Of Songs and Symphonies
For many composers, the genre of art song sits closely related to larger symphonic works. This is the concept taking center stage at Symphony Hall this week as The Phoenix Symphony performs works by Osvaldo Golijov and Gustav Mahler.We heard from Osvaldo Golijov in a big way at the end of last season with a concert performance of his stirring opera, Ainadamar featuring soprano Dawn Upshaw. This weekend, we'll hear Three Songs for Soprano and Orchestra which was another collaboration with Upshaw. The songs are based on poetry texts by Sally Porter, Rosalía de Castro, and Emily Dickinson and are presented in Golijov's unique signature style in a kind of Gypsy/Klezmer fusion. The second song is especially appropriate this week of Easter as the text is written as a remorse-aria of the Apostle Peter after denying his association with Jesus on Good Friday.
The spirit of song continues in Mahler's Symphony No. 4. The shortest of his 10 symphonies, the 4th is structured completely around a single song Mahler had penned in 1887 entitled "Das himmlische Leben" ("The Heavenly Life"). The first three movements presents the song's melody in various ways throughout the orchestra while the fourth movement contains the complete song as sung by a solo soprano.
Handling the soprano parts of these two diverse works is Jessica Rivera who has been a frequent guest artist of The Phoenix Symphony over our last few seasons. Check out her website at JessicaRivera.com for some great clips of her past performances including the Mahler symphony she'll be singing this weekend.
You can pick up your tickets online here. After you've attended let us know what you thought of the melding of art song and orchestra. Does the basis of a text and specific programmatic ideas make more of an emotional connection than music that was written purely for music's sake? Or does it remove the listener's freedom to let the imagination wander?
11 Comments:
Round One (Thursday). Row 1 Seat 10. Purrfect place to hear the orchestra from the Conductor’s point of view. Cheapest seat in the house, too!
First impression: Soprano Jessica Rivera is a Super Star. Perfect pitch? Pure tone. Clean vibrato. From the solo entrance in the Golijov, she won me over. Much less irritating than the recording by Dawn Upshaw. Less theatrical. More lyrical. Great atmospheric accompaniment by the orchestra, especially the violin solos by Steven Moeckel. I must get Rivera's autograph on her solo CD on Saturday.
In the much awaited Mahler 4th, Maestro Christie led me through a thrilling emotional journey. The augmented 2nd violins were super, as they had as much melody as their counterparts. Moeckel’s violin juggling act was interesting, as was his harsh interpretation of the out of tune fiddle. Rivera’s angelic finale made me feel like I had reveled in heavenly pleasures. Bravo to all.
One disappointment was the extremely slow 3rd movement. Without the Bernstein accellerando immediately following the climactic bass drum, cymbals, and timpani moment, it was just loud and painful. Getting ready for Round Two (Saturday) from Row 10.
Please. No more so-called encores “imposed” upon the audience.
Nobody asked for them. They are totally out of place. Your concerts are way too long to begin with. Most of the audience were standing (not an ovation) and heading out the door when you played “Bumble Bee.” Imposing on us a “pre-core” before Good Friday Spell spoiled the mood.
So, what are you going to “program” as an encore to Carmina Burana? The “Hallelujah Chorus!” Stop this embarrassing practice now.
Round Two (Saturday) Row 10, Seat 21. Unlike a normal concert hall, it turns out to have the worst sight line and worst sound quality. I will be relocating when I subscribe for next season.
First impression: Soprano Rivera is a lot more demonstrative; her voice does not carry well; and she has a wider vibrato. Despite all that, the Golijov Songs are Mahleresque masterworks. Then, I bought her solo CD. What a surprise. “Lua Descolorida” is included with a piano accompaniment. I might make plans to hear her with the LA Phil next month in John Adams’ “A Flowering Tree.”
Second impression: So glad I went to both performances of Mahler’s 4th. We rarely get his symphonies in these parts. Of course, I will be traveling down to Tucson next week for the “Resurrection” Symphony. Judging from the large crowd on Saturday, Phoenicians are hip to the power of Mahler. So why isn’t the Maestro programming any more for next season? Are you going to pass off Dudamel’s LA Phil tour stop as the Mahler quota?
And whatever happened to Bruckner? His symphonies make regular appearances at other venues. I’ve already booked a flight to LA to hear Bruckner 7th next month. Probably go to LA for Bruckner’s 8th next season. Hey, rumor has it that Scottsdale’s own professional Musica Nova Orchestra is hoping to perform Bruckner’s 9th in 2009-2010. Come on Phoenix. Let’s not turn into a chamber orchestra!
