Prom 70: 6.09.16 - Staatskapelle Berlin and Daniel Barenboim

[P. G. Tipps]

The brass in the Bruckner did sound a bit tired at times but after last night's epic and the very warm conditions maybe not too surprising?

Barenboim handled the wonderful coda of the first movement pretty well just letting the natural momentum of the music carry it forward without forcing the issue by suddenly and (imho) ruinously speeding things up.

So I'm happy ... all the perceived failings in the rest of the performance were easily forgiven and forgotten after that!

[richardfinegold]

Probably that fine brucknerian Stanisław Skrowaczewski with the Saarbrücken Radio Symphony Orchestra (not just "a German radio orchestra") on Arte Nova? Well worth having.

I was close enough. I burned the disc into I tunes a while ago and good luck trying to read the original meta data which doesn't seem to have survived a few OS updates....
I'm a little surprised at the lack of love for the work among forumites. This has always been one of my favorite Bruckner Symphonies. My original intro was via Gunter Wand but Stan really seems to control the rhetoric of the work, which I think is one of AB's most approachable.

[Bryn]

I was close enough. I burned the disc into I tunes a while ago and good luck trying to read the original meta data which doesn't seem to have survived a few OS updates....
I'm a little surprised at the lack of love for the work among forumites. This has always been one of my favorite Bruckner Symphonies. My original intro was via Gunter Wand but Stan really seems to control the rhetoric of the work, which I think is one of AB's most approachable.

I'm fond enough of the symphony. My favourite recordings are both issued by the same label, and are conducted by Norrington and the Gielen respectively.

[Thropplenoggin]

Bloody part timer.

( enjoy the Prom though, great to see you back , Throbbo.
I thought one of the tigers must have got you.)

Haha. Cheers, TS.

[Cockney Sparrow]

I'm not a big Bruckner fan but I love the slow movement,surely the most beautiful thing he wrote,pity someone had to slam a door shut just before it came to an end.
).

Actually, someone keeled over in the Arena. But happily was able to exit some minutes later, walking unaided. My first time in the orchestra seats, but not too high up. I think the sound is a little attenuated as opposed to the Arena or Stalls "O". Enjoyed it all.

[jayne lee wilson]

PROM 70: BRUCKNER SYMPHONY NO.6. BERLIN STAATSKAPELLE/BARENBOIM.

R3 HDs @ 320 kbps: naturally-balanced dynamically truthfully sound. Production unafraid of the quietest pianissimos! Excellent, especially given the warmth and rather “closed” tonal character of the orchestra at lower levels, more apparent in the earlier Prom 69.

***

Fairly extreme pianissimo from Barenboim and the Berlin Staatskapelle at the opening of a Bruckner symphony once again, but if initially at the threshold of articulation and dynamics, he kept the 2+3 rhythm clear as levels rose through the distantly signalling violins, carried through into timpani and lower strings underpinning the first tutti.
It’s almost impossible for this Bruckner-signature to be heard precisely in all the weightier passages, but the swinging pulse itself should be at least felt, through the development too, and Barenboim achieved this with a relaxed, moderately-paced sense of schwung, and tremendously incisive rhythmic repetitions through the thrilling passage where development dramatically becomes reprise. Yes, there were a few intonational slips, but with such finely-balanced detail and very natural tempo variation, they were easy to forgive. He built the three-stage coda-climax with carefully measured splendour, without letting it all go, dynamically speaking, too early in the symphony.
True Brucknerians would recognise this as a magnificent account of the first movement in all musical respects: rhythmically sure, naturally phrased, patiently paced; and with dynamic levels serving structural clarity, warmly Romantic in its expressions.
A special mention too, for the spring-water freshness of those many pastoral wind solos, singing clear above the warmth and lustre of the strings.
(A second hearing of this first movement via iPlayer only increased my admiration for the performers' achievement here, an act of creative devotion).

