Saturday, January 21, 2017
Das Eröffnungskonzert der Elbphilharmonie, the opening concert of the Elbphilharmonie in Hamburg. The building looms like a giant ship on a promontory on the harbour: a reminder of Hamburg's maritime and commercial heritage. The lower floors match surrounding buildings, while the upper floors and roof reflect the skie : an inspired concept in architectural terms. But what really makes the Elbphilharmonie interesting is that it's a game changer in many ways, with the potential to transform the whole way the European music business operates. "Freude" said the grandees making speeches, which is significant, for great art is inspired by joy, not small=minded negativity. The creative genius of Beethoven stood at the start and finish of this communal celebration, with the Overture to the Creatures of Prometheus op 43 and the sublime Symphony no 9. In Greek mythology, Prometheus stole fire from the gods to empower men, an act which symbolizes enlightenment. That's why the arts matter. They generate creativity and, with that, the enthusiasm that generates change in many things, including economic regeneration. This new hall is a landmark that could challenge the dominance of Berlin and Paris. Not for nothing, the concert honoured Johannes Brahms, Hamburg's native son, who lived in Vienna, but remained, at heart, solidly North German. In Britain, we've no way to compete, since British arts policy favours micro-endeavour. The fact is, excellence needs vision, and commitment. The long-term benefits to the nation are infinitely greater than can be measured in simple terms. The drive that went into making Hamburg the major port that it is, is the kind of drive we need in the arts. Thomas Hengelbrock and the NDR Elbphilharmonie Orchester chose a programme that demonstrated what the new building can do. The platform, larger than usual, nestles surrounded by different tiers of seating, rather like Berlin and Paris, so sound resonates more evenly than in conventional coffin-shaped halls. Bernd Alois Zimmermann's Photoptosis (1968) tested the acoustic to the limit. Scored for a very large orchestra, the piece can be very loud indeed, but here what struck me most was the richness of sound, not the volume. The big climaxes are carefully constructed, with myriad layers of detail, some so subtle they can get lost. Yet in this hall, even the most refined components can be heard and relished. Suddenly, the hall was plunged into darkness, small rows of lights shining from the dense gloom like stars. The plangent strains of a Praetorius motet rang out, as if being heard across the centuries. In a split second, the 16th and the 20th century connected. Also, from an eyrie above the platform, the orchestra's principal oboe played Pan, from Britten's Six Metamorphoses from Ovid op 49. Philippe Jaroussky sang Italian baroque airs, accompanied by harp, from a position above the stage, the clear, pure beauty of his voice carrying effortlessly round the large auditorium., In one of the interval clips, he's seen testing the acoustic by exploring with his voice as he walks around. Then, Messiaen and Wagner, sounding clear and crisp. What a joy it must be for an orchestra to play in these surroundings, especially as the off-stage facilities are luxe class compared to many less generous venues. The best orchestras will now want to visit Hamburg: this superb acoustic will lift the game for everyone. Read more HERE about the technical aspects that make the acoustics in the auditorium. For this grand opening gala, the whole Philharmonie building exterior became the backdrop for a spectacular light show. This, too, made a statement, since the light show would have been visible across the harbour. The Elbphilharmonie light show could become a feature of Hamburg's civic life, just like the way Hong Kong skyscrapers become a gigantic canvas for illuminations during the Christmas season (where the flat outside wall of the main local concert hall is the focus of a light show) The arts aren't just for toffs. Involving the wider community outside the concert hall is a form of outreach and education without distracting from the main business of music making. Indeed, excellence "is" education. It opens up ears and minds. This programme also featured Wolfgang Rihm, billed as"Germany's greatest living composer", though he couldn't attend so Hengelbrock raised a placard with Rihm's name on it , a nice humorous touch. Rihm, Zimmermann and Rolf Liebermann, together with Mendelssohn and Brahms, Wagner and Beethoven: another point being made, that audiences can cope with diversity without having to be coddled. There are other halls in the new Philharmonie, better suited to smaller ensembles and chamber music. There's another concert on Sunday which will also be broadcast. Click on photo at right to see the building in cross-section. Yet another reason why the Elbphilharmonie is a game changer : It represents a new way of bringing music to audiences. HD was a start, but stymied because it depended on cinema distributors who didn't make enough money to promote it. But modern technology means that audiences can listen any time they want online, wherever they may be. Investing in orchestra-led, or opera-house led streaming means that those who make music get the full benefits of marketing, and also have greater control over artistic content. Can record companies still control the market and create instant media darlings when there's good music around for those who care about quality as opposed to celebrity No more provincial boundaries. And so the concert ended with the Ode to Joy, Beethoven 9, Bryn Terfel, Pavol Breslik, Wiebke Lehmkuhl, Hanna-Elisabeth Müller, the NDR Choir and the Choir of Bayerischen Rundfunks. "Alle Menschen wurden Bruder"!" we've heard that thousands of times, but this time it felt fresh and real.
