otello" and an abrupt move to a shot of Karajan's grave where the video ends. Most people who don't give a hoot about him would've probably fall asleep by then.

The video will appease Karajan fans and those curious of his life can rent it, I suppose. If you despise Karajan, you might want to stay away or risk gettinga stroke halfway. The video biographies of Toscanini and Solti are much better presented without the air of pretentiousness and such. In fact, I like the "personal" narrative account of Sir Georg Solti's biography. I do hope Richard Osborne's biography is more unbiased and detached.

So "better-Malaysia" ban my posts...

2005-10-14T18:56:00.000+08:00

In case if you want to know my comments: http://corgansow.blogspot.com/2005/10/regarding-my-posts-at-corrupted.html

This is a "blog" dedicated to classical music only. Thanks for reading.

Sibelius Violin Concerto: Which one is better?

2005-10-14T13:46:00.000+08:00

Jean Sibelius
Felix Mendelssohn-Bartholdy
Violin Concertos
Sarah Chang, violin
Berliner Philharmoniker
Mariss Jansons

Sibelius: Violin Concerto
Bruch: Scottish Fantasy
Midori (Goto), violin
Israel Philharmonic Orchestra
Zubin Mehta, conductor.

Asian performers came relatively "late", around 80s to 90s. The world first got noticed of a conducting wunderkind Seiji Ozawa when he took command of Boston Symphony Orchestra in the 70s. Later on, cellist Yo Yo Ma took the world by storm and by 21st century, steady new generation of Asian musicians emerged among them Lang Lang, Yundi Li, Akiko Suwanai, Jian Wang etc. But these performers I'm reviewing today are American-based Asian violinists, both of them gifted, sensational stars in their own right. Both learned in Juilliard School and students of an influential teacher, Dorothy DeLay who also taught Ithzak Perlman. Damn, both too won Avery Fischer Prize which is awarded to only one musician a year. So both of them have loads in common. The playing? That is why my emphasis in this review is on the Sibelius Violin Concerto.

Sarah Chang's Sibelius was recorded around 1998, if I'm not mistaken she was still pretty much a young urn at that time. As for Midori, she's far more mature by the time she recorded the album around year 2000. The differences are striking. Chang performed at the Philharmonie, Berlin - very problematic location and a nightmare for sound engineers. Her technique is no objection, but tone projection fares just average. Also almost every attempt at vibrato sounds tacky and the first movement, which the interpretation plays big part here comes across a bit tad mushy. Despite some stunning technical fireworks at the conclusion of first movement and impressive bow attacks at third movement, the whole work isn't much of a success. On the contrary with Midori's performance, the Tel Aviv hall doesn't pose much problems as the Philharmonie do with details of the orchestral backing much clearer and there's good balance between Midori and Mehta's Israeli band. Midori's sweet, caressing tone tackles the score quite sensually without slightest attempt as to make her interpretation "stand out". In short, she isn't quite as desperate as her younger colleague Chang in order to make a statement about the Sibelius concerto.

Obviously you will need to listen versions from David Oistrakh, Ruggiero Ricci, and the benchmark Jascha Heifetz performances to know the concerto better. It's a shame on me not having witnessed the Heifetz yet because I missed the last copy sold at Tower, only to be replaced with the SACD version. Sarah Chang isn't an overhyped performer and Yehudi Menuhin's superlative verdict on her being "most perfect" sounds a little bit over-the-top considering other talents out there like Vadim Repim and Gil Shaham, but the recording above proves a lesson the Sibelius isn't merely virtuoso showpiece like Paganini or Mozart concertos. Chang will come to Malaysia will Oslo Philharmonic to perform the Sibelius again and I hope her interpretation on the concerto has "improved", so to say. Midori's Scottish Fantasy is my only exposure to a Bruch masterpiece other than his one-hit-wonder (you know what I mean) and it's a warm, heartful interpretation just like the Sibelius. As for Chang's Mendelssohn, safe to say you can pass the CD and get her better ones, like the Goldmark and R.Strauss Concertos.

Sarah Chang:

Technical: 8
Interpretation: 6
Recording: 7

Midori:

Technical: 8
Interpretation: 8
Recording: 8

Beethoven Symphony no 5 and 7 (again)

2005-09-23T14:34:00.000+08:00

Beethoven; Symphonies no 5 & 7
Berliner Philharmoniker
Wilhelm Furtwängler

also available on Music and Arts and Tahra labels.

Deusche Grammophon became the first recording company to release Wilhelm Furtwangler's wartime recordings after acquiring it from a (then) Soviet radio archives back in 1989. The linear notes has it that Soviet troops who occupied Berlin took the broadcast tapes back to their country. Since the release, Furtwangler's name has been immortalised to some, as the greatest Beethoven interpreter. These two recordings made in 1943, were one of the most fiery and intense Beethoven interpretations of all time. Of the cliché "Fate Knocking on the Door" motif which shaped (and probably misrepresented) the whole symphony,Furtwangler's direction is synonamous with it. Each time the Fate motif is introduced, Furtwangler would exaggerate and propel it with additional weight. Such is the force and weight that permeates the whole movement when the motif implodes one last time before the coda, you can feel as if the battering ram has almost sucessfully shaken every foundation of a heavily barricaded door. The solemn Andante reminds listeners of the funeral march of Eroica and despite what seemed to be a grim time (at the period of recording) for the Berliners and Furtwangler, there is still an air of nobility and dignity.

The Allegro movement later on can be served as a metaphor of Hitler's reign and what comes on in the Finale as a prophecy of Allied liberation of Europe. In between, the Trio which Benjamin Zander exults it as some sort of dance of life becomes a grim parody of marching SS and Gestapo troops. Listen to how the basses dig their strings hard in here. The quiet passage before the "liberation" - the transition to Finale is disturbingly nervous and jittery and beyond it is a true climax where Furtwangler holds the crescendo longer than most conductors and pushing it to a breaking point of volcanic eruption. He gave slight pause and launches the violent, battle-laden Finale. Here is trademark unbuttoned Furtwangler and the "Liberation" we have here is contrary to optimistic direction of Carlos Kleiber/VPO - it is all gunfire, bombs and heavy casualty. At one passage, the orchestra hits a climax before the violins play a series of descending arpeggios and dies down to reprisal of the quiet passage of third movement. It doesn't happen before Furtwangler adds a sforzando (sudden piano before catching up with crescendo in dynamics) to a stunning effect. The movement ends with the coda guaranteed to grip you by the seat.