Marty the Cat says:
Sonny: My take on Saturday...
1) The concert was too long.
2) The Wagner was nicely played.
3) The Golijov was very moving and beautiful.
4) The soprano cannot carry and her diction is nonexistent.
5) The Mahler was very well done. Loved the string portamenti that too often is eliminated. There was some incredibly out of tune wind playing, but on the whole it was a very effective and moving performance.
6) Bruckner has been done in Phoenix. Not a lot I grant you. I know I've heard 4, 7, & 8. Small audiences, poor response. There are few orchestras that do Bruckner in the USA. His music just doesn't transfer well.
7) Given the economy, and the very real possibility of the Phoenix Symphony not existing the way we know it, Mahler is very expensive to do. I'll give them a pass on next year.
8) But, when they do schedule Mahler again, would someone please tell them to skip 1, 2, 4, 5, 9 which we've heard a lot of and recently. They've only ever done 6th once, 7 twice, 8 once, the complete 10 never, Das Lied only a couple of times I remembers, Das Klagende Lied never.
9) After the long newspaper article about the 4th, I wrote Mr. Nilsen asking that he should try to mention the Tucson Resurrection coming up. I thought it was a state-wide paper. Nothing mentioned at all so far. You ought to nudge him to say something about it.
Here's a message from "M-CAT."
Sonny: My take on Saturday...
1) The concert was too long.
2) The Wagner was nicely played.
3) The Golijov was very moving and beautiful.
4) The soprano cannot carry and her diction is nonexistent.
5) The Mahler was very well done. Loved the string portamenti that too often is eliminated. There was some incredibly out of tune wind playing, but on the whole it was a very effective and moving performance.
6) Bruckner has been done in Phoenix. Not a lot I grant you. I know I've heard 4, 7, & 8. Small audiences, poor response. There are few orchestras that do Bruckner in the USA. His music just doesn't transfer well.
7) Given the economy, and the very real possibility of the Phoenix Symphony not existing the way we know it, Mahler is very expensive to do. I'll give them a pass on next year.
8) But, when they do schedule Mahler again, would someone please tell them to skip 1, 2, 4, 5, 9 which we've heard a lot of and recently. They've only ever done 6th once, 7 twice, 8 once, the complete 10 never, Das Lied only a couple of times I remembers, Das Klagende Lied never.
9) After the long newspaper article about the 4th, I wrote Mr. Nilsen asking that he should try to mention the Tucson Resurrection coming up. I thought it was a state-wide paper. Nothing mentioned at all so far. You ought to nudge him to say something about it.
Warren the Cat says:
More than rumor about Bruckner 9; I am talking to Will Carragan and we have made arrangements to do it on November 8th in the 4 movement
version that Carragan has spent the last 30 years putting together (this involved tracking down missing pages of the Finale from all over the world and the interpretation of some sketches for the 20% of the movement
that Bruckner did not complete-more about that later!).
Good to see a discussion going again.
Sadly, yes - programming Mahler is as much a financial decision as an artistic one. Thankfully, the 4th Symphony is the smallest of them. Otherwise, it no doubt would have gone the way of Heldenleben and been cut for a smaller work. I am very committed to performing his works and thus far feel that performing his music fits well with me. I am doing a cycle of his symphonies with the Colorado Music Festival in Boulder. This summer we are doing the 4th Symphony as well. Last summer's 3rd was tremendously exciting.
I am taking the opportunity to do all of them in Boulder (#8 won't fit on the stage sadly and won't be part of my cycle) as the organization has committed to performing one each season. I have had the opportunity to conduct Nos. 1,2,3,4,5 and 6 in my life. Hermann Michael was able to do a cycle, more or less during his time so we'll see if it's possible to fund such a thing here, in Phoenix as well.
One nice thing I hope will continue is that our audience is in growth mode even for composers that are not the obvious mainstream. A Bruckner 5th Symphony would be a very happy week for me.
May I respectfully suggest those that had a problem with Ms. Rivera's carrying power try a concert in the balcony? I'm convinced that sitting close up to the orchestra is a mixed blessing. When I listen to a performance of the symphony, I always go to the balcony. As a matter of fact, in virtually any hall I prefer the experience of the balcony.
Thanks to all for writing!
Welcome back Maestro Christie to the discussion. I always tell my colleagues that this aspect of the SoundPost makes The Phoenix Symphony unique: a direct and honest conversation with the Music Director.