Nicolas Hodges (Wergo)Discs of Walter Zimmermann’s works seem to come along every few years, providing reminders of what a quietly singular and enigmatic figure in contemporary European music he is. Nicolas Hodges’ collection covers Zimmermann’s most recent piano pieces, all composed between 2001 and 2006. There are six works here, but easily the most substantial is Voces Abandonadas, a two-part cycle lasting almost 40 minutes that was inspired by the writings of the Italian-born Argentinian poet Antonio Porchia (1885-1968). Porchia’s aphorisms circulated widely in Argentina during the years of military dictatorship and were eventually published in Spain in 1982 as Voces Abandonadas. Zimmermann made sound representations of each of them, and these musical “sentences” – 514 altogether, rarely more than one bar long and composed, diary-like, over the course of a year – follow one another without breaks, sometimes resulting in stark contrasts of mood and style. The dedicatees of the two parts of Voces Abandonadas are Helmut Lachenmann and Morton Feldman, perhaps defining the twin poles of Zimmermann’s music, yet the music never remotely echoes either composer. Though he has always distanced himself from the serialism of the 1945 postwar avant garde, this terse music seems to hark back most of all to the world of Stockhausen’s early piano pieces of the 50s, which Stockhausen referred to as his “drawings”. Despite its multi-layered allusiveness, Zimmermann’s compendium has a similar kind of monochrome spareness. Continue reading...
Both Tabea Zimmermann, violist, and Frank Peter Zimmermann, violinist, appear on this recording together. And what is also great is that the group performs the two amazing Quartets for piano and strings by Mozart. Mozart: Piano Quartet No. 1 in G minor, K478 Piano Quartet No. 2 in E flat major, K493 Performed by Christian Zacharias, piano, Frank Peter Zimmermann, violin, Tabea Zimmermann, viola, and Tilmann Wick, cello. Just listen to the wonderful music, the Quartet K493 by Mozart:
Recently, before going to sleep, I have been listening to the music of Johann Sebastian Bach, as performed by Frank Peter Zimmerman. On the CD of the Month for January 2017, the same violinist plays for you music by Shostakovich: Violin Concerto No. 1 in A minor, Op. 99 Violin Concerto No. 2 in C sharp minor, Op. 129 Performed by Frank Peter Zimmermann (violin), with the NDR Elbphilharmonie Orchester, Alan Gilbert conducting. Composed almost 20 years apart, the two violin concertos by Dmitri Shostakovich were both conceived with the great violinist David Oistrakh in mind and dedicated to him. Shostakovich completed Concerto No. 1 in 1948, at a time when he had fallen out of grace with the Soviet authorities and it seemed uncertain if the work would ever be performed in public. This is reflected in the concerto which begins with a dark and solitary violin song over gloomy cellos and double basses. Throughout the work there are allusions to the composer’s situation, such as the D-S-C-H motif that appears in so many of his works and which in the second movement is closely related to a theme reminiscent of Jewish popular music, as a symbol of Shostakovich’s identification with the sup¬pressed Jewish culture. In the same movement there is also a theme derived from the opera Lady Macbeth of Mstsensk which in 1936 had caused the composer’s first denunciation by the Soviet regime. In 1967 Shostakovich wrote to Oistrakh, telling him about the completion of his Violin Concerto No. 2. The composer’s health had been failing for several years, and only the year before he had suffered a heart attack. In several of his late works there is a preoccupation with mortality, and the concerto exhibits a similar dark, introspective tone, especially in the central Adagio. Performing these two great works of the mid-20th century is one of the finest violinists of our own time, Frank Peter Zimmermann. The recordings were made at public concerts at the Hamburg Laeiszhalle, with the eminent support of the NDR Elbphilharmonie Orchester – formerly known as the NDR Sinfonieorchester – conducted by Alan Gilbert, the orchestra’s principal guest conductor for more than a decade. Here is Mr. Zimmermann in the Concerto number 2 by Shostakovich:
