Live review – CBSO Chorus and Orchestra / Mirga Gražinytė-Tyla: Brahms’ German Requiem & Mozart Serenade for wind

Camilla Tilling (soprano), Florian Boesch (baritone), CBSO Chorus, City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla

Symphony Hall, Birmingham
Wednesday 4 March 2020

Mozart Serenade for wind in C minor K388 (1782-3)
Brahms Ein Deutsches Requiem Op.45 (1865-9)

Written by Richard Whitehouse

The City of Birmingham Symphony Orchestra’s current season features several major choral works that have long been central to this orchestra’s repertoire. While it has received numerous readings (most recently with Andrew Manze), Brahms‘s A German Requiem is not among these – so it was fascinating to hear what Mirga Gražinytė-Tyla might make of a piece that, though it has never fallen from favour since its premiere 152 years ago, remains a stern interpretive test in terms of projecting formal integration and an expressive essence more elusive for its restraint.

In the event the performance was a fine one – not least because this conductor found the right balance between flexibility of motion, without which the textures all too easily risk stolidity, and that seriousness of manner without which the music soon loses any sense of purpose. A balance as evident in the lengthy second movement, the inexorable tread of its outer sections framing an interlude of wistful grace then with the ensuing fugue building animatedly to its serene close, as in the brief fourth movement whose blithe exterior conceals music of artful dexterity. Camilla Tilling (above) summoned a winsome response in the fifth movement, a late but necessary addition in its opening-out the work’s emotional range, while Florian Boesch (below) was suitably if not unduly vehement in his initial contributions to the third and sixth; the former crowned by a fugue of visceral and unflagging energy, though that in the latter movement marginally lost focus as its grandly rhetorical gestures ran their (too?) predictable course.

It is in the first and seventh movements that Brahms’s highly personal concept of redemption through love is at its most explicit, MG-T duly having the measure of their calmly insistent searching towards eventual catharsis – even if the finale’s gradual winding-down resulted in less than the ideal repose. The CBSO Chorus was on fine form throughout – a tribute to the expertise of associate chorus director Julian Wilkins, who also made a pertinent contribution in an organ part no less crucial for its understatement; underpinning and often motivating an orchestration which adds in no small measure to the work’s humane and compassionate spirit.

A relatively short first half gave welcome opportunity for the CBSO’s woodwind to take the stage for an un-conducted reading of Mozart’s Serenade in C minor, last in his trilogy of such pieces which transcended an ostensibly lightweight genre and, in doing so, made possible the emotional substance of the symphonies that followed. Ensemble seemed a shade insecure in the opening Allegro, but its underlying intensity carried over to an Andante whose ineffable rapture was itself contrasted with the textural severity of the Menuetto. Best, though, was the final Allegro – a set of variation on an unassuming theme with the formal outline of a sonata-rondo made explicit with its major-key ending. Overall, a winning account of a piece whose scoring for wind octet has gained it less exposure than Mozart’s comparable orchestral works.

It also made for an unlikely while successful coupling and a similarly thought-provoking one is scheduled for next Tuesday, MG-T making her first foray into Bruckner with the erstwhile elusive Sixth Symphony alongside the deceptive simplicity of Bartók‘s Third Piano Concerto.

Further listening

Here is a Spotify playlist of music from the concert. The CBSO have not recorded either of these works before but these are fine alternatives:

For further information on the current season of CBSO concerts, visit the orchestra’s website

Live review – Soloists, CBSO Chorus & Orchestra / Mirga Gražinytė-Tyla: Mahler Symphony no.8

Erin Wall (soprano, Magna Peccatrix), Natalya Romaniw (soprano, Una poenitentium), Katja Stuber (soprano, Mater Gloriosa), Karen Cargill mezzo-soprano, Mulier Samaritana), Alice Coote (mezzo-soprano, Maria Aegyptiaca), A. J. Glueckert (tenor, Doctor Marianus), Roland Wood (baritone, Pater Ecstaticus), Morris Robinson (bass, Pater Profundus), CBSO Chorus, CBSO Youth Chorus, CBSO Children’s Chorus, University of Birmingham Voices, Baltimore Choral Arts Society, City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla

Symphony Hall, Birmingham
Saturday 18 January 2020

Mahler Symphony no.8 in E flat major ‘Symphony of a Thousand’ (1906)

Written by Richard Whitehouse

The run-up to the City of Birmingham Symphony Orchestra‘s centenary features several major choral works – none more so than the Eighth Symphony by which Mahler essayed his grandest and most-inclusive musical conception, at a pivotal juncture in the evolution of Western culture.

If more frequent performances these past few decades have made this piece less of an event than it once was, there was no lack of occasion in tonight’s rendering. Mirga Gražinytė-Tyla launched the setting of Veni, creator spiritus with an impulsiveness as held good throughout this first part. There were passing intonational flaws among the soloists, along with moments of awkward coordination between choruses and orchestra, but these were as little next to the eloquent ensemble at Qui diceris Paraclitus, the spectral interlude prior to Informa nostri corporis, the vast and cumulative fugal edifice at Accende lumen sensibus, or the ecstatic outpouring from Gloria sit Patri Domino; sustained here with an unerringly judged rhetoric as ensured that this music hit the ground running right through to its heady closing cadence.

Perhaps for this reason MG-T chose not to make a substantial pause before the setting of the final scene of Goethe’s Faust that forms the second part, enabling the accumulated intensity to carry over into this latter’s lengthy orchestral prelude with its mingled anxiety and pathos.

