Monday, August 29, 2016
The Staatskapelle Weimar suffered a tragic loss yesterday with the sudden and unexpected death of first Kapellmeister, Martin Hoff. Martin was 52 and the cause of death is not yet known. A student in Dresden of Hartmut Haenchen and Siegfried Kurz, he joined the Weimar ensemble in 2004 as a proficient rehearsal conductor, preparing his first Ring cycle in 2008 and conducting five complete cycles. He also taught conducting at the Academy of Music Franz Liszt in Weimar. This is the second tragedy to befall the orchestra in less than two months. At the start of July, first violinist Irina Zwiener was bereaved of her husband Hendrik, a cellist in the Leipzig Gewandhaus, in a road accident. Two days ago, Irina gave birth to their child, a baby girl.
You may remember that last year I reviewed a film called "La calle de los pianistas" ("The pianists´ street") about the particular relationship of a family of pianists who live in Brussels next door to Martha Argerich´s house. It centered on the dialogues of a mother, Karin Lechner, and her daughter, Natasha Binder, plus interventions of the teenager´s uncle, Sergio Tiempo, and of Argerich. All of them are inhabited by music and the piano, and have been so since they were almost babies. Let me introduce some personal notes, for their past mingled with mine in two periods. This is the dynasty founded by Antonio De Raco, one of our best pianists, and Elizabeth Westerkamp, pianist and teacher and still alive at 102. They had two children and one of them was Lyl De Raco, a talented pianist who oriented her life to teaching of a special kind: children, including her own. When she was eighteen she had a friendship with my sister and played at our Pleyel. Afterwards she married Jorge Lechner, an admirable pianist who was an important repetiteur at the Colón, and their daughter was Karin. Antonio De Raco then lived at the same Palermo building of my mother, and Karin was about seven when she became inseparable with my niece, who lived with my mother; forty years later they are still close friends. Lechner had an untimely death, and Lyl remarried, with the diplomat Martín Tiempo (son of the writer César Tiempo). He was posted to Venezuela, and it was there that Sergio Tiempo was born. And of course, he too was a pianist. And then Karin grew and married; Natasha Binder was born and followed the same road as her mother, grandmother and uncle. And Lyl took Natasha as a special pupil. Karin and Sergio, either separately or together, made frequent tours to BA. And then came the surprise: Natasha Binder, nine years old, inaugurated seven seasons ago the BA Phil´s subscription series with Grieg´s Concerto, amazing the audience. Now she is sixteen and her career is launched. Enrique Arturo Diemecke, in his twelfth year as Principal Conductor of the Buenos Aires Philharmonic, had the idea of giving all five Beethoven piano concerti with different pianists. Two veterans played Nº 1 (Philippe Entremont) and Nº4 (Bruno Gelber). And in the Colón concert of August 25 we heard Nº2 with Binder, Nº3 with Tiempo and Nº5 with Lechner. For some reason the half-brothers interchanged concerti, for Sergio was supposed to play Nº5 and Karin Nº3 ; Diemecke announced it. This concert was an interesting experience, for it allowed the public to appreciate three Beethovenian compositional styles, but also because three players of formidable technical ability and of the same family gave very diverse readings. As the aforementioned film makes clear, there´s great love between mother and daughter, but Natasha has strong temperament and in the final analysis, although she hears the wise counsel of Lyl and Karin, she plays what she feels. By the way, Nº 2 is a favorite of Argerich and she played it last year with Barenboim. Contrary to what many say, it has little influence of Mozart and is already unmistakeably Beethoven, although it was written when he was in his late teens (the big cadenza was certainly added much later; it is in the dramatic style of the "Pathetic Sonata"). Natasha was firmly in charge fron the very beginning, with clean strong playing, perhaps too assertive but always musical. She managed the cadenza with bravura. The slow movement was sensitive, with delicacy of touch. But I differ with her very fast tempo for the final Rondo, marked Molto Allegro, not Presto as she played it. With so much speed the music lacks air and the orchestra has a hard time. Sergio Tiempo has immense technical ease and shines with authors like Liszt, Ravel or Prokofiev, but his very modern and idiosyncratic ways go against the grain of Beethoven´s requirements. Yes, Nº3 is dramatic and powerful, but not willful, and that´s what we heard: a constant adding of extemporaneous accents, rushing, disregarding the score. He calmed down in the slow movement, where he showed his fine toucher. It was an oasis before the final Rondo; after leaving no space between second and third movements (ugly harmonic clash), a headlong run, dazzling but empty. It remained for Karin to put things right and she did, in a beautifully balanced and