Tag: Bernard Haitink

Beethoven Choral Symphony: LSO at the Barbican review *****

London Symphony Orchestra, Sir Simon Rattle (conductor), London Symphony Chorus, Simon Halsey (chorus director), Iwona Sobotka (soprano), Anna Stéphany (mezzo-soprano), Robert Murray (tenor), Florian Boesch (baritone)

Barbican Hall, 12th February 2010

Not quite the Tourist’s last Beethoven fix before lockdown. A very dramatic take on various of the piano sonatas from Boris Giltburg was to follow a couple of weeks later, but this, Beethoven’s 9th Symphony, was the final live orchestral piece I heard prior to us holing up, somewhat ahead of “Government” “advice”. The sonatas were shared with MSBD: the Choral with MS himself. A fine way to bow out then, hopefully temporarily, in this Beethoven anniversary year. And not just because the Ninth is such an almighty thing, ending with the “Ode to Joy”. Towering achievement is the customary cliche I believe. No, this was also memorable not just because it was the first time my lad had heard it performed live but also because Sir Simon Rattle, who has always nailed Beethoven in the past in my experience, and the LSO, smashed it.

OK so I can imagine, and have seen and heard, better all-round performances, not least from the wizard Haitink and this band in this hall a few years ago. But this was still something special. We opted for the cut-down programme, just the Choral, in the Half Six Fix slot, an initiative I hope the LSO maintains when normality, or some version of it, returns. Which means we missed out on Berg’s Lulu Suite. No pointing pushing my boy too hard and anyway, Lulu works better as opera than orchestral, where Alban’s lush romanticism can dominate at the expense of the quirky dramatic.

Anyway like I say the Beethoven was very, very good. Sir Si, after a little lecture on lessons learnt from past maestros, didn’t rush the Allegro first movement, from the opening crashing chord entries, properly cosmic, into the two themes, and, especially, in the giant coda, all ma non troppo, just like LVB said. Nor in the Scherzo, that marvel of sonata form, based on a racey fugue ,(pinched from the first movement opening), wrapped inside the ternary structure, with the dinky trio, with perky oboe solo from Juliana Koch, and Goughie’s sublime bassoon, in between. Which meant that when we got to the Adagio, I was happy to luxuriant in the vibrating string bubble bath, which is not always the case. I’d guess Rattle clocked in at over a quarter of an hour. I am normally a fan of the HIP close-to-10-minute take per Gardiner, Harnoncourt and Norrington, where the double variation structure doesn’t get lost, but here Rattle got away with it, like Bohm does in the classic VPO recording, (and unlike Rattle’s own recording with the Viennese which is really, really dull).

It was in the final movement though where the LSO and Sir Si really hit the heights. This wasn’t just down to the soloists, all blessed with power, clarity and control, and, for once, perfectly balanced. Or the simply outstanding LSO Chorus, who have never sounded better to my ears. Bravo Simon Halsey. No, it was because the mix of old-skool tempo and phrasing with more up-to-date technique, from the ear-straining pianissimo throb of the cello/bass first entry of the OTJ theme, after the recaps, to the chop-smashing last couple of bars, really paid dividends. Listening now to that very Bohm recording, which builds, and builds, and builds, then releases, and releases, and releases, I get what Rattle was aiming for. A kind of controlled volatility. MS and the other 2000 souls in the Barbican Hall felt it. For once the ovation made sense.

Say what you like. The Choral may be OTT, manipulative, hackneyed, ubiquitous, but, when done well, especially to those of us who like Beethoven’s big bones, there is nothing better. Still firmly on the credit side of the humanity ledger which we are all finding ourselves contemplating right now.

Herbert Blomstedt and the Philharmonia Orchestra at the Royal Festival Hall review *****

Philharmonia Orchestra, Herbert Blomstedt (conductor) 

Royal Festival Hall, 14th April 2019

  • Mozart – Symphony No 40 K550
  • Beethoven – Symphony No 3 “Eroica”

Bernard Haitink is 90. Herbert Blomstedt is closing in on his 92nd birthday. Unsurprisingly perhaps neither of them is particularly animated on the conductor’s podium. Mind you neither of them ever has been. Now you might ask yourself, apart from, by reputation, being a thoroughly nice bloke, (probably part and parcel of his fervent faith), at this age what is in it for him, and us, of Herbert Blomstedt continuing his life’s work when he should have retired years ago. To which I respond the world of classical music works to different rules.

Just to be clear. An orchestra of the calibre of the Philharmonia probably doesn’t need a conductor, of whatever vintage, to play this two warhorses effectively and efficiently. But it does need a conductor to lead and shape its musical vision. In its case the soon to be departed Esa-Pekka Salonen, its current Principal Conductor and Artistic Advisor. The reputation of young conductors is made on their skills in interpreting and shaping the music on the page, but their legacy is a function of what they do to the orchestras they are tasked to lead. What they play, why they play it, how they play it, where they play it, who they play it with, what they choose to set down for prosperity. All artistic decisions.

