Sommer, Mahler, Rachmaninov, Schubert, Bartók
Mariss Jansons and the Bavarian Radio Symphony Orchestra came to Vienna’s Musikverein for a two-night set, for which I was fortunate to be home for the first night, which contained an ecclectic mix.
If I had to describe this orchestra with one adjective, it would be “complete.” No individual instrument stood out, but together they produced the most perfectly balanced sound. There were no gaps, no flaws, no twists they could not make together. Jansons has been at its helm since 2003, so this represents a tribute to him as well.
The concert led off with a concert overture to Antigone by a forgotten 20th-Century Czech composer Vladimír Sommer, someone I had never heard of before. He had a limited output, and this work showed a routine post-romantic style. It provided enough excitement to launch a drama, but was only a concert overture, not a setting of the entire Sophocles work for theater, and therefore seemed to be missing something (although also not clear from this snippet if Sommer could have pulled off writing an entire drama).
For more drama, alto Gerhild Romberger joined the orchestra for Mahler‘s Kindertotenlieder. Jansons and the orchestra drove this work, too, but Romberger did provide a warm, full-bodied, expressive, solo voice, at least in the middle register. Her moving reading melted the texts, demonstrating sadness and evoking sympathy. She did however lack the strength in the brief moments Mahler took her to the upper register, and she simply did not have the dramatic voice required for the final song (“In diesem Wetter”), which stays mostly at the bottom of the range. Jansons restrained the orchestra in the final song so as not to overwhelm her, but it was an unfortunate conclusion to an otherwise heartful cycle.
After the intermission, the orchestra’s “complete” sound could come into its own with Rachmaninov‘s Symphonic Dances, the composer’s final orchestral work. It’s a strange combination – apparently Rachmaninov conceived it as something which could be converted into a ballet, but a project the composer subsequently abandoned during composition, so while going through an assortment of dance forms, it is not really a set of dances but a more of a three-movement symphony with a lot of moving parts. The orchestra navigated around and through these motions masterfully, making this difficult work fully accessible to the listener. The audience erupted in pleasure (prompting not just one but two encores: the more sedate Moment Musical by Schubert and the crazier excerpt from The Miraculous Mandarin by Bartók).