played Nº5 ("Emperor"), scrupulously faithful to the score and immaculate. She even gave a perfect reading of the strange galloping rhythm of the final Rondo. In fact, her Fifth has my vote as the best performance of the whole cycle. Diemecke adapted himself to the contrasting styles of the performers and conducted solidly the extensive orchestral introductions, notwithstanding some poor solo playing (e.g., the bassoon). It is a curious thing that Karin and Sergio have very different styles playing separately, but are completely unanimous when they give two-piano programmes. Both look much younger and have a playful disposition. It was a nice idea to give us as an encore, along with Natasha, four-hand Ravel: "Les entretiens de la belle et la bête" ("The conversations of beauty and beast") from "Ma Mère l´Oye" ("Mother Goose"), displacing each other from the stool in a funny way, for all three played in turns, and beautifully. For Buenos Aires Herald
Royal Albert Hall, London Marin Alsop led the São Paulo Symphony in bright, idiomatic performances of the Brazilians Nobre and Villa-Lobos, but there were longueurs elsewhereMarin Alsop has raised the standards and profile of the São Paulo Symphony Orchestra to new levels in recent years, but this Prom, midway through a short European tour, sometimes felt like a date too far in a crowded schedule, which also included a late-night Prom of Brazilian popular music.Alsop’s energy on the podium is unflagging and her driving performance of the Brazilian composer Marlos Nobre’s crisply rhythmic Kabbalah was a promisingly idiomatic start to the evening. But with both Alsop and the soloist Gabriela Montero making unduly heavy weather of the Grieg piano concerto, things sagged. Montero’s tendency to slow the phrasing, particularly obvious in the opening movement, was the chief culprit, but it added up to a performance that never really took wing. Anyone who heard Martha Argerich re-energise another warhorse concerto, Liszt’s First, in the same hall last week could hardly fail to notice the contrast. Montero’s encore, a witty improvisation on Land of Hope and Glory, had the panache that her playing of the concerto had lacked. Continue reading...
I won´t mince words: the most important tenor chamber recital in more than four decades. Jonas Kaufmann, a week after the ill-planned ending of the Barenboim Festival, came back for a song session (mainly Lieder) with his longtime accompanist, Helmut Deutsch. And this time he sang a perfect programme with groups of songs by Schubert, Schumann, Duparc, Liszt and Richard Strauss. This was at the Colón on last Sunday´s afternoon and for the Abono Verde. He had the support from the beginning of an anxious, knowledgeable and packed audience, who grew more and more enthusiastic. What happened after the last note of Strauss was an euphoric delirium as an incredible string of seven encores, proof not only of generosity but also of joy and gratitude, allowed us to hear him in opera and operetta. Kaufmann had conquered Buenos Aires with the highest vocal art; he demonstrated that, here as in Europe, the audience discriminates and not only reacts to tenors with splendid high Cs. Kaufmann is a linguist: Munich-born, his Italian is quite good and his French admirable. His memory is faultless: I followed with a score the majority of the songs and his always clear diction never missed a syllable; and, like that ideal baritone, the young Fischer-Dieskau, he gives dramatic sense to all he sings without ever going overboard, and the musical values are exact, following carefully every nuance indicated by the composer. By the way, if you are intrigued by who sang an impeccable recital more than forty years ago, he was Nicolai Gedda, but he did it at the Metro, not the Colón. His stance is revealing: he stands close to the piano and he concentrates totally in the song, scarcely moving, giving occasionally emphasis with the hands with sober gestures. His timbre is particular, hardly the typical tenor; it is never totally open. Don´t expect from him the stratospheric highs of Alfredo Kraus, he of the purest bel canto. But Kaufmann is the consumate master of the chiaroscuro, his breath control is amazing, and no other tenor in my experience has his ability to sing "piano-pianissimo" a "normal" high note and grow it to "forte". A special paragraph on the Viennese Helmut Deutsch, the veteran and still wonderful accompanist, whose work throughout was simply ideal. Mind you, he was the accompanist for twelve years of Hermann Prey, the only baritone that could match Fischer-Dieskau. Later, at Munich, he was professor of vocal interpretation for 28 years and taught and accompanied not only Kaufmann but first-rate artists as Diana Damrau and Michael Volle. He has recorded over a hundred CDs. Nobody has told me but I have no doubt that the programme was designed by both singer and pianist. It was unfailingly right. The Schubert started with two joyful pieces: "Der Musensohn" ("The Son of the Muses", on a Goethe text), all merry jumping, and the famous "Die Forelle" ("The Trout"). Then, the