Furtwangler's authority on Beethoven is much lesser known in this Seventh Symphony. The opening chords strucks on us like a battering ram in the face. In a sense, one can already sense the whole interpretation of the Seventh symphony is almost equal to Shostakovich's Fifth symphony where one is forced to be happy, amidst beatings, torture and interrogation. So, the "apotheosis of dance" first movement is almost a grumpy, joyless exercise and the third movement even moreso with the trio being one of the slowest on record.

This CD (if you can find it) is worth purchasing for the Fifth Symphony alone. You'd better be off with more joyful renditions of the Seventh by Carlos Kleiber, for example although the Seventh is an intriguing document solely just to hear Furtwangler's view. Generally the symphony is sold as part of "Furtwangler conducts Beethoven" box set issued by Music and Arts label (available at Amazon.com) which also includes other wartime Beethoven readings, symphonies 3, 4, 6, and 9th. I hear Tahra also offers the recording, but you'll have to figure out more yourself. If you want to collect great recordings of the Fifth, you should not miss 1943 Furtwangler. Of course there is general complaint about the sound, but you'll get used to it.

Technical: 10
Interpretation: 10
Recording: 6 (pretty fine for a 1943 recording. Please note this rating applies only for THIS DG recording)

Historical recordings and their myth.

2005-09-13T15:04:00.000+08:00

Recently I've read an article lambasting one of great interpreters of Mahler. One nice guy pointed to me the latest "Jascha Horenstein-mania going extinct?" article. For those who're not familiar with the name, Horenstein was the figure behind the great Mahler revival in Britain and his recordings were consistenly featured as benchmark when it comes to Mahler. He was an opposite of what I call "MTV" conductors - Bernstein and Karajan. For Horenstein did not hold a regular post during his conducting life and his best came with recordings with London Symphony Orchestra. He is one of the few "wanderer" conductors who established his niche with lesser known ensembles - just think of Georg Tintner.

I do not have any personal vendetta against Mr Hurwitz. In another article "Historical recordings and business of selling garbage", he states; "The answer is simple: we are for great recordings -- period. This means no excuses or apologies when it comes to pointing out that some “historical” emperor is actually naked, however much his courtiers may protest or deny the obvious." He is the musical James Randi, an Eduard Hanslick putting on the skeptic hat. We've probably heard before "this Beethoven Fifth by Karajan is good, but I don't think it will surpass the xxx recording made by xxx artist". In a typical Hurwitz fashion he would reply, "xxx recording is bollocks. The strings are sloppy, the winds imbalanced and the brasses are out of tune. This artists disposes rubato like candy, it makes me want to puke. You're saying this Fifth is better than Karajan?" Well Karajan was a Nazi and this recording was made in a Jewish concentration camp, replied the fanboy. Typical Hurwitz response? LOFL, revered names and special historical circumstances does not a great recording maketh.

This is the problem with some classical music reviews these days. I remember the superlative remark Gramophone made "Aye, the only account worth doing justice to Bruckner's Sixth". They refer that to the Klemperer recording. What I hear was different, the rest of the movement was fine, but the Majestoso was ridden with interpretative fault to the structure. If you read my review, I remarked brass calls and the cross rhythms before the coda was sloppy. Fine interpretation, but doesn't deserve such stupendous superlatives. Some listeners were even disappointed with the hype and pointed out the Horst Stein account with VPO. I was also disappponted with another Klemperer recording, the Das Lied von der Erde on EMI. Never mind the recording took a few years with two different orchestras, the tempo was agonisingly stiff and numb and if not for outstanding two soloists (Fritz Wunderlich and Christa Ludwig) I would've dismissed the recording entirely. This same Das Lied got five stars from Amazon with not a dissenting review and David Hurwitz named it one of benchmark recordings. Whom are we kidding?

Let us be frank with bare facts about historical recordings. First, yes, they're recorded in really bad sound. Stereo wasn't invented until the 50s and digital era and introduction of Dolby noise-reduction methods didn't came until the 80s. Second, yes, the level of playing wasn't "perfect" compared with today's ensambles. Recording method was still at infancy and the performances we hear today comes from either direct, live and broadcast performances or studio sessions. Recordings at studios were alien to conductors. Take into account 78 RPM mediums could only store three to five minutes per side compared with compact discs and DVD medium which can store a continuous feed of a Beethoven Ninth without interuption. Now imagine the torture of Karl Muck's Parsifal recordings (circa 1928)! Nobody would've the sanity to stay back after the session to check for minor flubs and such and no surprise, conductors such as Furtwangler detested such conditions (despite one of greatest studio records he made, the Tristan und Isolde). In contrary, despite the length of today's CD medium, producers temper "live" performances with editings (using snippets from rehearsals or other performances). You would think musicianship of today is more superior than in the past, hogwash! You also have the post World War II aftermath where most ensembles like Vienna Philharmonic started off from scratch due to conditions after war. Economic difficulties made it hard for musicians to earn living, attract audiences, rebuilding concert halls whatmore finding budget to fund high-quality recordings. Third, perfection does not equal good music. You'll only need to hear Christoph von Donanyi Cleveland recordings to figure out "perfection" more of a sense it's too perfect, it's boring. I am not saying it's ok to ignore rehearsals and practice, but at the end of the day we play music, not simply reading scores or follow composer's instructions and make sure everything's picture perfect. Music is much more than that.

Hearing that, please bear in mind SUBJECTIVE musical tastes of classical music. You do not depend on a critic or rave reviews of a recording to make up your mind what is good and bad, you depend on your EARS and ears alone. Bearing that in mind, you also have to respect other people's preferences. Hurwitz' remark that historical collectors have nostalgia for dead things is an insult to all discerning classical music fans. It is as if to imply that these collectors are no different than brainwashed celebrities following Kabbalah cult.

There are few kinds of listeners in classical music. One are the sentimentalists or celebrity worshippers. This apply to misguided fan-cults to names such as Bernstein, Callas, Toscanini, Karajan who regard them as God Almighty and all others are judged before them. Two, the perfectionists who will not tolerate any minor flaws and flubs in playing and in Darwinian terms, if you suck you'd be better off cleaning windows elsewhere. Third are the spiritualists who overlook ensemble lapses for great musicality and original interpretations. The last ones are people appreciate music of all kinds, perfect or imperfect and do not need any reason or pre-requisites and bias to do so.

