Yakov Kreizberg (1959-2011) - an appreciation
Amongst my circle of friends it is typical that over dinner conversation should
turn to matters musical. After a substantial debate around the merits or lack
thereof in György Kurtág's music, I found myself faced with the
question, “Which conductor do you want to hear more often?”
My immediate reply: “Yakov Kreizberg”.
My dinner companions nodded thoughtfully or looked perplexed, but my questioner
refused to let it rest at that and pressed me for further elaboration.
I heard Yakov Kreizberg conduct on two occasions: Der Rosenkavalier
at English National Opera and in concert at the Amsterdam Concertgebouw with
the Netherlands Philharmonic Orchestra in Schumann's second symphony and Brahms'
violin concerto. The soloist was his long-time collaborator Julia Fischer.
Der Rosenkavalier, I recall, was conducted rather at arm's length. I did
not feel that Kreizberg was fully connected with the drama and passion that
is - for me at least - so much part of the opera's fabric. The playing was
perfectly correct, everything was in its appropriate place, yet whilst listening
to it I remained unmoved.
My thoughts on the 2006 Schumann and Brahms concert were published at the
time. Re-reading the review,
I am conscious of the fact that my attention is more on Julia Fischer's solo
contribution than Yakov Kreizberg's conducting in the concerto. Schumann,
however, allowed Kreizberg to really grab my attention. Going back to the
notes I made in the concert programme, I commented on the 'definite sense
of purpose' and 'clear technique and astute ear for layering the orchestral
sections […] building sonorities from the bass range upwards'. It is
a shame that Kreizberg never made it into the recording studio with Schumann.
Afterwards, I headed to the Concertgebouw café to bide my time before
heading back upstairs to hear Radu Lupu play Beethoven. Much to my surprise,
Yakov Kreizberg took a seat opposite me shortly afterwards. Evidently still
feeling the afterglow of Schumann's great passions - as was I - he sat and
we conversed fulsomely whilst he consumed first a soup then chocolate cake
at an alarming rate. The lasting impression was one of courtesy, utter professionalism
of course, but that he treated my remarks with respect, even though it was
momentarily obvious that our views differed regarding the dynamic impetus
required for the first movement. He laughed upon seeing my comment “too
laboured ???”, thought a moment, and nodded slightly with a broad smile.
It was easy for me to see that if he took this kind of approach with orchestras
and soloists just why his colleagues have been so quick to offer fulsome
praise in the wake of his untimely death following illness at the age
of 51.
A varied legacy is left on CD and DVD, with several of the orchestras Kreizberg
headed as chief conductor or music director represented. Early encounters
on CD for Decca included two recordings of Berthold Goldschmidt's music, including
the clarinet concerto. Not surprisingly his collaboration with Julia Fischer
and the Netherlands Philharmonic Orchestra features strongly on the Pentatone
label. Practically every release - including of the Brahms solo and double
concertos - received favourable reviews upon release. Their Mozart concertos
and notable for their scale, cleanliness and unassuming style. Dvořák
symphonies impress for their pliant sensitivity as much as his Shostakovich
reflects the ability he had to bring out inevitability of form in the composer's
writing. His only recording of a Bruckner symphony (no. 7 with the Vienna
Symphony Orchestra) was deservedly a contender for the 2006 Grammy Best Orchestral
Performance award. Kreizberg's most recent artistic relationship was with
the Orchestre Philharmonique de Monte-Carlo. They released in January this
year a 3 CD set of the Stravinsky ballets on the orchestra’s own label,
featuring the rising star mezzo-soprano Renata Pokupic. The latest recording
with Julia Fischer is due out on Decca next month, featuring Suk,
Respighi, Chausson and Vaughan Williams. One wonders what else might have
been forthcoming in time from Monte-Carlo under Kreizberg's baton. Only his
opera repertoire is significantly under-represented, with a Don Giovanni
filmed at Glyndebourne.
Returning to Yakov's interpretation of Der Rosenkavalier once more
I am tempted to think that actually he got it right. Richard Strauss's music
can be played coolly and largely free of traditional Viennese excess, even
when it is at its most overtly romantic. Surely a key defining characteristic
in any musician of stature is their ability to persuade that another interpretation
is not only technically possible, but that it also makes musical sense. For
that reason alone Yakov
Kreizberg surely still had much to offer orchestras, soloists and audiences,
making his loss all the harder to bear.
Incidentally, were I to be asked the question again as to which conductor
I want to hear more of, I would go for Yakov’s older brother, Semyon
Bychkov.
Evan Dickerson
Evan also writes about music and more on his blog Comments about culture (http://evancomments.blogspot.com/)