Schubert’s “Great”, and Mahler-Berg connections explored brilliantly by Wilma Smith and Orchestra Wellington

Orchestra Wellington conducted by Marc Taddei, with Wilma Smith (violin)
“Last Words: To the Memory of an Angel”

Mahler: Adagio, from Symphony no.10 (Deryck Cooke performing version)
Berg: Violin Concerto “In Memory of an Angel”
Schubert: Symphony no.9 in C

Michael Fowler Centre

Saturday 10 September 2016, 7;30 pm

In his introductory remarks about each work to be played, Marc Taddei referred to the poignant use of the Bach chorale ‘Ich habe genug’, by Alban Berg in the latter part of his violin concerto, the second item on the programme.  He said ‘Wouldn’t it be good if there was a way to let you hear that’.  He turned away from the audience, and up popped a choir from the left side of the gallery seating (not the choir stalls), and without further ado, sang the requisite chorale!  A coup de théâtre perhaps.  A close examination of the printed programme revealed the name ‘Wellington Youth Choir’.

The Mahler symphony I have known and had recordings of for years, in the Deryck Cooke performing version of the uncompleted work.  In fact, I was present at the first full performance, at the Festival Hall in London in October 1972.  Not only that, but as I queued for a juice in the interval, I heard two men next to me conversing.  “What are you working on now?” said one.  The other replied to the effect that he was working on Wagner.  I thought ‘I’ll bet that is Deryck Cooke’.  I snatched a look at the man in question, and sure enough, at the end of the performance of Mahler’s unfinished work, the conductor asked the gentleman responsible for the completion to rise; it was the man I had identified.  The programme notes are by Deryck Cooke (as are the English translations of the Rückert lieder sung earlier in the concert), and there is an advertisement from Faber Music for the forthcoming publication of the score of the symphony.  The orchestra was the New Philharmonia, conductor, Wyn Morris.

This first movement contains much solemnity, even anguish.  Some say that Mahler was here entering a new phase in his composing, which promised much that was cut short by his untimely death in 1911. The brass intoned the melody splendidly, then strong strings took it up.  Impressive motifs were sounded by the woodwinds, lifting the mood even to light-hearted frolicking.  The violas had important contributions, and there was much effective pizzicato, especially from the cellos, before the brass intoned portentously turning off the gaiety, before the main themes returned.  The music became very quiet, then an organ-like brass discord disrupted the scene.  Cellos and double-basses, followed by violins create variations on the theme, with some delicious harp thrown in.  The whole of this lengthy movement was moving and emotional in its impact, and magnificently played.

Berg Violin Concerto  
Marc Taddei described this as ‘Possibly the most profound violin concerto ever written’.  (In the year’s programme booklet he says ‘undoubtedly one of the most popular of the 20th century’, a rather unfortunate statement).  The problem is that many (most? judging from those I spoke to at interval and after the concert) do not regard the music of the second Viennese school highly, so do not listen to it.  I am not aware of ever having heard anything except excerpts before.  Therefore we do not know it well enough to penetrate its character.  Grove says that it follows a classical framework, and that it is both tonal and serial in some episodes, in some tonal but not serial, in others serial but not tonal, and in still others, neither. Thus it is beyond the aural experience of most concert-goers.

What cannot be disputed is the quality of Wilma Smith’s playing.  While the orchestral part, though following 12-tone method, often sounded somewhat random, the violin part throughout was both mellifluous and superbly played, though much of it, too, was based on a 12-note tone-row.  It was a treat to hear from one of our foremost musicians again, and also, in a world now peopled by a plethora of young women violinists, to hear an older woman violinist playing a concerto.  She needed to use the score in this complex music.

There was more than one important link: Berg wrote his concerto ‘In memory of an angel’ to mourn the death of Manon Gropius, at only 18 years of age.  Manon was the daughter of  Walter Gropius and Alma Mahler, the widow of Gustav Mahler to whom Mahler wrote messages of love in the score of his Tenth Symphony, although she was already having an affair.

The other link was a reason for Wilma Smith to accept the invitation to perform the Berg concerto, as she outlined in an interview on Radio New Zealand (“RNZ”, sorry!) Concert ‘s Upbeat programme: in the United States she was a student of Louis Krasner, probably 40 years after the latter commissioned this concerto from Berg.