There is general misconception that people who listen to historical recordings are seniors or "experienced" folks. I am 22 years old and my idols are Furtwangler, Horenstein, Celibidache and Mitropoulos. I have listened to many great digital recordings from my own purchase of CDs, piracy to exchanges from friends, colleagues and relatives. At GAMEFAQS Classical and Jazz music board, there's two Furtwangler fan who is aged between 16 to 18. Now, do these people appreciate Furtwangler as if he's cool? Are they young sentimentalists brainwashed by British reviewers? I think both are Americans. Now there's also the "polar opposite" factor whereas if you like Furtwangler, you hate Karajan and so forth. Perhaps it's the elitist factor which Mr Hurwitz hate where we idolise so-called incompetent conductors as rebellion against well established, but overhyped names (the Radiohead-against-MTV factor). I love Horenstein Mahler and yet I do not hate Bernstein's Mahler though in my humble view, Horenstein is a more superior Mahler interpreter. I cherish Bernstein's VPO recordings of Mahler 5th and 6th, especially the latter which I take it as benchmark. If others think Lenny is more superior than Horenstein I can live with that. But Hurwitz' agenda to purge "incompetent" conductors like Horenstein is akin to a Nazi agenda of purging out all Jews from earth.

Mr Hurwitz, no need to cry wolf that Horenstein "cult" is dying just like Lebrecht crying wolf that the classical music industry is already heading to extinction. The sales of Mahler 3rd by Horenstein is 133,849 at Amazon.com, surpassing another benchmark of Bernstein's M3rds - DG 35,348 and Sony 113,931. Not to mention the Horenstein 3rd is out of stock and sold at ridiculously obscene price at US$30. The BBC releases of broadcast Horenstein recording only sparked further revival and establishment of Horenstein's authority on Mahler and also Bruckner.

Perhaps it is David Hurwitz's worry that must concern all of us; "Furthermore, an ongoing glut of “new” recordings by old, dead artists can only stifle the incentive to release new performances by living artists active today." The "new artists" could only strive harder. Eiji Oue's Das Lied von der Erde is a benchmark recording today, competing other established names in market - Bernstein, Klemperer, Horenstein, Walter etcs. David Zinman's new Beethoven cycle competes with other contenders like Karajan, Furtwangler, Bernstein, Szell, etcs. Who said who's stiffling who now?

Bruch Violin Concerto and Mahler 5th

2005-09-13T12:58:00.000+08:00

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.

Bruckner: Symphony no 8 by Pierre Boulez

2005-09-08T16:16:00.000+08:00

Bruckner: Symphony no 8 in C minor (Nowak edition)
Wiener Philharmoniker
Conductor: Pierre Boulez
Label: Deutche Grammophon/ TDK (DVD)
Recommendations: Horenstein/LSO (BBC), Guilini/VPO (DG), Maazel/BPO (EMI)

This recording was from live International Bruckner Festival at 1996, commemorating the birth of Austrian symphonist Anton Bruckner. A modernist and contemporary conductor handling one of the greatest symphonies in Late Romantic Austro-German repertoire is as queer as Toscanini attempting HIP Beethoven. Maestro Boulez was no stranger to controversy. You need to look back his debut at Bayreuth Festival performing under Chéreau s direction Wagner's Ring cycle at 1980. The reception was very hostile and reports were heard from the whole show performing without audiences, booes almost closed the opening night premiere and even death threats. At 1996, thankfully there was only skepticism but after the performance and eventual release of the CD, superlative acclaims were plenty. Many claimed the recording the finest alongside other VPO recordings by Karajan and Guilini. In fact, I don't think I have yet to find a critic who didn't like the recording.

I have to admit not listening to the CD and watched the DVD instead. Interestingly in an exclusive bonus interview, Boulez wasn't particularly interested in historical significance of the work and the background especially concerning rural Austria where Bruckner grew up and the biographical meaning of work to the composer. However he did share his views which was commonly perceived with the Scherzo that the continuous heaving rhythm is synonymous with daily labour of farmers in Austrian countryside. As usual with Boulez, he seeks to dispel the work's sentimentality and it's kisch. In fact this is an analytical, thinking man's Bruckner more to the brain than the heart.

Compared with mainstream interpretations, Boulez' tempo choices are swift as to stress the momentum and fluidity of the work. He is complete opposite of "Celibidache" school of Bruckner where the slower the tempo, the better. Only Inbal as I know approaches Bruckner like the way Boulez does (and he studied conducting under Celibidache). So you hear the first subject in Allegro Moderato flowing like reciting of lines from lied. The scherzo is employed with such licking pace that the momentum flows like clockwork. At one point when the tubas boomed, the sonority is almost unmatched. Tintner's approach, using a vastly different 1887 original score works the best.

The adagio isn't too much to my liking, but that's my personal opinion. I can appreciate Boulez' observation toward dynamics, the brilliant use of ritartandos and such but certainly the spirituality and humanity of Horenstein and Guilini gives them some slight edge. As with the Finale, Boulez handles the tempo transitions well without making big episodic statements in each transition. After the reprisal of the opening theme to the coda, Boulez is flawless here. The tense and nervous string passages here are weakpoints for conductors here who could rush and spoil the equilibrium of the movement but even at licking pace, Boulez and his Viennese counterparts handled it like cakewalk. The blazing final pages is sustained with strength and though light- years away from Horenstein's Valhalla storming direction, it is one the best accounts here. Let us not kid ourselves which medium is better. Screw the CD and experience not only sonic delight of VPO, but also visual feast of St Florian itself by getting the DVD. (Ignore my remarks if you're getting a SACD).

Technical: 10
Interpretation: 8
Recording: 10

My reviews from Amazon

2005-09-07T15:04:00.000+08:00

Few nitty, itty years ago, I write reviews for Amazon.com under pseudonym Ken Yong. Nowadays, unless I get a credit card to register a "real name", I am not permitted to access my accounts and write reviews.

Some reviews (maybe most or 100% or them) lacked substance, or just plain rant or lacked musical arguments. So, I will be posting some updates to my writings. Hopefully when I have sharpened my musical knowledge and journalism, the writings will improve vastly from the current crop here.

Ken Yong's Amazon Profile.

