Live review – Lucy Crowe, Karen Cargill, CBSO / Mirga Gražinytė-Tyla: Mahler Symphony no.2

Lucy Crowe (soprano), Karen Cargill (mezzo-soprano), CBSO Chorus,
City of Birmingham Symphony OrchestraMirga Gražinytė-Tyla (above)

Symphony Hall, Birmingham
Thursday 14 June 2019

Mahler
Symphony No. 2 in C minor, ‘Resurrection’ (1888-95)

Written by Richard Whitehouse

Almost 46 years since this orchestra first played it, then 39 years since Sir Simon Rattle made it his mission-statement, Mahler’s Resurrection is one of those pieces which constitutes a ‘rite of passage’ for conductors at the helm of the City of Birmingham Symphony. Tonight it was the turn of Mirga Gražinytė-Tyla – who, coming towards the end of her third season as music director of this orchestra, presided over a reading which assuredly had the measure of a work that, over recent decades, has too often felt in danger of becoming a classy lifestyle accessory.

If there was anything at all lacking (aside from a handful of imprecisions as would only have surprised those drawn to this music for its showpiece potential), it was of the piece evolving as a cumulative and inevitable unity. As often, the first movement brought most reservations – Gražinytė-Tyla’s handling of its long-term momentum being slightly less convincing than her characterization of its individual components; though at its best, as in her easing into the ruminative second subject or her sustaining of tension going from the eruptive climax of the development into the reprise, this was highly impressive. Mahler seldom approached sonata design other than obliquely, and the deadpan fatalism conjured from its final pages suggests this conductor already has the measure of its expressive range if not yet its formal cohesion.

Coming after a judicious pause, there was little to fault in the Andante – its lilting main theme as felicitous as the counter melody with which it finds common cause, and with the animated secondary theme sounding suitably crepuscular. More unexpected was the scherzo, exuding a suave and even phlegmatic air as Gražinytė-Tyla hears it – though few could have objected to the aching nostalgia of its trio, even if tempo elisions during its final stages were just a touch awkward. Karen Cargill (left) then brought out the tenderness and intimacy of the Urlicht setting.

It was in the epic expanse of the finale, however, that this performance readily came into its own. Launched with explosive intent, its starkly contrasted constituents were drawn together so that the sense of a steadily evolving whole was never in doubt. Such as the baleful chorale passage and the ‘last judgement’ frenzy which duly parodies it were judiciously realized, as was the contribution of offstage brass and percussion in opening-out its emotional remit on the way to the (partial) setting of Friedrich Klopstock’s Resurrection Ode which forms the culmination.

Tellingly, Gražinytė-Tyla had the chorus remain seated for most of its length – building gradually but intently towards its blazing affirmation of the beyond. Lucy Crowe (left) was a little overwrought in her initial entries, while joining ecstatically with Cargill in their subsequent duet, yet it was the CBSO Chorus (who must have sung this music more often than almost any other such group) that ensured a truly blazing culmination; after which, the brief orchestral postlude unfolded swiftly and headily toward those majestic closing chords.

Eschewing bathos, and shorn of any tendency to grandstanding, this was a powerful end to what is an impressive interpretation in the making, besides confirming the rapport between orchestra and conductor that is audibly on the incline as the CBSO approaches its centenary.

Further listening

You can listen to the City of Birmingham Symphony Orchestra‘s recording of the Resurrection Symphony with Sir Simon Rattle on Spotify below:

Live review – City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla: Grieg Peer Gynt; Sibelius, Rautavaara & Salonen

Klara Ek (soprano), CBSO Youth Chorus, CBSO Chorus, City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla

Symphony Hall, Birmingham
Thursday 14 February 2019

Salonen Dona nobis pacem (2010)
Rautavaara Cantus Arcticus (1972)
Sibelius Rakastava Op.14 (1893/8)
Sibelius En Saga Op.9 (1892/1902)
Grieg Peer Gynt – incidental music (selection), Op.23 (1875)

Written by Richard Whitehouse

You can listen to the concert as broadcast on BBC Radio 3 by clicking on this link

It may not have been a typical Valentine’s Day concert, but this evening’s programme from the City of Birmingham Symphony Orchestra certainly had an abundance of rapture and wonder.

Not least in its welcome revival of Cantus Arcticus, the ‘Concerto for Birds and Orchestra’ with which Einojuhani Rautavaara had confirmed a decisive turning away from the twelve-note procedures of the previous decade. Its utilizing his recordings of birdsong from the Finnish marshland may be nearer conceptually to Respighi’s Pini di Roma than Messiaen’s Oiseaux éxotiques, but the interplay with orchestra is deftly and poetically carried through – from the stark backdrop of The Bog, through the searching poise of Melancholy then to the gradual build-up of Swans Migrating, its hymnic apotheosis duly becoming a Rautavaara hallmark.

Mirga Gražinytė-Tyla secured a warm and euphonious response from the CBSO, which was no less attuned to the emergent drama of Sibelius’s En Saga. After an atmospheric opening, the ensuing episodes unfolded a little sectionally for momentum to be gauged consistently, though the magical passage with solo strings before the climactic section was spellbindingly delivered – then, after a suitably fraught culmination, the closing pages affectingly mingled poignancy and resignation; qualities evident not least in the clarinet playing of Oliver Janes.

Prefacing each of these works were short but pertinent a-cappella choral pieces. The upward striving of Esa-Pekka Salonen’s Dona nobis pacem gave the CBSO Youth Chorus its chance to shine, while a rare hearing for Sibelius’s The Lover brought the CBSO Chorus to the fore for a melting account of three settings from the Kanteletar – their tales of yearning, encounter then farewell between lover and beloved eloquently rendered with no trace of false sentiment. Maybe Gražinytė-Tyla will tackle the almost as seldom heard version for strings before long?

