Schumann, Bach, Bruckner, Mozart
We got more from the West German Radio Symphony Orchestra this evening in Salzburg’s Great Festival House, again with Jukka-Pekka Saraste conducting and Alban Gerhardt as cello soloist.
Today’s cello concerto again was less standard in the repertory: Robert Schumann‘s, which had its premiere about four years after the composer’s death. I must say that as I get older I find Schumann less and less interesting. His best works (from songs to symphonies to scenes from Goethe’s Faust) can be fine (indeed, I still enjoy a good performance of them) – a cross between Schubert and Mendelssohn – but the lesser ones are… lesser (although even his piano concerto, part of the standard repertory, is just an exercise in abject tedium). In recent years, whenever I hear a Schumann piece on a program that I am not already familiar with, I come away unimpressed (not Schubert and Mendelssohn, but rather more like Brahms, who with precious few exceptions was rarely inspired nor inspiring).
Schumann’s cello concerto isn’t so bad, but I’m not sure he had anything to say. On the other hand, Gerhardt, as soloist, definitely had something to say, and in a funny way Schumann’s concerto gave him the platform he needed. This is not as complex a work – neither emotionally nor technically – as Schostakowitsch’s offering performed last night, but did not have to be to highlight Gerhardt’s expansive lower registers, the undertones carrying the entire orchestra.
Thankfully, Gerhardt also gave us a long solo encore – a work by Johann Sebastian Bach – if not as technically complicated as yesterday’s encore (just as the main concerto was not), at least something which allowed Gerhardt to fill the large hall with his warming tones.
After the break came Anton Bruckner‘s Sixth Symphony (another work that had to wait until after the composer’s death before Gustav Mahler and the Vienna Philharmonic gave its premiere). Saraste’s interpretation was curious, building up tension and then releasing, but doing so in different ways throughout by emphasizing certain lines. It was not consistent – but that was part of the point, or it would have been dull. This was not (in general) dull, the pulsating underlines that appear throughout the work keeping it moving. But because he was playing around with balance and emphasis, the orchestra needed to know what to expect, and they did not always seem to know, leaving a number of botched lines – too loud, or too soft, or just confused and trying to adjust mid-note. So it succeeded in part and failed in part.
It was a full-sized orchestra, but not augmented for the Bruckner (their sound was big enough, but again it was a question of balance). But having such a full orchestra on stage served another purpose: the encore, the overture to Wolfgang Amadé Mozart‘s Figaro. What fun to hear this piece in full color, and not with a reduced opera orchestra sunk into a pit.
Tomorrow’s concert repeats tonight’s program, so just these two for me.