Bruckner: Symphony no 6, Wagner: Wesendonck Lieder

2005-08-22T14:27:00.000+08:00

Bruckner: Symphony no 6
Wagner: Wesendonck Lieder

contralto: Christa Ludwig
New Philharmonia Orchestra
Philharmonia Orchestra

Conductor: Otto Klemperer

Next target for ideal Bruckner Sixth: Wiener Philharmoniker/Horst Stein and Muncher Philharmoniker/Sergiu Celibidache

Bruckner's Sixth Symphony has been called the black sheep of the family. To quote an interesting article from en.wikipedia.org, "Whereas the Bruckner rhythm (triplet plus two quarters, also in inverted from: two plus three) is completely absent from the previous Symphony, in this one it permeates everything, appearing in the first movement in multiple simultaneous instances overlaid in divergent patterns resulting in rhythmic complexity. Perhaps the rhythmic difficulties of this work, especially in the first movement, are part of the reason why this work is so seldom played." The last movement poses another great difficulty as thematically it seemed irrelevant compared with previous three movements. Achieving unity and cohorent equilibrium to this work as whole will be a miracle itself. Klemperer was exceptional, but came close.

Critics have fired astounding superlatives for this recording. Gramophone claimed this recording is the only one that does justice to Anton Bruckner's most difficult symphony (read the claim at the back of CD). David Hurwitz from Amazon.com and classicstoday.com said; "Bruckner's Sixth by Otto Klemperer is one of these--a recording on which everything just went right." Oh, really?

One word of warning. With Klemperer as an interpreter, you have "grumpy", unromantic and unsentimental approach to Bruckner contrary for those spoiled by Karajan and Jochum. The first movement gets off on what seems to be a limping start on string triplets. This kind of trademark is probably typical of Klemperer but then the big march launches off with great majesty, without bombast, pomposity of any sort. Rest of the movement flows fine, even for the second subject. But when it comes near to coda where Bruckner employed cross rhythms and solo brasses here exchanged calls with each other, it isn't what is written in the score. Even a friend of mine, Mr Mark B Astendig who is a big Klemperer fan pointed out the flaws at that part. Shame since it's one of the most glorious, most Nature moments in symphonic writing.

The second part gets better fortunately. Here, this movement is always associated with Mahler in terms of melancholy and the tonal writing especially at the opening bars. Klemperer, an authority in Mahler excels in this movement. I adore his treatment of the second subject where there's great lieder-esque quality in string playing. The oboe playing sounds a little too individualistic however, just a minor gripe.

The taut and gritty Scherzo is also perfectly managed by a conductor of Klemperer's fashion. Tempo is slower than what I am accustomed, but the rhythmic underpinning is consistent and unrelenting so when it comes to the Trio transition, it is natural. Kudos to the maestro when it comes to the Finale, where the abrupt gear changes and tempo transitions are non-existent. It's a pity the Majestoso of the first movement could've used the same consistency.

I think the recording will probably unveil itself by time and repeated listenings. Not up to the hype, but I could understand the acclaim. Any doubts on buying this CD should be dispelled, because Wagner's Wesendonck Lieder here is a triumph that is unlikely of Klemperer. Why? There's playing of great passion and great romanticism (vulgar word for dear ol' Klemp). What more of a greater joy with the old Philharmonia and great German contralto Christa Ludwig. The highlight is a Straussian Schmerzen, where the lush strings are a feast to the senses. I still do not understand Walter Legge's disbandment of the old Philharmonia conducted by various greats such as Furtwangler, de Sabata, Toscanini, Cantelli and Karajan. If you ask me, I thought it was a tragedy that it happened. Nevertheless, with great CD cover design i think this CD is a steal even if it was not entirely perfect.

Technical: 9
Interpretation: 8
Recording: 9

Beethoven: Symphonies no 5 & 7

2005-08-18T13:51:00.000+08:00

Wiener Philharmoniker
Conductor: Carlos Kleiber
Label: Deutche Grammophone

Philharmonia Orchestra
Conductor: Benjamin Zander
Label: Telarc Digital

Beethoven's Fifth symphony is of no question THE warhorse of classical music. The market is bombarded with many of these recordings, I find it amazing if any conductor would've dare to record it again. That is because you'll have to be formidable to penetrate the elite interpreters of this work: historical interpreters such as Weingartner, Furtwanger, Klemperer, then masters such as Toscanini, Szell, Karajan and HIP (Historical Performance) interpreters Gardiner and Norrington. Even the latter had started to get congested in lists of recommendations, etc. No wonder for the 21st century, conductors have chosen Mahler symphonies as their next warhorses. You have something more to say about Beethoven's Fifth?! Better invest your time elsewhere, because I don't give a flying hoot about the Fifth when it's performed at my own backyard even if you give me free tickets.

Carlos Kleiber's recording tops the recommendation for this warhorse. Even if there are still subjective debates on whether it is the best or not, I am sure you wouldn't object his record to be introduced to anyone who is interested in owning his first record of Beethoven's Fifth. Son of another conducting legend, Erich Kleiber he was remembered for his elusiveness and pickiness when it comes to conducting. You can count yourself among the very elite if you witnessed him live. His appearance was so sparse, managers would've given him the world for him to lift up the baton (he requested a customed Audi for one of his last performances). But he was no sham and almost all of his recordings attained legendary status in a way he is compared with Victor De Sabata and short-lived disciple of Toscanini, Guido Catelli.

Carlos Kleiber's choice of tempos vary only slightly from the composer's controversial metronome markings. The Allegro con Brio for example, as Benjamin Zander noted, is merely eight points slower. There is a sense of momentum without being too hard-pressed or aggressive and the music speaks of nobility and epic drama almost without excess (the only excess is Carlos failing to ignore the dubious "Fate knocking the door" trend by lingering the last note of the famous da-da-da-duuuuummm). The highlight of this performance is surely the Finale, listen to the transition from Scherzo and notice how the maestro controls the crescendo - very few could make it right because either the orchestra climaxed too early, too sudden or the electricity snizzles off by the time the brass fanfare is played. Here the sensation is almost orgasmic, you should hear the Vienna brasses roar here.

Benjamin Zander's Philharmonia recording had been acclaimed for breaking the trend of the symphonies' treatment since Furtwangler's time (not really). In a way, the opening motifs of Allegro Con Brio is played refreshingly without the lingering knock of Fate. Here, you will hear "da-da-da-duuum, da-da-da-duuum" instead of "da-da-da-duuuuuuuuuuumm" etc to infinity. Coupled with Zander's observation towards Beethoven's metronome marking (crochet - 108), the movement is unrelenting in it's menacing drive. Unfortunately, the recording quality is opaque and the Finale is so devoid of depth and strength it will put you to sleep. What a waste, since the string interlude at Scherzo was more menacing than the VPO directed by Carlos and the piccolo arpeggio before the coda was brilliant in a way every note was articulated instead of slurred away.