After the interval, Grieg’s incidental music for Ibsen’s Peer Gynt. What to include became far less straightforward after publication of the complete score, but tonight’s selection centred on the familiar two suites and three additional items. Gražinytė-Tyla secured a lively response in the Overture, then brought out the pathos of ‘Ingrid’s Lament’ and encroaching menace of In the Hall of the Mountain King. The influence upon Sibelius of The Death of Åse was no less evident than that of Morning on Debussy, while the Arabian Dance had nonchalance to spare and Anitra’s Dance an alluring poise. Peer Gynt’s Homecoming sounded suitably windswept, and inclusion of the soulful Whitsun Hymn gave the CBSO Chorus its moment in the spotlight. Klara Ek was soloist in Solveig’s Song and Solveig’s Cradle Song, both of which she sang simply and affectingly, avoiding the operatic overkill often encountered. A pity the grotesquely comical Dance of the Mountain King’s Daughter was not included, but what remained was a more than plausible overview – skilfully and evocatively rendered.

It more than set the seal on this well planned and rewarding concert, some of whose relative unfamiliarity was outweighed by its undoubted appeal. The Peer Gynt selection can be heard again on Saturday on BBC Radio 3, alongside the UK premiere of tone poem The Sea by Mikalojus Čiurlionis.

Further listening

Here is a Spotify playlist of music from the concert, including the whole incidental music to Peer Gynt (with the exception of the Salonen, which has not yet been recorded):

Further information on this concert can be found here

Prom 44 – CBSO Choruses & Orchestra / Ludovic Morlot – Debussy, Ravel & Lili Boulanger

Prom 44 Justina Gringytė (mezzo-soprano), CBSO Youth Chorus, CBSO Chorus, City of Birmingham Symphony Orchestra / Ludovic Morlot (above)

Debussy Prélude à l’après-midi d’un faune (1894)
Lili Boulanger Psalm 130 ‘Du fond de l’abîme’ (1914-17)
Debussy Nocturnes (1897-99)
Ravel Boléro (1928)

Royal Albert Hall, Wednesday 15 August 2018

Reviewed by Ben Hogwood Photo of CBSO (c) Upstream Photography

You can listen to this Prom on the BBC Proms website here

One of the BBC Proms’ most valuable undertakings this season is the music of Lili Boulanger (1893-1918). Her biggest choral work, a setting of Psalm 130 (Du fond de l’abîme) was the centrepiece of this enchanting concert from the City of Birmingham Symphony Orchestra and Ludovic Morlot.

For once the Royal Albert Hall acoustic was ideally suited to the instrumentation of a piece, especially with the amount of detail lit up by this particular interpretation. Beginning with organ and lower strings that seemed to be positioned somewhere underground near the loading bay, the piece grew assuredly in stature and emotion, finding the nub of its text. The assembled throng of the CBSO Chorus sang as one, shaping Boulanger’s phrases beautifully while enjoying the harmonic twists and turns that give this piece – completed a year before its composer’s death – a distinctively modern turn.

Boulanger (above) was a friend of Debussy but had a tragically short-lived existence, dying from complications of illness at the age of 24. In that brief time she had already served notice as a composer of considerable invention, deep emotion and the ability to extend colour, harmony and melody in particular. All these things were on show in Psalm 130, the performance notable for its exquisite brush strokes.

The only problem was a difficulty in following the text itself from the arena. Although the right notes were undoubtedly there from the chorus, and mezzo-soprano Justina Gringytė was full of tone in her solo passages, the words themselves were difficult to grasp above the texture. Some of the blame for this could go to the Royal Albert Hall acoustic itself – and it certainly wasn’t at the expense of a quite wonderful piece that should occupy a much firmer place in the repertoire.

For the rest of the programme Morlot and his charges gave us popular Debussy and Ravel, beginning in the heat haze of Prélude à l’apres-midi d’un faune and ending with the minimalist Boléro. These pieces were fascinating to contrast, from Marie-Christine Zupancic’s languorous flute solo that led off the Debussy – beautifully played – to the insistent, temple-knocking side drum of Adrian Spillett in the ubiquitous Boléro. Morlot paced both to perfection, giving us a chance in the Ravel to indulge in Matthew Knight’s trombone solo but also bringing out the Spanish rhythms and colour that make the piece a riot. He brought percussion section leader Spillett to the stage for a well-deserved curtain call at the end.

Before Boléro we were treated to the exquisite Nocturnes of Debussy – which would have been even more exquisite were it not for a barrage of coughing around the hall. Still, that did not completely harm a sensuously shaded account of Nuages (Clouds), the first Nocturne, whose softly oscillating chords left their understated mark, before the second and much quicker Fêtes (Festivals) ran lightly on its feet. The central procession episode of this pictorial movement was brilliantly paced by Morlot, with a hallucinogenic effect achieved through to muted trumpets, distant horns and wide open string textures.

While these two movements were special the concluding Sirènes (Sirens) was bewitching, fusing women’s voices and orchestra in an innovative combination that predates Holst’s The Planets by some 20 years. The CBSO Youth Choir were superb here, singing as one and hitting the high notes without fear – and without compromising the colour Debussy so clearly strives for. Morlot portrayed the vast, wide open scope of the sea – but also seemed to be looking beyond, casting his gaze far into space. This worked extremely well in the Royal Albert Hall, though perhaps quelling the coughers at the end was an even greater achievement!

This was an inspirational Prom, giving us familiar classics and the relatively unknown, boosting the profile of Lili Boulanger while reasserting the claims of Debussy and Ravel to be masters of their field. French classical music at its finest.