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SEEN AND HEARD INTERNATIONAL CONCERT REVIEW
Jörg Widmann: Con Brio, Concert Overture for Orchestra
Robert Schumann: Symphony No. 4 in D minor, Op. 120
Johannes Brahms: Concerto No. 2 in
B-flat major for Piano and Orchestra, Op.83
An apt title for last
night’s sparkling program at Avery Fisher Hall might be “All Is Not What It Seems.”
The young German composer Jörg Widmann’s engaging “Con Brio, Concert Overture
for Orchestra” could well have been entitled “Con Brio, Paraphrases
on Themes of Beethoven.” Schumann’s Fourth Symphony might have been listed
under its original name, Symphonische Phantasie, and Brahms’s Second
Piano Concerto, as it was expertly played here, could have been called “Symphony
with Piano Obbligato.”
Musical paraphrase
brings to mind the dozens of piano pieces written by Liszt in which the source of
the music is made clear either by its title or by the music itself, as in his Rigoletto
Paraphrase de Concert. Widmann’s paraphrasing is different. Without the
program notes would one know that this work, commissioned by the Bavarian Radio
Symphony Orchestra, was written specifically to precede and be shaped by Beethoven’s
Seventh and Eighth Symphonies? Of course, now that we do know, can’t you hear
the opening of the last movement of Beethoven’s Seventh, the famous opening of
the Fifth, the Leonore Overture, the finale to The Creatures of
Prometheus and the opening of the second movement of the Ninth?
This was a delightful and wonderfully orchestrated piece. With only a slight
adjustment in instrumentation, Widmann used the orchestra Beethoven would have
used for his symphonies. But save for its cryptic allusions to Beethoven’s musical
themes and its moments of tonality hovering appropriately around the Seventh Symphony’s
A major and the Eighth’s F major, this composition never for a moment sounded
“Beethovian.” Parts of the work were composed in a vertical style reminiscent
of Charles Ives’s Concord Sonata and Fourth Symphony. In both of them, Ives
uses a technique similar to Widmann where multiple distinct musical phrases are
played simultaneously rather than sequentially.
Widmann was able to
bring out sounds seldom if ever heard from the timpani, crackling and scratchy notes
that would normally have you covering your ears but that seemed entirely
appropriate in the context of the piece. Conductor Christoph von Dohnányi held
tight control over the orchestra, which is playing contemporary music these
days with as much élan as they have always brought to the standard repertoire.
Just as Widmann’s Con
Brio was more a paraphrase than an overture, so it seems questionable to
call Brahms’s Second Piano Concerto a concerto, particularly in the way it was
played by Yefim Bronfman. Bronfman made it clear both in his style of playing
and his self-effacing mien that this was not Brahms Piano Concerto but rather
Brahms “Symphony with Piano Obbligato.” For a good part of the work, the
pianist sat patiently, hands in lap, listening and watching the performance as
if he were a member of the orchestra, or of the audience for that matter. This was
particularly true of the third movement with its poignant arioso for cello
(later transcribed by Brahms into a song) but to some extent for all the
movements.
Bronfman intentionally
emphasized the “non-concerto” nature of the work. Playing without a score, he
was in eye contact with the conductor whenever possible. This was no battle of
egos à la Glenn Gould and Leonard Bernstein (albeit that was over Brahms
First, not Second, Piano Concerto). In fact, Bronfman clearly recognized that
this piece required him to follow the conductor, that to perform in a different
manner would be to gain control of the piano but to lose Brahms’s concept of
the entire composition.
If you were to take
away the orchestra, the pianist would be left with a score void of any
completed themes. We hear flourishes, but never the whole of any melody. If the
piano concertos of Schumann, Chopin, Liszt or Tchaikovsky were played without an
orchestra, they might sound stark but they would still reveal the true soul of
the composition. If the same were done with Brahms’s Second, we would hardly be
able to pick out the skeleton of a coherent melody.
This was an exemplary performance,
somewhat coolly played. Bronfman did not appear for a second to be perturbed
by the difficult piano maneuvers required by the score. What was important was
not technique (that would be a concern of mere virtuosos) but the transparency
of detail revealed by transcending the piano’s mechanical demands.
So we step back
chronologically to a “non-symphony,” Schumann’s Fourth, which he originally entitled Symphonische Phantasie. Although this work is symphonic in its
traditional four movement construction, each movement having the standard symphonic
tempo and meter, its internal structure is tampered with enough to be
considered “fantasized.” The first movement’s most prominent theme occurs not
in the exposition section but right where the development section begins. The
recapitulation of the opening themes never occurs at the movement’s end. Instead
Schumann segues without pause into the second movement, a brief interlude of
calm that proceeds without a break into the third movement’s Scherzo. The
Scherzo moves along traditional lines until the second trio is completed, and a
repeat of the Scherzo’s opening section is expected. Instead what we hear is a
slow interlude leading up to the final movement which opens with none other
than the first movement’s most prominent theme.
Dohnányi’s performance
of the symphony was in the tradition of the great conductors of the twentieth
century, men like Toscanini, Furtwängler, Klemperer or von Karajan, who conducted
this work in a manner confidently self-assured, solidly taut and always well
detailed. As he did with the Brahms concerto, Dohnányi led the orchestra
without a score: it was obvious that he was performing a work whose every note has
been deliberated upon over his long career.
One walked out of the
theater feeling lucky to have been present for this unusually satisfying program,
enhanced by the collaboration of a major conductor and master pianist.
Stan Metzger