How about the Seventh? The Zander here is more consistent than Kleiber in his approach to the score, but obviously maestro Carlos/VPO beat Zander/Philharmonia by miles. You can forgive him for rushing the persistent dotted figure for the first movement because his is packed with much vibrant bouyancy and fire. Listen to his Finale, where there is as much wicked playing as the finale of Fifth.

In the end, I think these two recordings are a must grab? Why? The Carlos/VPO recording is a legendary one at a budget price and the Zander comes with a free bonus discussion. The Zander talk about the Beethoven is illuminating, but Gardiner's HIP practice have predated before Zander. Still I can assure you the lecture disc is beneficial to eager classical listeners out there. You might want to discover David Zinman's latest hyped Beethoven cycle on Arte Nova for find what the fuss is it all about (thw writer will grab it in some time). Just ignore all the comments about Karajan, Toscanini, Szell, Abbado etc Fifth for some time and grab Kleiber's(Carlos) recording FIRST.

C.Kleiber/VPO

Technical: 10
Interpretation: 9
Recording: 8

Zander/Philharmonia

Technical: 7
Interpretation: 9
Recording: 6

Oh for the love of gawd.

2005-08-09T18:31:00.000+08:00

The government recently increased the petrol price by 10% and diesel 20%. This is the second raise in a year. Along with it, goes the classical CDs as well. I've lost my words to described when normal CDs from RM 34.90 have increased by RM 10.00 margin. Even worse are some single CDs selling at RM 64.90 when I think you can sell it at RM 49.00 or more or less.

Tower Records had been the only company to sell classical CDs in wide variety here in Malaysia. At other shops like Salem, MVM, Popular, etc they sell only typical "Mozart for babies" or mainstream crap designed for newbies who got weaned into pop music. Therefore I always shop at Suria KLCC branch at Tower Records.

It's a shame the idiots who authorised Brilliant Classics CDs here inflate their prices to madness. I've seen a Sviatoslav Richter single CD sold at 100 ringgit plus. The acclaimed Barshai-Mahler 2-CD set is sold at RM 119.90. compared with U$ 11 dollars plus I spotted at Amazon.com. I know Tower is not to be blamed (well, still partially. They sell CDs a few ringgit more than their other counterparts)...well now you get it why middlemen are the greatest conmen of all time.

Oh btw, FUCK YOU Tower. You sold a Brahms single CD of symphonies no 3 & 4 with Karl Bohm conducting Vienna Philharmonic at RM 54.90. It's under Eloquence series, which is even more absurd since each CD costs around RM 24.90. Hey wait, since it's VIENNA PHILHARMONIC why don't we double the price? I pity teh sucker who bought those recordings.

Now EMI's greatest recordings of the century CDs are sold at RM 44.90. Bleh, now I have to blled 10 bucks more to acquire the Dennis Brain Mozart Concerto. The RCA Red Seal series used to have similar price range with EMI GRoTC CDs. Now I see a Gunther Wand conducting Bruckner 9th with Berliner Philharmoniker sold at RM 49.90. Wait there is SO many Gunther Wand Bruckner to an extent there are 3-4 recordings for each symphony, frankly I don't give a damn.

(Update: The DG "Originals" CDs are priced at RM 39.90 while 2CDs at RM 79.90. )

Mahler: Symphony no 5, BPO/Karajan

2005-08-03T16:32:00.000+08:00

Mahler: Symphony no 5

Berliner Philharmoniker

Christa Ludwig, contralto
Herbert von Karajan, conductor.

Reference recordings: Mahler 5 - Barshai, Barbirolli, Bernstein (VPO)
Kindertotenlieder - Baker/Barbirolli, Walter/Ferrier

My first experience of Karajan's Mahler was his Das Lied von der Erde. If critics were right of their criticism of Karajan's take on Mahler, this recording was the pinnacle of it. Everything sugar-coated and fluffy, if it were a food you could instantly kill somebody on diabetes. But "herr Karajan"'s take on Mahler's Fifth was indeed a pleasant surprise.

I've grown to appreciate fine recordings by (teh underrated) Barenboim, Bernstein and Walter. I used to think Barbirolli's was overhyped until I gave it another few good tries on a vintage hi-fi and a score, thus it's acclaim justified. If I was not mistaken, Karajan's Mahler 5th and 6th were on top of Gramophone's top 100 greatest recordings of all time?

Here, you will find Karajan and the BPO at one of their rarest - rough, unbuttoned and unadulturated. The way the Berliners attack the opening chords after greeting the solo trumpet gives off a very military feel that I haven't heard in other recordings. Listen to a point at the movement marked "Suddenly faster. Passionate. Wild". Karajan unleashed his Berliners here like a pack of hungry dogs and when they approach the climax and dies down, you can really hear the strings writhe when they play the descending notes.

At the second movement the BPO digs deeper than most orchestras here at other recordings. Karajan balances the contrasts of funereal gloom and violent outbursts with considerable care. The typical Karajan's "gestalt" sound is nowhere to be found in the movement. There are excesses, especially the way he treated the quiet cello passage (dubbed by Furtwangler as "west's first nihilistic music) which lingered too long.

The scherzo begins with a sparkling lit, guided by bright sound of the glockenspiel here. Bernstein and his Viennese counterpart surpasses here and one cannot be helped here, especially at quiet moments where Karajan is a little too grim. At the adagietto, Karajan's timing here is 11 minutes plus but he doesn't follow the "Death in Venice" or Bernstein approach. Here, the meastro treats it rather as a rhapsody than a "Ruckertlieder without words"* favored by Walter or Barbirolli. There is no short of lingering tenderness and here the BPO shows off their lushness in string playing.

* paraphrased quote from Donald Mitchell

Finally, Karajan does no wrong at the Rondo-Finale (as almost every single Mahler 5th I've heard). There's joyous gait, but one could even doubt whether Karajan was sincere here. I could certainly do with that than Klemperer *shudder*. By the coda Karajan turned Bernstein here, accelerating the movement until out of control. It is one of rare reckless moment of Karajan and the Berliners and it reminded me of the last moments in the Finale of Brahms' Second of theirs.

You certainly won't find a Kindertotenlieder sung by Christa Ludwig coupled up with the Fifth these days (you can find it instead coupled with Karajan's studio Mahler Ninth), a lame attempt to milk money from 2 CDs. If Ludwig has advantage to her other counterparts Janet Baker and Kathleen Ferrier in this work, it is her natural pronunciation of German. The words "In diesem Wetter, in diesem Braus!" at the last movement uttered by her was chilling, even if driven by Karajan's fast tempo (which is akin to the beginning of first act in Die Walkure). Barbirolli's direction is more melancholic here and Karajan certainly can't match Walter's direction but it is fascinating to hear the maestro's approach on one of Mahler's most gloomy work. The Fifth is a classic "edge-in-your-seat" Mahler, but you may also consider Barshai's acclaimed recording with his high school German youths and Bernstein, also Barbirolli for finer approach.

