David Geffen Hall at Lincoln Center. Tier 1 (Seat BB101, $93).
Program
Ch'io mi scordi di te? ... Non terner, amato bene, Scene and Rondo, K.505 (1786) by Mozart (1756-91).
Piano Concerto No. 25 in C major, K. 503 (1786) by Mozart.
Symphony No. 4 (1892 and 1899-1901, rev. 1901-11) by Mahler (1860-1911).
This concert wasn't part of my original subscription, it didn't make it to the top of the list of 13 or so concerts I got tickets for. Seats were still available when we realized that we wouldn't be able to make the 2/22 concert (with Emanuel Ax on the program) as I will be away. I can't predict how the two programs compare, but this was quite a concert, though.
The anchor for the afternoon (concert started at 2 pm) was the Mahler piece. At over an hour it was 20 minutes longer than the first half. Relatively short for a Mahler symphony, and the time went by rather quickly as the performance was very enjoyable.
Mahler had already completed the last movement and was planning to use it in the already very long third symphony. That song (Das himmlische Leben) eventually became the last movement of the fourth symphony. Musicologists (including the Program Annotator James M. Keller) discuss how the first three movements were composed with this destination in mind.
The "point" behind this symphony is fluid in that it can be interpreted in different ways, both by the musicians and the audience. Overall, however, the idea is behind this glorious music there is a lot of cynicism. That is evident right from the beginning phrases. The music can be soaring and lofty, yet there is always this feeling things are not that pleasant if one looks deeper.
That absurd feeling is brought home in the fourth movement. The heavenly life on the surface is ideal, but it comes at a cost. The song has five stanzas, it is illustrative to go through them. The first stanza describes how great the pleasures of heaven are, peaceful, happy, people dancing and singing. The second stanza talks about a patient lamb being killed by Herod the butcher, and how Luke slaughters the ox, all enjoyed with wine and bread. The third and fourth stanzas talk about how great the vegetables are, and the abundance of animals for food; on a fasting day fish come willingly to provide the alternative. The last stanza repeats how everyone rejoices. One can debate the theology behind the lyrics, but no doubt Mahler (most probably an atheist, although he converted to Christianity) is questioning what kind of heaven this is.
The instructions Mahler provided were to sing the song in a simple voice. Schultz did do it as if she is enjoying heaven as described, although I would say there are many way to deliver the music that would convey the absurdity Mahler is trying to describe. She came onto the stage at the beginning of the third movement, so had to sit up front for a good fifteen minutes before she started singing. That didn't seem to be a problem.
On a prior blog entry someone commented on the second violin used by the concertmaster to deliver some of the solo lines: it was tuned higher to deliver a sharper tone. Again a subtlety grasped only by those with an intimate knowledge of the music.
The concert began with two compositions by Mozart. The recitative (You ask that I forget you?) and aria (Fear nothing, my beloved) were composed as a "concert aria," one of 50 some Mozart composed for various occasions and reasons. The piano plays an important role in the music, together with the orchestra.
The Mozart piano concerto was a delight, and was delivered gracefully by Piemontesi (his NY Phil debut). The Program Notes mentioned how one might think there is a "French connection" to "Marseillaise" of French revolution fame. I hadn't made the connection, but now I have to work to get that out of my head.
Schultz, Piemontesi and Noseda after Mozart's Concert Aria.
It was a delightful performance, but overshadowed by the Mahler 4 that was to come.
For a Mahler concerto this wasn't a large orchestra. There were 9 double basses.
Schultz is from South Africa, had her Met debut a few years ago, but today was the first time I saw her in concert. Her voice was clear and her elocution precise (even though I speak little Italian or German). This was our first time sitting in Tier 1 after the renovation; I wonder if the clarity of the sound is a result of the new acoustics.
We made the 4:27 pm train back to NJ because it was running late. Turned out it was late by about 30 minutes, but there was still light when we go home. Earlier today the groundhogs predicted it would be a short winter.
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