The concerto opens with solo violin plus harp and a few woodwinds.  The remembered warm tone of the soloist was ever-present.  Hers is not a big sound, but very expressive.  There was a lot of double-stopping, also glissandi and harmonics; all  played with the assured manner and technique of an experienced professional.

Each of the two parts of the concerto consists of two movements, but the only break is between the two parts.  The second part began with big brass noises: the horror of approaching death.  Then there is bravura from the violinist, who is playing almost all the time in this concerto.  Again, there is much double-stopping.  Quiet, slower passages in the adagio second section include, left-hand pizzicato for the soloist.  With the orchestra, she utters melancholy tones and lyrical phrases until brass and percussion burst in again.  Agitation breaks out for all, including the soloist.

The slow Bach chorale, with spare harmonisation, is backed up by the woodwind, to be most sonorous and expressive.  The solo violin produces ethereal sounds, befitting an angel.  Louder sounds take over from the calm, and intone powerfully, meantime the violin is still soaring.  This is an extraordinary work, and fabulously well played.

Schubert Symphony no.9
A complete change of period and mood was made in the second half of the concert, and a smaller orchestra took to the stage. The symphony’s dramatic opening was followed by the orchestra taking up the great melody.  Winds were very precise, and solos were beautifully played. There was a strong feeling of the work developing and moving forward.  While we know Schubert for his wonderful melodies, he can introduce fine harmonies and orchestrations too, particularly in this symphony.

Following the andante introduction, the first movement went at a good pace.  Some phrases seemed to anticipate (or echo?) Mendelssohn; the latter conducted the premiere of Schubert’s symphony in 1839.

Tremendous climaxes were reached at the close, while the second movement (andante con moto) provided a good contrast, especially the lovely, jaunty oboe solo.  While the music sometimes seemed square compared with the earlier Mahler and Berg, it is certainly more cheerful, and has strong rhythmic drive.  I found some of the instruments shrill at times; this would have been less so on instruments of Schubert’s time.  There were marvellous contrasts brought out by the playing.

The dynamic Scherzo drove on, through a good deal of repetition which can become  little tedious despite the wonderful tunes.  This is true of the finale also, though it ends with plenty of punch.

Comparisons may be odious, but it was interesting to note how little coughing there was at this concert compared with some NZSO performances I have attended.  And that Orchestra Wellington and its conductor wear dark business suits and normal ties, not ‘penguin suits’.  The Michael Fowler Centre was well-filled, though not full.  The highlight for me was the Mahler movement, though I do not wish in any way to denigrate Wilma Smith’s marvellous playing in the Berg.  The brass, too, were outstanding, and had lots to do.  A fine concert, with orchestra and soloist in excellent form.

 

Plenty of pre-university talent for the school of music to draw on

New Zealand School of Music Young Musicians Programme

Classical Classes Final Concert 1

Adam Concert Room, NZSM, Victoria University

Saturday 10 September 2016, 2pm

It is inevitable in a concert of this sort that there will be a great variance in skill levels, and in musicianship.  This time, there were fewer really young students than I have heard in previous concerts of this type; nearly all would be intermediate or secondary school students, I would guess.  The comments below are made not to criticise the individual players, but hopefully to assist them to make their musicianship even better.

The concert opened with a guitar quartet playing two short pieces, very competently.  Not all the players had full-sized guitars, and this may have contributed to the low volume.  Like all the items, the pieces were introduced by the players.  The two gentle pieces, ‘The Water is Wide’ and ‘Waterfalls’ had their attributions in the printed programme reversed – the former is traditional and the latter by Australian Peter de Monchaux.  Vaughan Austin played solo lines very well.  This was not all easy music; off-beat rhythms in the second piece were handled very well.

Robert Evers played two short pieces by Prokofiev, and gave his introduction very clearly and confidently s indeed was his playing.  The first piece, ‘Regret’ was perhaps a little loud for such a sentiment.  ‘Tarantelle’ was the expected fast dance.  No pedal was used, and there was little subtlety but certainly excitement.