Technical: 9
Interpretation: 8
Recording: 8

Berlioz: Symphonie Fantastique

2005-07-27T13:40:00.000+08:00

Berlioz: Symphonie Fantastique

Boston Symphony Orchestra
Conductor: Charles Munch

San Francisco Symphony
Conductor: Micheal Tilson Thomas

Includes filler: Love scene from Romeo et Juliette (Munch), Lelio/Return to Life (MTT)

Other recordings to watch: Mitropoulos (NYPO), David (LPO), Anserment, Monteux, Bernstein.

These days, Living Stereo CDs are a must grab. You get the best of ensamble/conductor combinations such as Reiner/CSO and the Alsatian Munch/BSO. These CDs rarely, and I mean rarely fall out of expectations and usually are cream of the crops in the market. Already, these CDs are not only remastered on SACD, but on Japanese superCD as well. These CDs are a MUST on library of reference recordings, for music students and fans of great orchestral playing etc. BTW, I didn't get paid by a BMG official to write these reviews. =P

The Munch recording, as I cite an Amazon reviewer - is one of examples of old school French conducting. The tempos are always swift, and tends to accelerate gradually and Munch's expressive podium antics are unlike typical stuff we do listen under the standard "German school" model; metronomic and on the safe side. Here under Munch, the first three movements are lyrical, moving and opposite of "stoic". You might also know that Symphonie Fantastique is an opium trip on a composer's obsession of a woman. Under direction of Munch it DOES sounds like a fantastic drug trip, not as hedonistic as any writings of Hunter S. Thompson in any sense. The "Witches Sabbath" movement is one of the fastest recorded, about eight minutes as opposed to standard ten minutes. Listen to the theme after the Dies Irae interlude and observe how Munch accelerates the tempo faster and faster until the end of the movement. Chaos spirals out of control and even though ensamble playing is pretty much loose, it's an great example of "unbuttoned" orchestral playing.

The Munch recording has been criticised lately and compared with a later recording with MTT/SFS. MTT's recording is even dubbed the best version of Symphonie Fantastique (don't dig this BS until you heard versions from Davis, Monteux at least) While I admit the Munch recording might've been overhyped, the new MTT recording doesn't match the passion of Munch's. I didn't like the detached articulations of the strings in first movement, for example compared with the way Munch coaxes different variations of bowing from the BSO strings. Both waltzes are equally exquisite and both had great harp playing at the beginning of the movement. MTT's pastoral third movement sags here as typically with most conductors. It is no surprising it becomes schmaltzy, self-indulgent tune of puppy love but under Munch; played with more flowing tempo, he brings off pastorale, country charm intertwined with sense of longing. The "Looney Tunes" intonation of the BSO brasses might be a turn-off to some people accustomed to full-blooded Wagnerian brasses, but by no means it's bad playing. Now MTT's band shines at these last two movements. The chilling E-Flat clarinet is at it's frightening best here, not even the BSO player could match.

If you happen to spot the recordings, give them some quality testing before purchasing. I still need to acquire recordings from Sir Colin Davis, Ansermet, Monteux and the elusive Mitropoulos (his Romeo et Juliette is classic). You can literally smell the "perfume" of Love in the "Love Scene" filler from Romeo et Juliette, although I still have affection for the Mitropoulos recording (review coming up). I thought the Lelio was forgettable, even as a "sequel" to Fantastique, you can well do without it.

I very much prefer Munch's recording even though MTT excels in the last two movements better for most people. But Munch's "eccentric" conducting for Witches Sabbath made me forget the cartoonish intonation of the brasses for once. There are also versions 1954 and 1964 for this work under Charles Munch and BSO.

Munch/BSO

Technical: 9
Interpretation: 9
Recording: 8

MTT/SFS

Technical: 8
Interpretation: 7
Recording: 8

Kees Bakels conducts Mahler Sixth in farewell concert.

2005-07-18T13:48:00.000+08:00

The season finale, the finale of all finales to Kees Bakel's reign at Malaysian Philharmonic Orchestra is Mahler's Sixth symphony. Kees Bakels had been a "hermit" Mahlerian, his reputation of Mahler only well-known to Malaysians here. But sometimes hype is misleading, especially since the only live Mahler performances I've heard is only under Bakels. So I doubt whether he could pull of the Sixth well. The brasses of MPO are fine, but it will take Malaysian Phil of at least standard of American orchestras like Chicago Symphony to pull off a convincing Mahler Sixth.

However, I took notice when a writer for classical music column in Malaysia's News Straits Times Edward Dorall reviewed Bakel's Mahler 4th performed three years ago as the best Mahler 4th he ever listened. Maestro Bakel's again astound me with his Mahler 7th last year, with finest Nachtmuzik movements I've ever heard, blowing off conceptions by Abbado, Tilson Thomas, Bernstein and Boulez. Can he pull it again for his farewell concert? One can note a certain irony here as Bakels is quite controversial too from rumours that he was a dictatorial conductor. I even heard rumours that one player complained that he "lacked humanity". So, maybe it is no nonsense Bakels knew what to do with his Mahler.

He even arranged for two versions of Mahler Sixth. The Friday concert has Andante Moderato preceeding Scherzo, as Mahler did on his premiere. He originally performes the conventional version where it's the Scherzo preceeding the Andante at Sunday, but changed his mind at Saturday. All three performances has three hammerblows retained.

In his final interview before the performance on Sunday which I attended, the audiences get to know Bakel's relationship with Mahler. Bakels is from Netherlands, and he remarked Amsterdam is closest to home when it comes to Mahler himself. The city's relationship with Mahler needs no introduction; Mengelberg and Haitink has led Concertgebouw as one of the finest Mahler orchestras in the world and Mahler's symphonies have been well-received when other parts of Europe had been cool to him. He talked of Mahler, the conductor for whom work obsessed his life until it eventually drove him to bad health and death. Of the Sixth, Bakels explained to audiences the order and equilibrium of first and last movements. These movements have two contrasting moods; the Allegro starts with tragedy preceeding joy and they pitted against each other until triumph prevails at the coda and Finale had the battle resumed, but as we know tragedy prevails - Fate triumphed against it's victimised Hero. There is also a certain curve wave as Bakels explain. The first movement has octave drops from high A to low A and the last movement is vice-versa if you listen to the main themes. Other things to expect are the Alma theme , and the strong influences of military marches that Mahler was influenced as a child. This gives audiences unfamiliar to Mahler how the symphony works.

