Schnittke, Beethoven, Mahler, Martin
I added tonight’s concert of the Camerata Salzburg to an eclectic Mozarteum subscription package on a whim. I have no idea why. I certainly did not expect that chamber music by Alfred Schnittke and Frank Martin could be so much fun.
The music was certainly unconventional and gave me a lot to digest (even before dinner – I think all the unexpected digestion made me hungry early tonight). The concert opened with Schnittke’s Concerto Grosso #1 for two violins, cembalo, “prepared” piano, and strings. Stylistically this was everywhere (from Corelli to the tango, according to the program), but never felt out of control. I would need to hear it again to understand if Schnittke had some logic to its construction, but even without quite understanding it at this point I could safely feel he must have had one. The two violin parts were taken by the Camerata’s concertmaster Gregory Ahss and guest Andrey Baranov, who played together with one mind. Jumping robustly from musical style to style, they somehow made it sound easy – and it could not have been (must be hard enough if it were a solo violin, but two of them together made the effort more dauting – but achieved). A quick encore by these two (and piano accompaniment) of a Beethoven piece as arranged by Schostakowitsch was more conventional but equally as impressive.
The concert’s last piece was Martin’s Petite Symphonie Concertante for harp, cembalo, piano, and string orchestra – commissioned to provide a baroque continuo orchestra with a modern work. Martin accepted the challenge, producing something classical in form but modern in substance. Although not as boisterous as the Schnittke piece, it remained tonal but always sounding new. What did Martin have to say exactly? Again, like the Schnittke, I am not sure. This is another piece I will absolutely and gladly need to hear again some time.
Tonight’s conductor was Teodor Currentzis, the Russian-trained Greek whose career got stuck in Perm, Siberia. I heard him for the first time last season in front of the Camerata, and noticed then that he showed a great rapport with this group (they had just kicked out their previous unexciting music director and had decided to try to do without one, but I had thought they should snap up Currentzis – indeed, I still think they should). Currentzis had returned to Salzburg for last Summer’s Festival at the head of his own orchestra from Perm, which was unfortunate (too much performance art and not enough performance), but the Camerata is a far better orchestra than his usual one, so the music was foremost tonight, and Currentzis drew it out.
I did have one gripe with tonight’s performance, coming in the form of Gustav Mahler‘s Kindertotenlieder. Currentzis lost it on this one: he insisted on adding his own sound effects (making hush sounds throughout the cycle, perhaps mimicking crashing waves, although I don’t really know what he was trying to do). He really does need to tone down the performance art and stick to music. Fortunately, the Camerata went on with its business and sounded fantastic. Mezzo Ann Hallenberg had a warm and full lower register that almost made me forget it was not a baritone voice tonight (the usual voice for this song cycle – although using a mezzo instead is perfectly acceptable too). Her upper registers were not always quite as complete (or accurate) though.