Restrained and stoical were the words coming to mind in the adagio, so deeply hushed, so gravely beautiful; Bruckner, or Barenboim, the quietist, communing with self, or with nature. Calm and patient, never urging on. I’ve always felt that, as (less elaborately) in the 2nd Symphony, the several quasi-climaxes (this remarkable piece does without a main one, really) should be coaxed gently into their apex, and Barenboim ensured they were, with that blend of warmth, delicacy and transparency which seems the especial gift of this partnership. The string playing in the coda was breathtakingly beautiful (and so deep the orchestra’s ineffable serenity, the two big crashes from the auditorium scarcely disturbed my reverie, alone in the Home Concert Hall).
Again I returned to iPlayer for a second listen, impressions overwhelmingly confirmed, utterly mesmerised.

“We are out in the night with owls and blown leaves” says Dr. Simpson, unimprovably evocative, about the scherzo. Nicht schnell, Bruckner says, and Barenboim, gently and humorously circumspect, was just that. Then into the trio, marvellously detailed, shapely and expressive in his phrase-by-phrase rubato, the winds’ whimsical essaying of the 5th Symphony’s principal melodic motif so naturally sung. Some listeners may have missed a more generalised degree of brazen brilliance or incisiveness in the scherzo itself, but those charmingly ruminative horns and lower brasses, with their surprisingly delicate counterpoints, could perhaps only come from an older Berlin tradition - almost east European, or slavonic.

Levels seemed too unvaryingly modest at the start of the finale, and the very relaxed phrasing through the first gesangsperiode made me wonder if this movement might end up a little under-dramatised. Indeed, across the development there was a lack of bite and fire, dynamics remained too undifferentiated or restrained; a few more mistakes crept in. But what are Barenboim and the Berlin Staaskapelle actually about? Aren’t they more about tonal colour and musical character, about keeping alive a decades-long tradition of Brucknerian sound and expression - Romantic, intimate and pastoral, yet retaining some sense of the epic or heroic - than polish, overwhelming power, and precise attack? Their very reflective, even meditative approach to the various later gesangsperiode episodes created an unusual, interpretatively fascinating reading; those moderate, naturally-varying tempi serving to clarify deeper emotional and structural evolutions. Barenboim has that vital Brucknerian's gift of playing quite slowly within a faster movement - slowly as the music compels him to, without merely bringing it to a standstill.

But finally I’d have to admit that the orchestra sounded a little tired in the 6th’s finale, especially into the coda, not quite at their deeply traditional, beautiful, characterful best.

[BBMmk2]

Haha. Cheers, TS.

Welcome back Thropps!

Thank you JLW. I am glad I missed this prom, in a way, as I am not overly fond of this particular symphony.

[Thropplenoggin]

Welcome back Thropps!

Thanks, BBM. Glad to see your spirits and musical ardour remain high despite the medical treatments.

[Nick Armstrong]

Yes, v good to see we're being Throppled again, welcome back!

From M stalls, this Prom was a very memorable experience for all the right reasons. I came away deeply impressed by Barenboim's mastery as a Bruckner conductor, and by this orchestra's wonderful qualities.

The Mozart in its stately way was very beautiful to listen to, DB's touch a delight throughout even if I wouldn't want to hear Mozart piano concertos performed every time in this 'big band' style.

But it's the Bruckner that will stay in the memory - right from the start, with the eight basses ranged across the back of the orchestra to the right (and like an extension) of the timpani - throughout providing the pulse and propulsion for the performance in really exhilarating fashion, be it quiet or powerful. Barenboim maintained a wonderful sense of momentum throughout (via judicious rhythmic give-and-take as required naturally by the music, to my ears, but not to excess) and as noted in relation to Bruckner 4 the previous night, coupled it with an unerring sense of how to build the movements so that Bruckner's reiterations are cumulative, not repetitive. For example, the way the final section of the first movement was launched by blazing trumpets, given their heads for the first time, was literally thrilling. Fantastic string blend for the slow movement - I especially loved the glow of the viola section and the cello section when DB brought them each to the fore at various moments.