Maestro Bakels gave solid and tension driven first movement and the only thing lacked were the distinction of dynamics. Benjamin Zander demonstrated with the same orchestra on mahler Ninth how he could achieve true pianissisimo when directing the Andante Comodo and it is one of the only minor weak points of the performance. The climaxes are fine, but the orchestra could use more pianissimos. The Scherzo is pretty much standard, but Bakes began to pull off his miracle when it comes to the Andante. He avoids a tendency of doing a "Bruckner" with the strings and the strings has independent voices on their own. Bakels managed the movement without pathos and sentimentalism of Bernstein, cool apathy of Boulez or patrician approach of Zander. A disturbing moment was a cellist who was seen either sobbing or probably coughing relentlessly before she retired halfway from the performance. Was she moved? I can say I was very moved. Oh, the cowbells were too intrusive by the way.

So here comes the Finale. The opening still doesn't surpass Bernstein's chilling approach (1988 VPO recording) but it does set precadent of things to come. Here I can say the brasses of MPO gave what probably is their finest hour. I am always sceptical of the brasses when it comes to Bruckner, but they're always their best on Mahler. The cry of disgust by solo horn on an A octave-leap is well executed before the music dies down and introduces a most grim main theme. The whole movement is total chaos, but without hysteria and over-driven like Solti. In fact, I think it is as gritty as Bernstein without his melodrama excess. The only theatrical moments are each time the percussionist shows up to deliver a hammerblow, and there's even a spotlight aimed at him where, above the orchestra on a balcony, he prepares the blow like an executioner and audiences will turn their heads and watch in fascination. How's the hammerblow? Bakels made sure each blow gets softer as Mahler directs, even if I disagree with the composer. So Bakels ends the coda with a heart-crushing climax and I felt drained and lifeless. So as the whole audience and only when Bakes came out the second time for his curtain call, only the reserved Malaysians gave him a standing ovation. 70% of the audiences stand up and gave Maestro Bakels applause. It is a performance where I have seen the most number of individuals giving a standing ovation and what a fitting end to Bakel's career, although for the choice of work, it is a little disturbing.

The Malaysian Mahler legacy started with a friend of mine, Hock Doong started Malaysian Mahlerites. When Benjamin Zander came to Malaysia, the players of Malaysian Phil were concerned about attendences to the Mahler 9th, and Maestro Zander made new Malaysian Mahler converts during his two-weel stay in Malaysia. Maestro Bakels strengthened audiences for Mahler concerts after his departure and on Sunday, I've seen many youths who're attending the performance. Maestro Zander's CDs had been consistently out of stock and sales of Mahler recordings had been quite well as I observed during these years. And I thank Maestro Zander and Bakels for their effort. I can only wonder how the new music director, Mattias Bamert, will do for next season's Das Lied Von Der Erde and Fifth symphony for Mahler. A legacy by Kees Bakels for Malaysian Philharmonic, and which it will be difficult to maintain. I hope maestro Bakels will record his Mahler.

Berlioz: Grand Messe des Morts by Sir Thomas Beecham/RPO

2005-05-19T13:53:00.000+08:00

Berlioz: Grand Messe des Morts

Richard Lewis, tenor
Royal Philharmonic Orchestra and Choir
Sir Thomas Beecham

BBC 4011-2

Benchmark recording: Munch/BSO, Robert Shaw/ASO (from popular opinions)

Note to listeners. If you're trying to pick your first recording of Berlioz' Requiem, you may want to invest with more costlier recordings out there if you want top notch digital recording. The famous Dies Irae here suffers from lack of impact due to obvious recording quality. Live performance = 1950s = mono = not very good. Only seasoned listeners who can bear mono quality recordings deserve to listen to this recording. Not that it is bad one.

The Beecham recording here is one of the cheapest (single CD) and regularly acclaimed by critics as one of benchmark recordings of Berlioz Requeim. That is understandable. The choir members are still warming up to the work by the first movement, but then they got down to business by "Quid sum Miser". Sir Thomas Beecham's choir gets into the mysterious but pessimistic nature of the Requeim by subsequent moments. Perhaps as the recording limitations shown, the choir suffers from some distortions, especially when the sopranos sing the high pitches of the work and Lacrymosa, a bizarre burlesque piece which can be a conductor's nightmare with it's 9/8 signature. Due to recording quality (again) the movement sounds a little muddled, nevertheless pleasantly pulled off well by Sir Beecham, particular the brilliant climax.

Quarens Me perhaps highlight the beauty of the choirs here, as composed "a capella" by Berlioz without the orchestra. Another great highlight is "Hostias" where the effects of solo flute and trombone chords is hauntingly effective. Tenor Richard Lewis sings well, but whereas for the women, there are minor pitch problems plaguing the Sanctus.

I'm not a fan of Berlioz requiem to note. If you have chance to test this recording, do so if you insist on buying.

Update: There is a recent SACD release of Munch's classic Boston Symphony recording of the same work with often-criticized sound improved and sold 2 CDs with a single SACD price. I recommend anyone interested in the Requeim to grab it, even for those without SACD players. The hybrid SACD is playable on all standard CD players.

Technical: 8
Interpretation: 9
Recording: 6

First review of the day: Zander's Mahler Fourth

2005-05-12T16:29:00.000+08:00

Mahler: Symphony no 4

Camilla Tilling (soprano)
Philharmonia Orchestra
Benjamin Zander

Benchmark recording: Szell/Cleveland (Sony)

Among all of Mahler's symphonies, the Fourth is described as his most accessible symphony. It tends to dwell onto more neoclassical side, and this symphony is often compared to Ninth Symphony in Shostakovich's cycle. Why? This symphony is least troubled of all his symphonies, like the Ninth symphony of Shostakovich a breath of fresh air from political nihislism and doom of previous symphonies. Yet there are still lingering doubts and shadowy figures typical of Mahler schizophrenia in the this work.

