Tuesday, June 27, 2017
A summit reached at the end of a long journey : Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well planned programme, of much loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish. Boesch and Martineau began at the peak, with Schubert's Der Wanderer D493, (1816 Schmidt von Lübeck). "Ich komme vom Gebirge her". A deceptively simple phrase, but delivered by Boesch with great authority, for this song is the quintessential symbol of the whole Romantic revolution. The song is itself a journey. The resolute beginning gives way to desolation, then to the short, lyrical rtst "Wo bist du, wo bist du, mein Geliebtes Land". As Richard Stokes has written, the song "takes the form of a short cantata". Boesch's flexibility allowed him to mark the transitions clearly without sacrificing the line. In the last verse, his voice moved from firmness to despair, descending to ghostly whisper, so the last words rang out with anguished finality, connecting the last verse with the first. One of the most rewarding Der Wanderers I've ever heard, and I've heard hundreds. With its regular, repetitive lines, Der Pilgerweise D 789 (1823). can sometimes sound undistinguished, but Boesch and Martineau brought out its depths. The pilgrim is a beggar who struggles on though "Thread after thread is torn from the fabric of his happiness". So why carry on ? No mention of religious faith in this text, written by Schubert's raffish friend Franz von Schober. Perhaps this pilgrim is the epitome of an artist, driven to create. He's poor but has the gift of song. Boesch coloured the words with gentleness, suggesting quiet strength. Rewarded be, those who hear the song so well interpreted. In Der Wanderer an den Mond D870 (1826, Seidl), Martineau depicted the steady tramping pace in the piano part, over which the vocal lines floats with carefree lyricism. In some ways, this song is the opposite of Der Wanderer. In the context of this programme, we were looking backwards before moving forward. I had wondered why Boesch's body language had become quite jaunty towards the end of Der Wanderer an den Mond. This fitted the upbeat mood, but was also proved a good introduction to An den Mond (D468 (1816,Hölty) Provocatively, Boesch spoke a few words before starting. "What's this song about ? Who,is dead, the girl, or the man ?" It's a curious poem, with an unidentified protagonist gazing down from the sky. Who is weeping on who's grave ? A stimulating approach. There's no reason Lieder should be grim and stiff. Perhaps this was a song Schubert played in the company of friends, enjoying themselves for sheer pleasure. Two more happy songs: Der Zufriedene D320 (!815, Reissig) and Der Weiberfreund D271 (1815, Abraham Cowley, translated Ratschky). The first concise and pointed, the second second risqué. From contemporary drawings, we can assume that Liederabend audiences were open minded. Endless variety: the pious An Die Natur D372 (1815-6, Stolberg-Stolberg), with Bundeslied D258 (1815, Goethe0. Schubert treats this as drinking song, while Beethoven, setting the same text, makes connections to the drinking clubs of then time which fueled political action. Thus Boesch and Martineau ended the set with Lacheln und Weinen D777 (1823, Rückert). Laughter and tears - the landscape of Lieder is vast and varied. Der Seig D805, (1824 Mayerhofer) is an anthem, but its brave front is disguised by references to classical antiquity. The protagonist has slain the Sphinx. The song resumes in repose ("O unbewölktes Leben !") but the way Boesch sang the critical linen "Und meine Hand - sie traf" haunted the peace with a sense of horror. Two songs of Spring, Frühlingsglaube D686 (1820 Uhland) and Im Frühling with An den Schlaf D447 (1816, anon) and Abendstern D 806 (1824 Mayerhofer), beautifully articulated by Boesch and Martineau. This set of songs was balanced by the final set, with Prometheus D674 (1819 Goethe) and Grenzen der Menschheit D716 (1821 Goethe) , powerful songs which Boesch van sing with authority, all the more moving because his approach can evoke more sensitive feelings. Limitations of mankind, for men are human, not gods. Thus the unforced elegance of Boesch's An den Mind D296 (1819, Goethe and the tenderness in then two "motherhood" songs, Grablied für die Mutter D616 (1818 anon) and Die Mutter Erde D788 (1823 Stolberg-Stolberg). It's surprising that this song isn't done more often as it exemplifies many of the themes in this Wanderer journey. The piano introduction is finely poised, suggesting slow footsteps "schwer und schwül". In the moonlight, someone is being buried. Diminuendos and a minor key, but the mood is "erhellt von sanfter Hoffnungn Schein" Mother Earth holds us all. Death ,does not triumph. This concert was being recorded live. If it's released, this song will be one of the highlights. Boesch and Martineau's encores were An den Mond D296 (Goethe) and Nachtviolen D752 (!824 Mayrhofer).