delightful watery "Der Jüngling an der Quelle" ("The young man at the source"), sung subtly and softly (but his projection is such that you hear him well if you are in the Gallery). And that "Lindenbaum" ( "Linden tree") whose melody seems folkish but is part of the stark "Die Winterreise" ("The Winter Voyage"). Then came the Schumann group, a selection of the "Twelve poems by Justinus Kerner" Op.35, very attractive and with the best schumannesque style. Of the chosen five I would single out the dramatic power of "Lust der Sturmnacht" ("Lust of the stormy night") and the Romantic impulse of "Stille Tränen" ("Silent tears"). Kaufmann gave us each mood with moving sensibility. And then, the so special case of Henri Duparc, born in 1848 and by 1885 no longer a composer after having produced some of the most exquisite "chansons d´art"; a strange mental condition cut off his creativity until his death in 1933. The four sung by our tenor are gems: the exquisite "L´invitation au voyage" ("The invitation to travel") on that often quoted text by Baudelaire that includes "order and beauty, luxury, calm and lust"; the dramatic "Le manoir de Rosemonde" ("Rosemonde´s country house"); the "Chanson triste" ("Sad song"), which mirrors that feeling admirably; and "Phidylé", a love song. I have long believed that these songs had their definitive interpretations by baritone Gérard Souzay; now I realize that a German tenor can be just as persuasive. But the best was yet to come. Most know Liszt´s "Petrarch Sonnets" in their piano transcription, but they were born as elaborate, refined songs. You will never hear them in such subjugating interpretations as Kaufmann gave us: with unbelievable feats of subtle vocality he went higher and sweeter, and higher...until you were convinced that this was an unmatched experience. And then, the Strauss group, in which I have my sole complaint: "Ich liebe dich" and "Freundliche vision" were changed and we were not told. Anyway, the expansive writing let him free his voice in "Heimliche Aufforderung" ("Secret Invitation") and the final "Cäcilie", and the composer´s humour came forward on two Von Schack songs, Op.19, where the tenor showed that he had also mastered that style. The encores were a separate recital and destroyed any doubt that might be left. For once in your life you heard the final phrase of Bizet´s "Flower aria" from "Carmen" and the Verdian "Celeste Aida" as they are written, ascending to a pianissimo; but his Radames lacked no power. Then, Verista expression in "L´anima ho stanca" from Cilea´s "Adriana Lecouvreur"; a Refice song, "Ombra di nube". "Nessun dorma" from Puccini´s "Turandot", where the tenor showed the solidity of his means and the audience officiated admirably as choir in the fragment where Calaf doesn´t sing. Then, like a born Neapolitan, "Core ´ngrato" ("Catarí") by Cardillo. And finally, that glorious Lehár aria from "The Land of Smiles", "Dein ist mein ganzes Herz" ("Yours is my whole heart"), as beautifully sung as Tauber. Please come back with an operatic recital with the Colón´s Orquesta Estable! For Buenos Aires Herald
The Colón concert of Thursday, August 4th, was truly memorable. It was the fifth of the Abono Azul (Blue Subscription Series) and was repeated the following day (Función Extraordinaria, non-subscription). The artists were Martha Argerich and Daniel Barenboim leading the West-Eastern Divan Orchestra (WEDO). This time the programme was long and satisfying, and all concerned were at their best. One general conclusion: Argerich and Barenboim are at the top of their profession and in their early seventies they show no decline. And the WEDO has improved greatly: it is astonishing that young people on a seasonal (not permanent) orchestra should show such maturity, both in the command of their instruments and in the integration of a common concept. There´s real talent in all of them, though of course they have the privilege of a great conductor that gives them style and unity. The concert began with a première: "Con brio" by Jörg Widmann. Barenboim had already promoted him in two chamber concerts with different programming of the Mozarteum Argentino (in the second he also played clarinet). This score for full orchestra lasts 11 minutes and although it isn´t divided into two parts it changes sharply after the first minutes, characterised by violent attacks followed by deep silences and by the mixture of musical sounds with noise as defined by Britannica: sound that interferes with other sounds that are being listened to. I wasn´t attracted so far, but later we hear recognisable melodies as well as fanfares and the mix becomes intriguing. My wife´s imaginative phrase accords with my reaction: "noises, echoes and resonances of bellicose actions in an inhospitable jungle". Barenboim led the piece with strong impact and the WEDO responded with exemplary discipline. The author made his bow and was warmly applauded. Franz Liszt´s Piano Concerto Nº1 is the most innovative and personal of Romantic concerti. In it (as in the Sonata) rhetorics are never vain; the ideas are substantial, moving and