Arts: Classical: Roll over Schoenberg, Beethoven was better
LONDON PHILHARMONIC ORCHESTRA ROYAL FESTIVAL HALL LONDON
Writer and broadcaster Edward Seckerson is Chief Classical Music and Opera Critic for The Independent. He wrote and presented the long-running BBC Radio 3 series Stage & Screen, in which he interviewed many of the most prominent writers and stars of musical theatre. He appears regularly on BBC Radio 3 and 4. On television, he has commentated a number of times at the Cardiff Singer of the World competition. He has published books on Mahler and the conductor Michael Tilson Thomas, and has been on Gramophone Magazine's review panel for many years. Edward presented the 2007 series of the Radio 4 music quiz Counterpoint. He has interviewed everyone from Leonard Bernstein to Liza Minelli; from Paul McCartney to Pavarotti: from Julie Andrews to Jessye Norman.
Monday 26 October 1998
For that, in two words, is precisely what this protracted one-act concert piece strives to be, and precisely what Christoph Eschenbach and the London Philharmonic strove so valiantly to make it last week. That they, too, failed where others have failed is no reflection on their endeavours. An extra rehearsal or two might well have tightened the ensemble; a more "giving" acoustic than the Royal Festival Hall might well have made more sense of the clotted counterpoint. But Schoenberg's Pelleas is what it is; and what it is is long and dense and obsessive. At any one time, you could be at any one place in the narrative. Of course, even Schoenberg cannot resist visualising Melisande's golden tresses cascading from the tower (four harps mark the spot); likewise our descent into the castle dungeons (cue dank and sinister trombone glissandi).
But, essentially, this is a musical vortex, a web of emotional intrigue. It's expectation without fulfilment, desire without consummation. It seems to shun resolution. There is no good reason for it to end at all.
But it does, and when it does, you wonder why. Perhaps that was the intention. Elusiveness is beautifully conveyed in the crepuscular opening pages: a confluence of bass sonorities so dark that even the cor anglais seems to shed light.
Desire is omnipresent in themes that crave but never find true release. It's all foreplay, this score; you can identify the development, but never feel it.
How strangely cathartic, then, to return after the interval and to discover Schoenberg's enormous orchestra pruned to a quarter of its size. Emanuel Ax played Beethoven's Emperor Concerto with bravura and modesty - big but not ostentatious. He did not stint on the grandiose gestures - his first movement development was steered majestically towards the traditional volley of octaves - nor did he eschew the fantasy inherent in the first movement's crystalline, music-box-like second subject (played with great atmosphere) or the modified rapture of the slow movement which, for once, wasn't made to sound like early Chopin.
Eschenbach (who has sat where Ax was now sitting on so many occasions) was a marvellously alert and purposeful collaborator, leading our ears onwards and upwards towards key modulations, key climaxes, highlighting but not labouring a leading note here, a rising bass line there. He and Ax made the finale's dancing variations anything but flat-footed.
Not yet "the apotheosis of the dance", as Wagner described the Seventh Symphony, but the best of the preliminary rounds.
Game of Thrones
Arts & Ents blogs
- 1 VMAs 2015: Was Nicki Minaj and Miley Cyrus' awkward acceptance put-down real or staged?
- 2 If you're not already angry about the migrant crisis, here's a history lesson to remind you why you really should be
- 3 Rules on 5p plastic bags likely to lead to arguments at the check-out
- 4 Chaos breaks out in courtroom as father attacks killer of three-year-old daughter
- 5 Blood Moon and Supermoon: September to bring brightest – and dimmest – full Moon of the year on same night
X Factor hopeful Mason Noise: 'How is Cheryl Fernandez-Versini in the music business, let alone a judge on the show?'
Trevor Noah, Edinburgh Fringe review: New Daily Show host warms up in inspired style
X Factor 2015: Ratings drop almost 2 million compared to last year's launch show
VMAs 2015: Kanye West runs for president, Nicki Minaj calls out Miley Cyrus and the list of winners in full
VMAs 2015: Taylor Swift and her buddy Kendrick Lamar clean-up at awards - full list of winners
Climate change: 2015 will be the hottest year on record 'by a mile', experts say
Jeremy Corbyn calls Osama bin Laden's killing a 'tragedy' - but was it taken out of context?
Tony Blair attacks Jeremy Corbyn's 'Alice In Wonderland' politics
Theresa May says migrants should be banned from entering the UK unless they have jobs lined up
Iain Duncan Smith 'should resign over disability benefit death figures', says Jeremy Corbyn
UN investigating British Government over human rights abuses caused by IDS welfare reforms