Tunisia, in fact, is relatively relaxed by Arab standards about female dress. The reason for the ban does, however, have to do with star Gal Gadot (and it will probably make you mutter, "Gawd, not that again").
The German violinist, 54 next month, celebrated an anniversary today at Salzburg Whitsun Festival. Festival President Helga Rabl-Stadler, Cecilia Bartoli, Anne-Sophie Mutter. Photo: SF/Marco Borrelli Press release: “On 29 May 1977, this stage witnessed a Pentecostal miracle in music. Herbert von Karajan, to whom Salzburg owes so much, including this very theatre, invited the prodigy violinist to perform even before her 14th birthday. She came, played and conquered audience and reviewers. And thus it has remained ever since,” said Helga Rabl-Stadler. The Festival President thanked Mutter for this morning, which was not merely an “event”, but a musical highlight that was going to live on in the consciousness of all those present. She called Anne-Sophie Mutter a discoverer, enabling new interpretations of supposedly familiar pieces. Anne-Sophie Mutter also briefly addressed the audience, commemorating Herbert von Karajan, with whom she worked for 13 years until his death, recalling how he would often ask her to join him shortly before a concert, to keep polishing details of their interpretations. Cecilia Bartoli, whose birthday is today, was celebrated by the musicians and audience with a rendition of “Happy Birthday” before the audience again broke into rapturous applause. After Anne-Sophie Mutter’s anniversary concert, Cecilia Bartoli hosted a Charity Lunch at the Karl-Böhm-Saal. The award-winning chef Johanna Maier and her sons treated the guests to an early-summer menu created especially for the Festival. Net proceeds will be donated to the Salzburg Festival’s education programmes and the Anne-Sophie Mutter Foundation.
Date/ Time: May 27, 2017; 8:00 PM Venue: Berlin, Philharmonie Herbert-von-Karajan-Straße 1, 10785 Berlin, Germany Performing artists: Berliner Philharmoniker Conductor Riccardo Muti soloist: Anne-Sophie Mutter, violinist Program: Piotr Ilyich Tchaikovsky: Violin Concerto in D major op. 35 Symphonie Nr. 4 in F minor op. 36 Tickets Berliner Philharmoniker Herbert-von-Karajan-Str. 1 D-10785 Berlin Tickethotline: +49 – (0)30 254 88 999 – Fax: +49 – (0)30 254 88 323 e-mail: email@example.com
America’s most talked about young composer receives her first showcase in London on September 5. Details of the BBC Proms have just been released here. Other highlights includes two Vienna Phil concerts, with Daniel Harding and Michael Tilson Thomas, a brace from the Concertgebouworkest and their new music director Daniele Gatti, a pop-in from Pittsburgh with Anne-Sophie Mutter and from the Stockholm Phil with Renee Fleming… and debuts from the Cincinnati Symph and the orchestra of La Scala, Milan.
Music director Andris Nelsons has four weeks of concerts coming up, four weeks of the highest talent. Mitsuko Uchida plays a Mozart concerto as prelude to a Bruckner symphony. Radu Lupu makes one of his rare appearances. Anne-Sophie Mutter plays Tchaikovsky and Takemitsu. Kristine Opolais features in Mahler 4, in a concert that also features Leif Ove Andsnes. When did the NY Phil last have a music director or manager who could summon such a concentration of talent and such a focus of content?