Musical America Blogs

By Rebecca Schmid

The programming of the Berlin Philharmonic, while reportedly having gravitated away from the players’ specialty in German repertoire since Sir Simon Rattle took the reins a decade ago, not only gives equal weight to post-Romantic repertoire but consistently illuminates connections between works which seem disparate at first glance. Andris Nelsons conducted the orchestra on Wednesday in a program of Britten, Widmann, Debussy and Ravel that yielded a powerful sense of emotional coherence. Jörg Widmann, a prolific German clarinettist and composer whose opera Babylon premieres in Munich next week (also featuring MA.com New Artist of the Month Anna Prohaska), combines neo-Romantic expressivity with avant-garde textures and unrestrained modern angst, much in the spirit of his teacher Wolfgang Rihm, yet in its own impulsive search. His Violin Concerto unfolds in a single, approximately 30-minute movement with a driving, lamenting melody at its center, alternately spurring and diffracting the colors of the orchestra. Structurally, it recalls Rihm works such as Gesungene Zeit, a chamber concerto written for Anne-Sophie Mutter.

Soloist Christian Tetzlaff, who premiered Widmann’s concerto in 2007, brought out the music’s direct dramatic qualities in plangent lyricism that escalates into an existential struggle richocheting throughout the orchestra. The players of the Philharmonic performed in precise coordination and with sensitivity under Nelsons. After a long pause toward the end of the piece the music returns with a violent snap in the low strings until the soloist, supported by the violins, climbs out of its tortured state. A celeste chord and gentle gong crash provide closure. This sense of eerie loneliness also penetrated the final moments opening work, the Passcaglia op.33b from the opera Peter Grimes. The soulful viola solo performed over celeste at the close, foreshadowing the death of the persecuted fisherman’s second apprentice, evokes a deserted beach and grey skies, a struggle already expired. Nelsons intelligently gave the viola section emphasis by placing it downstage in front of the celli. The aching string passages in the body of the work, punctured by anxious woodwinds, were a bit studied in this reading by the Philharmonic, but the fluid communication of the players kept the balance naturally in place.

A more lively vision of the sea emerged in Debussy’s poetic masterpiece La Mer, a series of three ‘symphonic sketches’ whose free structure and painterly landscapes have inspired everyone from Luciano Berio to John Williams. The orchestra found its stride in the second movement Jeux de vagues, capturing the music’s buoyancy with more ease than the surging, mysterious quality of the opening De l’aube à midi sur la mer, although wind solos were impeccable throughout. Nelsons brought sweep and youthful energy to Debussy’s vision of dancing waves which escalates into a battle between wind and water in the final Dialogue du vent et de la mer. The impending turbulence emerged with keen dramatic timing before subsiding into triumphant serenity. Ravel’s La Valse, conceived as a poème choréographique, follows the opposite trajectory, gathering its forces into a Viennese waltz à la Johann Strauß before marching brass attacks and Spanish-inflected castanets force the melody to fragment and spin out of control. Program notes infer that Ravel was not only impacted by the fall of the Hapsburg Empire in the First World War but the death of this mother in 1916. The strings of the Berlin Philharmonic reaffirmed their elegant culture of playing as the demonic dance unfurled with a sense of desperation that had been tacitly present the entire evening.

rebeccaschmid.info