There seems to be alternating sequences for the first movement. One, a neo-classical tribute to Haydn and another sequence which is similar, but more sinister in fashion. As I understand from Tony Duggan's analysis, it is an examination of nature in childish perception. We have to understand this symphony is composed over a "leftover" from the Third Symphony, "Das Himmlische Leben" or The Heavenly Life. This song, taken from Mahler's Wunderhorn cycle talks of a life in Heaven, where there's plenty of food in Heaven where there's vegetables of every shapes and kind, fishes will swim up to your lap when you're hungry and there's not even objection at slaughters of heavenly sheeps. "Das Himmlische Leben" is probably a sequel to another song in Wunderhorn cycle where the little boy who longs for bread died as soon as his mother finished baking it. I would interpret it as an antithesis from the "death" themes which fascinates and haunt Mahler at the same time.

I had witnessed three recordings beforehand, Rafael Kubelik and his Bavarian Band from DG, Lorin Maazel teamed with stunning Kathleen Battle with Vienna Philharmonic and Bernstein's DG account with Concertgebouw if I'm not mistaken with a boy soprano. I am sorry to say I didn't exactly warmed up to either recordings as they sound rather the least interesting of Mahler's symphonies. That is until I borrowed this recording from my friend, Hock Doong.

I attended Benjamin Zander's talk on Mahler two years ago when he was invited to conduct Mahler Ninth for Malaysian Philharmonic. I asked him who is his favorite Mahler conductor and after some hesitation, he replied Jascha Horenstein. It is no wonder Horenstein's traits are present on the work, the minute details of the score exposed like a surgeon's unfliching exposure of body parts in an autopsy. Some complain of the lack of architecture of cohorence compared to two recordings I mentioned above. The previous recordings I listened to had continuous momentum of a Bruckner symphony, yet I feel as if I was merely strolling through the work. Observing animals in a national park compared to watching them on Discovery channel has big differences and Zander's approach is more towards the latter. Perhaps the only flaw Zander possessed in this recording is some excessive stretching of rubato and ritartando. The slowing down after the each "jingle bells" call on flute and bells seemed to stretched a bit too far, but fortunately not excessive to a point of self-indulgence.

The Scherzo is unique in sense that I challenge to see if there's any recording that could top that. Christopher Warren-Green's violin solo sounds very puppet-like and the whole movement sounds like a narration from a Grimm fairy tales book. Not surprising if this is the most chilling account here.

Zander's third movement mirrors that of Third Symphony's Adagio and I am reminded of Horenstein's spiritually moving account. Here it seems no different either. When the big climax came where the gates of Heaven is revealed, you could really feel you've gained first glimpse of an awesome vista. This, in my opinion, is a childish astonishment and discovery of glimpse of Heaven. Wonderful harp glissando here and wonderful thumping from the timpani, the movement gradually subsides peacefully to the last movement. Camillia Tilling is the perfect soprano here. Zander avoided the pitfalls that maybe a difficult criteria for choosing a singer here. Kubelik's Elsie Morrison is too mature and Bernstein...for the love of God Mahler did mention to avoid boy sopranos didn't he? Zander was guilty similarly in a performance sometime ago, but thank IPU he did not.

There will be always debates whether which soprano is the most perfect singer for Das Himmlische Leben or whether the violin solo in Scherzo is menacing or too over the top. I have yet to listen to George Szell or Paul Kletzki's recordings respectively. My friend Hock Doong should have the Szell recording and after I finish listening, the review will be up. The bonus lecture CD seemed to be least interesting despite his insightful lecture on Wunderhorn elements of this symphony. This is my personal choice for THE recording of Mahler's Fourth um, period.

Technical: 9
Interpretation: 9
Recording: 9

For my criteria of reviews, Technical(orchestral/soloist playing) and Interpretation (vision) are two intriguing points here. Some critics are notorious for shifting blame entirely towards the conductor for lapses of playing, particularly Jascha Horenstein. It is one thing to be Simon Cowell, but we're talking about individuals controlling at least 30-40 players here! We do not even know if the maestro had time rehearsing the work properly. Karl Bohm's Ein Heldenleben is example of a great intrepretation of what seemed to be the most narcisstic work of Richard Strauss. The playing compared with Rudolph Kempe of the same orchestra (Dresden) seemed sloppy, but Kempe's vision is too straightfoward and sterile. I don't need to mention there are too many "perfect" orchestral recordings today that are forgettable in their vision.

In my list, there's very, very few recordings that merits perfect 10/10/10 and most obvious would be Callas/Di Stefano/De Sabata recording of Tosca. I am also fond of Reiner/CSO recording of Mussorgsky's "Pictures at an Exhibition" and the Pines+Fountains of Rome by Respighi which has perfect vision, chilling orchestral playing and BEST recording remastering (how many stereo recordings of late 50s can sound that good?). Reviews will be posted as well. Keep reading!

Introduction

2005-05-12T13:21:00.000+08:00

This blogsite will consists of my rants and reviews about everything in classical music. That is not to say exclusively, but there would also be rants on rock, jazz and anything that is not spinned out from MTV garbage although my main focus would be on classical music.

I had been listening to classical music since the age of eighth and I buy average of 2 CDs per month. I've had great luck and oppurtunity, thanks to a good friend of mine who is president of MalaysianMahlerites, as well as other classical music fans - sharing their records with me. My core composers are Mahler and Bruckner, not surprising trend these days, but that only in core sense that there's a lot to discuss from these composers. Yes, Mahler is still the current cult thing. There's so much jolly and fun discussing who's the best conductor, what's the holy grail recording, how would one approach his scruptulous demands on score, ambigous tempo changes, to usual fanatical obsession on his biography and aspects of life. But there's more than that, do we?

I am 22 years old, and compared to more seasoned albeit older reviewers who may be half a decades more older, I come to be more inexperienced. My music credientials is sparse to say at least, grade five in theory and practical in flute. I do have some experiences on conducting - an amateur orchestra. But I'll be damned to keep quiet on my rants on music. There will be time after 20 years, I write better, more unbiased, more concise, more scholarly reputable articles/reviews and obviously better English. But the hell should I care? Also if any of you can't dig my rants, there's always plenty of other reviewers to read, Amazon.com has plenty. Also some other sites:

Musicweb, formerly Musicweb UK(contains the famous Tony Duggan Mahler recordings survey): www.musicweb-international.com

The most comprehensive (and not necessarily best site out there) classical music reviews site:
www.classicstoday.com

Peter Gutmann's Classical Notes webby (contains comprehensive biographies and articles on Bernstein, Furtwangler and Celibidache): www.classicalnotes.net

Singapore's premier site on classical music and other arts: www.inkpot.com

Classical Music Guide (with forum): http://www.classicalmusicguide.com/rreviews/rreviews.htm

and finally you can always do good work by surving on Google, best damn thing on web. Just enter: + reviews and click.