Liszt, Elgar, Britten, Bartók, Sibelius
Eighty years ago, about 20% of the population of Salzburg came out to burn books. They mostly burned books written by or about, or which had even belonged to, Jews – but since there really were not so many Jews in this extreme anti-Semitic town, they added others to the pyre: those of pro-Habsburg monarchists and of anyone who had spoken out against the incorporation of Austria into Germany. The Salzburg University Library, across the lane from the Great Festival House, is one of several places in the town remembering this event with exhibits, in this case outward-facing posters in the ground floor windows depicting Salzburg citizens whose books were burned and the Salzburg Nazis who burned the books. Across from the door where I entered the Great Festival House this evening, Max Reinhardt’s face stared out. Reinhardt founded the Salzburg Festival and made this city an important cultural center – and the Salzburgers hated him for it and saw the Festival as a plot by international Jewry to take over Salzburg (oh, they’ve loved the Festival ever since the Nazis appropriated it in 1938 and of course from the 1950s to the 1980s under its intendant, the unrepetant Nazi Herbert von Karajan). Broken, Reinhardt died in exile in 1943.
Salzburg is a beautiful city, but it is a beauty tarnished. So this exhibit seemed like a good scene-setter for this evening’s concert of the Helsinki Philharmonic, visiting Salzburg for three concerts this week (I’ll go again on Friday – would have gone tomorrow too, but that’s my Mozarteum Orchestra Thursday subscription concert). Susanna Mälkki conducted a program of melancholy.
Ferenc Liszt‘s tone poem Orpheus opened the concert. Liszt wrote this as a new prelude for a revision he did of Gluck’s opera Orpheus and Eurydice, to describe pure beauty cast into the depths of the underworld. Edward Elgar wrote his Cello Concerto (performed here with Norwegian soloist Truls Mørk) in the aftermath of the carnage of the First World War and as his wife lay dying. Béla Bartók, who had opposed the Nazis and fled to the United States, wrote his Concerto for Orchestra while consumed by abject poverty and leukemia in his New York exile – it would be the last work he completed before he died. (Janne Sibelius‘ Valse Triste concluded the concert as an encore, the sad waltz from his incidental music to a play called Death.) So much beauty; so much sadness.
The orchestra carried this mood throughout the concert, although there was a certain humor to the warped tunes in the final two movements of the Bartók. Mørk was not quite up to the level of Sol Gabetta (whom I heard perform the Elgar concerto with the Vienna Philharmonic last month) – it’s a difficult piece to get right. He exhibited a fuller understanding of a solo encore work (a movement from the Cello Suite #2) by Benjamin Britten, in which he could display a bigger sound, capturing the instrument’s deep – and deeply human – voice. Meanwhile, Mälkki’s conducting was rather blockish – very heavy-handed and abrupt, not always drawing out the lines to their fullest or allowing the orchestra to sing. The audience applause was polite but underwhelming (this was my Wednesday Kulturvereinigung subscription concert with the usual crowd, so I can indeed compare the reaction to other concerts). It wasn’t a bad performance at all, just not quite to the level I think the audience expected.