Of course, it was only a matter of time before Chinese orchestras started arriving to our city, although they existed even during Mao tse Tung´s regime: I certify that Beijing had an orchestra in 1962 that played such Occidental authors like Sibelius, along with Chinese composers. But the ironically called Cultural Revolution wiped them out for a long period. However, the almost miraculous reversal engineered by Deng Hsiao Ping gradually opened the immense country; musically this is recounted in that indispensable film with Isaac Stern, "From Mao to Mozart". Orchestras re-formed and others were created; and in 1999 Hong Kong became part of China, including its notable Philharmonic that has left so many fine recordings (they would be welcome visitors to BA). Changes take time, and it was only last year that a Shanghai Orchestra came here (a promised Beijing one didn´t materialize). And now we had the visit of the Qingdao Symphony. How many Argentines know something about this city? I didn´t, and I went to Google, for the programme gave me no information, except biographies of the interpreters and the listing of the players. They gave two concerts at the CCK¨s Blue Whale, the first combining China with the Occident, the second almost purely Chinese; I attended the first, missing two initial pieces due to a traffic jam (sounds familiar?). It turns out that Qingdao is a big port in the Province of Shandong with a population of around 6 million; German colony from 1891 to 1904, twice invaded by Japan and recuperated in 1949; it now has five universities. The Orchestra was re-established in 2005; its current Director is Zhang Guoyong (Herald readers may recall my review of his debut concert with the Buenos Aires Philharmonic this year, praising him in a difficult programme of Zimmermann and Prokofiev). Eighty players came in this tour, all with purely Chinese surnames. This people is gregarious and disciplined; on the evidence of this concert, the players have been carefully selected and are fully professional, and thoroughly trained by such a proficient conductor they gave first-rate performances of all the programmed pieces. As I wrote concerning other Chinese composers´ works played in BA (not many) I believe that the Occidental orchestra isn´t the right instrument for what remains a profoundly different culture. You do hear some pleasant pentatonic tunes but the orchestrations are showy and bombastic and the structures are haphazard. The pieces I heard both concerned concubines as they are depicted in Beijing Opera, as far from the European conception of the genre as possible in voice and instrumentation: voices are supposed to be used with extreme nasality and artifice, and there are very few players. The long symphonic fantasy "Goodbye, my concubine", by Guan Xia, suddenly includes a song; and then we heard a symphonic arrangement of a melody from Beijing Opera´s "The inebriated concubine". Zhang Ying, attired in colorful traditional clothes, sang both, in a way that decidedly for Occidentals is an acquired taste (if you do acquire it). But it is a matter of training: soprano Song Yuanming studied at Vienna and sang our opera and operetta with an agreeable voice of clean highs: the Waltz from Gounod´s "Roméo et Juliette" and the Csardas from Johann Strauss II´s "Die Fledermaus"; when she finished the First Part with a Chinese melody, "I love you, China", by Zheng Quiufeng and Qu Zong, she sang like an European. The Second Part was occupied by the most famous cantata of the Twentieth Century, Carl Orff´s "Carmina Burana", with the Coro Polifónico Nacional led by Darío Marchese, soprano Song Wuanming, baritone Alejandro Meerapfel and countertenor Pehuén Díaz Bruno. The rhythmic vitality and melodic charm of this celebration of Medieval love and wine dressed in modern clothes has seldom sounded so full and precise. The Choir was in fine shape, potent, in tune and exact; the Orchestra responded brilliantly to Guoyong´s commanding baton; and the soloists were well chosen, from the firmness of Wuanming´s highest register to the intelligent interpretation of Meerapfel and the adequacy of the countertenor singing the strange predicament of the roasting goose. How would this orchestra and conductor fare in, say, Beethoven and Brahms symphonies, is anyone´s guess, for all I heard from them was lavishly colorful; anyway, they certainly have the right technical tools. The style? Maybe. For Buenos Aires Herald
Café Zimmermann, Rupert Charlesworth (tenor) (Alpha Classics)Zimmermann’s cafe was the scene of the Leipzig Collegium Musicum concerts during the 1730s, and it is easy to imagine the talented Carl Philipp Emanuel being presented along with his younger siblings by their proud father, Johann Sebastian. Most of the music here dates from later in Emanuel’s European career, and it ranges fascinatingly from the bold and eccentric in the A minor Sinfonia, to the sweet and sentimental in the songs and arias that give the disc its title. A middle course is steered by a B flat Trio Sonata and a lively Sonatina with horns and (too reticent) harpsichord. Excellent, tight-knit playing by the eponymous cafe players. Continue reading...