Regarding seating in Symphony Hall, I used to be a balcony dweller and believed in the better sound quality concept. But, I moved downstairs to be closer to the musicians (and because I have terrible eyesight).
I often see our President/CEO sitting in about Row 18 on the main floor. Certainly that location offers a good view of the orchestra, all the way back to the trombone section! But, Maryellen, how’s the sound quality? Should I request seating in that area for next season? Hurry, the renewal deadline is near.
Hi Sonny,
The sound quality in Row 18 is fine, but I sit there because the view is spectacular. As you have noted, from Row 18 I get the best view of the entire orchestra and I can see the soloists as well as the conductor and discern how the patrons are reacting to the performance. I also sit in Row 18 because I get the best access to our symphony patrons in that spot and I can walk through more aisles to ask our customers how they are enjoying the performance or thank them for attending the concert. I usually attend more than one performance in a given week so I often sit in the balcony as well for one half of one of the two or three performances so I get the best listen as well. Different experiences really and I enjoy the variety. Please let all of us on Soundpost know how your seating experiments go. Thank you for kicking off the conversation again.
Maryellen H. Gleason,
President and CEO
Sonny’s Mahler 2 Experience in Tucson (Sunday):
There is no comparison between The Phoenix Symphony and our part-time neighbors to the south. Other than the strings, no section played uniformly. There were way too many individual missed notes. And yes, the cymbal player had only one way of crashing: a light shimmer with no attack; and his suspended cymbals were totally ineffective.
Overall, the Tucson Symphony suffers from their hall. Anything beyond 10 feet from the front was muffled. Even if they were playing with gusto, you wouldn’t know it. One good thing: lots of legroom in Row M. It was good to see Phoenix regulars Nate Mitchell in the horn section.
Presto the Cat and I both loved the off-stage brass. 4 horns at the back of the audience roared like the voice of God. The first muffled trumpets and drums and then louder through the open side door was exciting and well coordinated with the trombone entrance on stage. The balcony stereo trumpets mixed well for us sitting dead center on the main floor.
Despite the shortcomings including an inaudible organ, the finale had me sobbing and shaking uncontrollably in ecstasy. That was Mahler’s music working its magic. We Mahler Maniacs really enjoyed our trip.
Marty Cat’s Mahler 2 Experience (Friday):
The house was packed full. I saw just a few empty seats. There is, mercifully, no intermission. And there's no companion piece. Just the Mahler. For some reason, too many conductors think you have to have more than the big Mahler symphony and play some Mozart making the concert ridiculously long.
The first thing to notice is Hanson takes quicker tempos than are the norm these days. I like it the quicker pulse. We know that Mahler did, too, and attention never flags. The orchestra isn't perfect, but they played their hearts out. There were some flubs, all minor.
The first movement was bracing and thrillingly played. Hanson played close attention to dynamics and didn't over play it the way some maestros do. One thing that could have improved it was to have the cymbals louder. I could see him striking them, but the sound is oddly muted.
Movement 2 is quicker than you've ever heard it. This isn't Maazel's dreary dance of death, but a light folk dance confection. A true Landler. More like Scherchen did it. The only problem is that the cellos and basses had some troubles staying together in some of the harder (more black notes) sections.
Movement 3 was great -- really ironic and potent. The big climax really startled the woman in front of me.
Movement 4. The contralto was just ok. The orchestra playing was fine. But at the end Mahler wrote attacca: but Hanson took a longer pause that shouldn't have been there in my opinion.
Movement 5. The offstage brass was offstage, but in the hall. The first "offstage" horn calls from the balcony were too loud. Yes, they give a sense of space, but Mahler wanted them from the distance. The offstage ensemble with trumpets and drums was in the hallway -- a door away from where I was sitting (Row N) and WAY too loud. And then they opened the door! Even louder. Whatever effect Mahler wanted sure was missed. It might have sounded great from the conductor's podium, but the effect was lost on me and the audience who was wondering what the heck is going on. The great drum rolls: the first was terrifyingly loud. The second cut short. The chorale entry was breathtaking -- indeed the choir was excellent. The soprano was not. The effect made when the choir stood was electrifying and thrilling. Chills up and down the spine. The electronic organ was ineffective.
But the cumulative effect was thrilling, and the audience immediately rose to its feet. My old maxim is: any good live Mahler performance is better than any great Mahler recording, and this concert filled the bill. Very enjoyable, and something Tucson can be proud of.
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