Ishta Khor (violin) and Elliot Baguley (cello) were younger performers, and I thought the tone, resulting from difficulties in tuning and bow technique, rather harsh, particularly with the violin.  The cello parts were easier, and sounded better.  The two pieces were by New Zealand composers: ‘A Book of Dreams’ by Barry Anderson and ‘Ghosts’ by Ronald Tremain.

Ryan In played from memory the Praeambulum from Partita no.5 in G (BWV 829) by J.S. Bach.  This was superb pianism,  Ryan’s phrasing and staccato passages were excellent.  He varied the dynamics beautifully, and showed great digital facility for someone of his age.

He was followed by a piano trio: an excerpt (I assume the first movement) from Haydn’s piano trio no.22 in A.  This was impressive playing, from Tee Hao-Aickin (violin), Liam Anderson (cello) and Vanessa O’Neill (piano).  Their interpretation was convincing, the playing showed subtlety, there was good balance, and although intonation was not perfect, it was mainly very good, as was the players’ tone.

A change to singing: an all-female vocal ensemble of Hannah Collier (no relation), Hunter Meek, Brooke Raitt, Greta Healy-Melhuish, Cassandra Bahr and Lily Jones, accompanied by an excellent but unidentified pianist (later identified in another item as ‘Danny’) sang Frederick Keel’s setting of Shakespeare’s ‘You Spotted Snakes’ followed by ‘It was a Lover and his Lass’ by Vaughan Williams.

The voices and intonation were on the whole good, but there was insufficient variation of tone or dynamics.  In the second song, these aspects improved, but sometimes the singing was just under the note, especially in the notorious seventh note of the scale when descending.

Vanessa O’Neill played the Prelude from Grieg’s Holberg Suite.  The work was written for piano, although the composer’s arrangement for string orchestra is more well-known.  Vanessa is a very able pianist.  She knows what she is doing; fast passages were very accurately performed, and where the melody was in the bass, it was brought out well.  This was a very enjoyable performance.

Brooke Raitt (voice) sang ‘Dream Valley’ by Roger Quilter.  While she still has a child’s voice, this was very accurate singing, and William Blake’s words were well articulated.  She just needs to develop greater warmth of tone.  ‘Danny’ accompanied.

Stella Lu, piano, played Sonatina Op.13 no.1 by Kabalevsky.  She played this fast piece (first movement) confidently and capably.

Tee Hao-Aickin returned, along with her pianist sister, Danielle, to play the allegro first movement of Beethoven’s wonderful ‘Spring’ sonata.  This sublime work always makes me smile with pleasure.  The players demonstrated lovely tone; these are promising young musicians.  Intonation was not perfect, but very good from Tee.  Perhaps the timing, phrasing and dynamics were a little too strict, especially in the piano part – there should be phrasing within phrases as well as between them.  Otherwise, this ambitious item was most enjoyable.

A piano trio ‘Oblivion’ by Piazzolla from Jim Zhu (violin), Willoughby Benn (cello) and Ryan In (piano) I found rather dreary (was the composer’s idea to put the audience into oblivion?), but admittedly it warmed up a little during its course.  These players were younger than the previous ones, and therefore not so skilled, but they did well.  The cellist appeared younger than her colleagues, but held up her part well.

Hunter Meek, who had already sung in the vocal ensemble, sang Michael Head’s ‘Ships of Arcady’.  I remember this song being popular in the 1960s; I have not heard it for a long time.  Hunter sings well, but swallows her words somewhat.  Her voice needs more projection, and she needs to keep her mouth open more in quiet passages.  However, it was a pleasing performance, and it was good to hear her acknowledge Danny, still unnamed in the printed programme.

The final item was from pianists Stella Lu and Danielle Hao-Aickin, playing three short piano duet preludes by George Gershwin.  The second, andante con moto e poco rubato, had more subtlety than its preceding allegro yet it also had cheekiness.  The final allegro ben ritmato e deciso was a lively and attractive movement, played very well, making an upbeat end to the concert.

All these young players should be encouraged, whatever their age and level.  A little top: when you bow, do look at the audience!  The work of those who administer, arrange, teach and encourage young musicians deserve thanks.