Yes, the horns seemed to be having a slightly fallible time early in the performance; but I got no sense of the general 'fatigue' in the orchestra (e.g. towards the end) which seems to have come across to some via the radio. The quality of the playing was maintained throughout - perhaps Barenboim's layering of the sounds and his restraint and his cumulative approach, which are so telling in the hall, come across sometimes as lack of vim via the microphones.

So this season, that's Gergiev who has redeemed himself in my mind (with his accompaniment of the Rach PC#3 earlier in the season); and now Barenboim. What a masterclass in less-is-more conducting - plus a powerful sense of him being completely at the service of the music and of the audience (his gestures in acknowledging applause are all about 'this is for you') with none of the extravagant facial emoting that increasingly suggests self-indulgence to me. Certain other 'gurners' remind me of the tell-tale phrase used by one egregious 'celeb' Radio 3 presenter recently: "It’s been a wonderful show for me, hope you’ve enjoyed it too" - as if self-pleasuring was the main aim, and audience enjoyment a mere by-product / afterthought.

None of that with Daniel B. Impressed.

It was unfortunate that one poor woman hit the deck in the humid heat, front right arena, in some of the quietest moments of the end of the slow movement; but a notable feature of the concert was the lack of coughing and other distractions (more or less), ditto, inter-movement clapping, certainly compared with the three previous ones I've attended this season. Is that due to the quality of the musicianship? The kind of audience attracted by this programme? Made a welcome change, anyhow.

[P. G. Tipps]

The kind of audience attracted by this programme?

Of course!

Great post, Caliban. Made me wish I had been been able to go to this mini-Brucknerfest at the Proms!

Tbh, Barenboim has never been in my list of really top Bruckner conductors but that has changed now. They say great Bruckner conductors emerge in older age and Barenboim appears to be no exception.

I was fascinated by a short interview with him where he says Bruckner was a 19th Century Late Romantic composer who used classical form, harked back to the Baroque, and was anticipatory of Mahler and the future.

Maybe that simply confirms the extraordinary sense of 'timelessness' of this quite unique music?

[BBMmk2]

I think your right there, PG Tips, re conductors need to have life's experiences before they realty can tackle a composer such as Bruckner. I might give the 6th another go. I just cannot seem to get involved with this one, for some reason?

[Padraig]

I wish I had the gift of words to add to the appreciation of this concert. I really enjoyed the 'big band' Mozart concerto, alleviating the chocolate box tag that first surfaced for me on the old boards and has niggled at me ever since. As for Bruckner, I did give it another go and though I did notice something about the horns at one point I gave it no thought as the brass was a constant brightness throughout the music. I found that I was remembering the other few occasions when I 'overheard' some Bruckner on the radio and was able, I fancied, tofit in a piece of the jigsaw that makes up the sound of Bruckner. Thanks to the more articulate posts on this concert I shall be taking more interest in this composer, who, I would guess, writes some serious music.

[Thropplenoggin]

Thanks, Caliban.

BBM: If you have access to a streaming service, try different versions of the adagio - it is a remarkably beautiful and accessible movement. I spent some time yesterday doing this and found some far more involving and moving overall than others, particular favourites being Kent Nagano and Mario Venzago.

[Prommer]

a notable feature of the concert was the lack of coughing and other distractions (more or less), ditto, inter-movement clapping, certainly compared with the three previous ones I've attended this season. Is that due to the quality of the musicianship? The kind of audience attracted by this programme? Made a welcome change, anyhow.

Quite possibly to the latter reason adduced: Brucknerians have had to learn patience...

[EdgeleyRob]

Actually, someone keeled over in the Arena. But happily was able to exit some minutes later, walking unaided. My first time in the orchestra seats, but not too high up. I think the sound is a little attenuated as opposed to the Arena or Stalls "O". Enjoyed it all.

Ah,I take back my comment,glad the person was OK.