And then there is the commercial imperative. The PO helpfully shows what funds its 11 million quid annual running costs. (Just before any of you philistines get antsy that’s the price of one first team, high end Premiership footballer. I know football clubs are commercial concerns, often listed. But the cost of paying the asserts still makes then a sh*tty investment. Stick to consumer staples I say).

Around 25% comes from its Arts Council grant and tax relief – peanuts to you the taxpayer for the massive contribution to our cultural fabric. The result largely comes from ticket sales (15%), tours (25%), recordings/bookings (10%) and just over 20% from fundraising, all those nice philanthropic types. Now the head honcho conductor isn’t in the front line begging for money, (quite the reverse, E-PS donates a chunk of his earnings to the orchestra), but his, (shamefully still only very occasionally her), standing makes a big difference to the economics.

Of course the Chief Conductor/Artistic Director isn’t the only stick waver employed come show time. There are, depending on the size and status of the orchestra, a host of Guest Conductors, Conductor Laureates, Associate Artists and featured partner conductors who also shape and lead performances. One or two may play a part in the broader life of the orchestra, (the trainees for the big jobs if you will), but most pitch up for, more or less, just the rehearsal and the performance. But they will still have an ongoing relationship with the orchestra. This is important. Music making is a shared endeavour. If the orchestra doesn’t believe in the conductor trust me it shows.

Even so, unless things start to go seriously awry, the beat-keeping on the podium is more for us than them. Mind you in a big piece with a. big orchestra, the conductor is the thing that holds the dynamics together. And, he/she can still be invaluable, with his/her cues, in helping mesh soloist and orchestra together in a concerto. But largely, I would say, it’s all part of the orchestral theatre. So, obviously, it is what goes on beforehand that matters. There aren’t that many scores with nailed-down instructions on tempi, dynamics, articulation, phrasing, shaping ….. and all the other stuff that us non-musicians have no idea about. And even if there are it is not illegal to shake the score up a bit. So someone needs to set the interpretative rules.

And this can make a big difference. Just compare recorded performances of the same piece and you will get the picture. Composer and performer are generally the same in modern music genres. Not so, generally, in classical, art music. Who matters more is a function of musical history. Go delve.

(Now I know that there are plenty of performers and ensembles who work in a different way. No permanent conductor. Playing from memory. Just a leader. But I don’t they would do it for Mahler’s Eighth).

Which, finally, brings me to these performances of Mozart 40 and the Eroica. You and I have heard them billions of times. Old school, HIP, HIP informed, gut, steel, smaller/larger orchestration, fast/slow, Classically cool or fervently romantic. There are loads of ways to cut these delicious cookies. Herbert Blomstedt and the PO just played them. Perfectly. At a fair lick if I am honest which suits me, but never over-revving the PO’s engine, and with some well placed, not too much, vibrato, when it was reasonable to do so. But overall nothing showy. Just the right choices each and every time.

Mozart is not standard Blomstedt territory but he captured the tension in the opening Allegro, the clean textures of the Haydnesque slow movement, the bracing dance of the Menuet and Trio and nailed the forward-looking innovation of the finale. All the repeats present and correct. Maybe the minor key (this and No 25) is HB’s bag.

Beethoven definitely is his territory and this was marvellous. He plainly loves it and made the PO fall in love with this, the most important work of music in the Western canon IMHO, all over again. 50 strings. Count ’em. Violins antiphonally divided. But every texture, every phrase, even when it get a bit blowsy, in the coda to the epic opening movement or the heroic final variation in the Finale, was utterly transparent. He has clearly continued to learn from the new ways of approaching LvB’s music and grafted that on to the decades of dramatic interpretation he has lived through. No need to open the score. Back straight. Legs planted. Just fingers, elbows, shoulders to remind the players what they already knew. Some stand out double bass grooves and well hard thwack timpani. Natural trumpets. And, in the funeral march, plenty of aural elbow room for the woodwind to shine. The change that this piece of music ushered in was plainly heard but never at the expense of its still Classical grounding.

Best of all. He believes in Beethoven’s markings. Even if he, like most, can’t quite get there. I am not advocating blast beat fast a la Gardiner, (though I am salivating at the complete cycle with the ORR next year at the Barbican), but LvB knew what his was up to and if you don’t agree you can go back to your interminable Wagnerian dirges.

Even when taking the well deserved applause HB seemed more concerned with praising the audience than lapping up the audience appreciation. Mark of the man. With Abbado, Boulez, Harnoncourt, Masur and Davies sadly no longer with us this leaves Maestros Haitink and Blomstedt as the granddaddies. (I can’t vouch for Mr Muti). Both prize purity and don’t f*ck about with what is on the page. Haitink still gets my vote but he only seems to do Bruckner or Mahler now. So hearing what a legend does with stuff I love was a real privilege.

There aren’t that many recordings I would own conducted by HB, whether with the various Scandi outfits he has headed up, the Dresden Staatskapelle or the Leipzig Gewandhaus. (Under Barenboim and Chailly these two have climbed to the very top of the orchestral tree but guess who kicked off the journey). But I wouldn’t be without his Nielsen symphonies with the San Francisco Symphony Orchestra. Basically he single handedly showed what the rest of the world what Denmark’s favourite musical maverick (I know, it’s a small field) could do. Priceless.