coherent. It is terribly difficult to play: Liszt did for piano technique what Paganini had done for the violin: an extraordinary expansion of the possibilities of each instrument. And his orchestration gives lovely solos for diverse players dialoguing with the piano. You need a true virtuoso that is also a great artist, and a very attentive and collaborative conductor: Sviatoslav Richter and Kyrill Kondrashin are a good reference, and so is Argerich on record with Abbado; live with Barenboim on this occasion will long be in the memories of those who were at this concert. I heard Argerich with Dutoit and the National Symphony in this concerto back in 1969; she was young and an amazing powerhouse. Forty-seven years later her incredible technique and stamina remain untouched (if I except her rushed and not altogether clean first entrance). The final minutes were as exciting as they were musical, always abetted by the best collaboration from the WEDO and Barenboim. There was a wonderful surprise: her encore wasn´t a short and easy piece from Schumann´s "Scenes from childhood" as she generally does, but an ideal performance of the best of Ravel: "Ondine", first number of "Gaspard de la Nuit". The fluidity of the playing in this devilishly intricate piece and the subtlety of her touch were an object lesson of Impressionism (as is her recording of 1974). The second part was simply the best Wagner playing heard here in a very long time. Maybe as far back as Leitner and Leinsdorf in the Sixties. Barenboim conducted at the Bayreuth Festival from 1981 to 1999, and he did the unparelleled feat of doing the ten great operas in a period of a few weeks in Berlin. Wagner is perfect for him: music of enormous technical accomplishment in which the system of Leitmotiven proves to be an astonishingly flexible array of moods and emotions. Wagner´s continuity imbricates easily with Barenboim´s rich intellect. The chosen 45 minutes are among the greatest orchestral music of the Nineteenth Century and had glorious performances: the interpretations were simply beyond reproach and the playing proved that the WEDO is strong in all departments, very minor smudges apart: the mellowness and musicality of the brass, the fine woodwind solos, the mahogany-hued strings always disciplined and intense, all made for a constant state of direct communication with the music. The "Tannhäuser" Overture (Dresden version) went swimmingly both in the solemn pilgrim melodies and in the bacchanical frenzy of the Venusberg. The most dramatically complex music came from "The Twilight of the Gods": the Dawn after the Norns´ scene is joined in the concert adaptation with the final pages of the Siegfried-Brünnhilde duet and goes straight on to the jubilant "Siegfried´s Rhine Journey". But Barenboim cunningly omitted the brilliant coda and went on as in the opera, where the atmosphere becomes gloomy as the hero approaches the Gibichung Palace, for in it looms Hagen, who will kill him in the Third Act; and this version even adds a transformed fragment from the end of the Second Act, that terrible conspiratorial Trio. It would have been better to go on without applause to "Siegfried´s Funeral Music" but that was not to be; anyway, that magnificent evokation was spine-tingling in this version. And the best possible conclusion for the programme, the Overture to "The Mastersingers of Nuremberg", to my mind the greatest ever written. The encore was complementary: the serene and sad Prelude to the Third Act of the same opera. For Buenos Aires Herald
Ms. Grimaud is known for putting together creative programs. And this CD is no exception. In this recording, Helene Grimaud presents an album with an unusual concept. Bach vs. Bach Transcribed brings together original keyboard works by Bach, together with works by Bach arranged (transcribed) for the piano by composers of later generations: Busoni, Liszt, and Rachmaninov. This is the first time that Hélène Grimaud has recorded Bach – a challenge for any musician. The repertoire includes the famous Well-Tempered Clavier II and the Concerto no. 1 in D minor, the latter performed with Grimaud’s regular collaborators, the Kammerphilharmonie Bremen. Bach “Transcribed” features the Bach/Busoni version of the Chaconne in D minor, the Violin Partita in E major arranged for piano by Rachmaninov, and Liszt’s version of the Prelude and Fugue in A minor. Here is Ms Grimaud, playing Bach’s Harpsichord concerto BWV 1052:
Franz Liszt (October 22, 1811 July 31, 1886) was a 19th century Hungarian composer, virtuoso pianist and teacher. Liszt became renowned throughout Europe during the 19th century for his great skill as a performer. Liszt was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. Liszt was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin. As a composer, Franz Liszt was one of the most prominent representatives of the New German School. He left behind an extensive and diverse body of work, in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of Liszt's most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.
Great composers of classical music