Sibelius, Britten, Schoenberg, Strauss
A wonderful Sunday morning chamber concert in the Mozarteum by the Camerata Salzburg featured some lesser-known works by Janne Sibelius, Benjamin Britten, Arnold Schoenberg, and Richard Strauss. It was like being invited over for brunch by old friends who spent the meal regaling me of stories from their youth that I had never heard before, full of detail and charm. (That said, I actually have heard the Strauss work in concert once before, and own excerpts from the Sibelius work on a recording; the rest was new for me.)
The Camerata’s strings were especially lush, and for those pieces requiring woodwinds, they were emotive. We had that all together for the incidental music composed by Sibelius for Maeterlinck’s Pelleas and Melisande, a rare work by that composer not rooted in Finnish myth, but still identifiably Sibelian in its somber but dramatic colors.
On either side of the intermission, soprano Anna Prohaska joined the orchestra for some songs. Before the intermission came “Illuminations” by Britten, setting texts by a London-based French poet, Arthur Rimbaud, who wrote in French but used English metrics. These also spanned the dramatic range, and demonstrated Britten’s mastery of both fine chamber musicianship and rhetoric. Prohaska channeled her inner Britten, also mastering both, with a fine dramatic reading spanning the emotions.
After the intermission, Prohaska and the ensemble added two songs by Schoenberg, based on themes from early string quartets setting the words of poet Stefan George: “Litany” and “Rapture.” If Schoenberg’s starting point was Beethoven, he quickly moved into new tonal (or atonal) experiments, but left enough room for today’s artists to wax mystical.
As a final programmed work, the Camerata’s principal hornist Johannes Hinterholzer came to the front of the stage for Strauss’ Horn Concerto #1, which the then 18-year-old composer wrote as a 60th birthday present for his illustrious hornist father. Where the other works on this morning’s program were essentially melancholic, this one was boisterous and happy. Hinterholzer played with enthusiasiasm, backed up in equal measures by his colleagues, all clearly having fun while doing so.
There was an encore, which Hinterholzer introduced loudly enough but then he swallowed the name of the composer so that it became unintelligible, so I have no idea what it was; it was not as good as the Strauss and on the whole we could have done without it. The four scheduled pieces on the program were enough of a good thing with this group. The orchestra went without a conductor today, instead having guest concert master Sebastian Breuninger lead, giving demonstrative cues. Breuninger is the concert master of the Leipzig Gewandhaus Orchestra – the Camerata’s own concert master, Gregory Ahss, announced in the annual program schedule and in many of the flyers available in the foyer (but not in the printed program, which showed Breuninger) as leading this concert, was mysteriously absent. I saw Ahss perform with this orchestra in January, and an on-line search comes up with no further information about the substitution.