From its starkly evocative beginnings, Mahler’s singular take on the ultimate Enlightenment text can feel at best discursive, so it was a tribute to the conductor’s sense of overall cohesion that what can easily sprawl rarely, if ever, lost focus as the path to redemption is outlined in philosophical and, above all, musical terms. Highpoints included a notably ominous response in the Choir and Echo, a powerfully sustained solo from Morris Robinson then an equally soulful one from A. J. Glueckert, appealingly deft singing from the combined children’s and youth choirs (no hint of coyness or schmaltz here), then the exquisitely dovetailed interplay of Erin Wall, Karen Cargill and Alice Coote – during which their subtly contrasted timbres were heard to advantage against an orchestral backdrop of the greatest delicacy and poise.

Next to these, Roland Wood’s solo lacked fervour and that by Natalya Romaniw sounded a touch ill at ease, though Katja Stuber had all the rapture necessary for her brief offstage solo while Glueckert surged through his second solo on route to an orchestral interlude in which the rippling interplay of woodwind and keyboards was limpidly rendered. Even more telling was MG-T’s handling of their gradual evanescence, from where the final Chorus Mysticus emerges. Always a distinctive moment, it proved especially memorable for the way in which the massed voices unfolded their intensifying expressive curve towards those seismic closing bars – here afforded maximum impact through the conductor’s refusal to linger unnecessarily when the off-stage brass enters to bring the whole work grandly and majestically full circle.

Such reservations as there were will likely be remedied in tomorrow’s performance, yet while MG-T will doubtlessly uncover further depths and nuances in the future, it is hard to imagine she will deliver a reading of greater conviction or purposefulness than that heard this evening.

The reviewed performance is being repeated today, Sunday 19th January. Further information can be found at the CBSO website

Live review – Soloists, CBSO and Chorus / Kazuki Yamada – Mendelssohn’s Elijah

Keri Fuge (soprano), Karen Cargill (mezzo-soprano), Robert Murray (tenor), Matthew Brook (baritone), CBSO Chorus, City of Birmingham Symphony Orchestra / Kazuki Yamada (above)

Symphony Hall, Birmingham
Thursday 7 November 2019

Mendelssohn
Elijah Op.70 (1846)

Written by Richard Whitehouse

Although 173 years have passed since it first echoed around the Town Hall, Mendelssohn’s oratorio Elijah remains synonymous with Birmingham’s cultural tradition. Performances may be fewer than in its 19th-century heyday but there have been memorable ones – not least that in 1989 with Raphael Frühbeck de Burgos, for whom this piece was a speciality – and tonight saw a memorable account by the City of Birmingham Symphony Orchestra‘s principal guest conductor Kazuki Yamada, who duly banished any notions of this being a mid-Victorian period piece.

Whatever his failings on a broader aesthetic level, Mendelssohn was nothing if not creatively pragmatic when it came to a big occasion, and Elijah accordingly fulfilled its remit. Whereas the composer’s earlier oratorio St Paul had given notice of his abiding interest in the Passions of Bach, here he drew on the exemplar of those biblical epics through which Handel shaped English musical taste over the ensuing 150 years; enhanced by the rhythmic poise of Mozart and the harmonic subtleties of Beethoven to result in music wholly representative of its era.

Structured in two parts of almost equal duration, Elijah charts the trials of its eponymous hero as he draws the Israelites away from the pagan enticements of Baal and back to the true faith before himself ascending on a fiery chariot to Heaven. Julius Schubring‘s text (as sung in the idiomatic translation by William Bartholomew) fashions out of Kings and associated biblical sources a framework whose emotional rhetoric is balanced by a keen underlying momentum and unfailing sense of when to open-out the narrative to allow for more intimate expression.

The score implies eight soloists, but the four on hand (the brief role of ‘The Boy’ affectingly taken by chorus soprano Ella McNamee) proved more than able. As Elijah, Matthew Brook conveyed the anguish and the ecstasy of his part with unwavering assurance, while Robert Murray overcame initial strain to give commanding portrayals of his advocate Obadiah and detractor Ahab. Keri Fuge brought due pathos to the Widow, with Karen Cargill eloquent as the Angel – having stolen the show as the Queen who vents her wrath in unequivocal terms.

As with most of its forerunners, of course, Elijah is defined by a choral contribution in which the CBSO Chorus was not found wanting. Having recently sung the work with Yamada (and these soloists) in Monte Carlo, it conveyed the anger and supplication of the forsaken People with audible conviction, while being no less assured in those intricate choral items by which Mendelssohn frames and punctuates the drama. If choral numbers were appreciably less than the composer might have expected, then this was undoubtedly a case of less equalling more.

Neither should there have been any surprise as to the degree of Yamada’s identity with this music. Japan has produced notable exponents of Mendelssohn’s oratorios, with the present conductor evidently following in their wake. If those choruses ending each half summoned not quite the intensity evinced by Frühbeck all those years ago, the clarity and incisiveness he drew from both chorus and orchestra was hardly to be gainsaid – so setting the seal on a memorable reading of a work sure to wear its Birmingham credentials well into the future.

Listen

(Ben Hogwood writes…) Among the many available versions of Mendelssohn’s great oratorio, sadly none of these appear to yet include the City of Birmingham Symphony Orchestra – though one wonders if an extension to their Mendelssohn in Birmingham series will be forthcoming under Edward Gardner.

Spotify does however have a recent recording of Elijah from the Gabrieli Consort & Players under the direction of Paul McCreesh, with Robert Murray once again in the roles of Obadiah and Ahab. The organ itself was recorded in Birmingham Town Hall:

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 13 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