DLvdE in Houston this week

[sperlsco]

I'll be going to all 3 shows --

Houston Symphony Orchestra
Conductor:   Hans Graf
Soloists:   Jane Henschel, mezzo-soprano and Gregory Kunde, tenor

I believe that Kunde is a change from the originally announced soloist (Paul Groves is listed in the seasonal literature).  It looks like Kunde recently performed DLvdE at Carnegie Hall under MTT and the Julliard Orchestra. 

I could not be more excited    and have been going on a tour of my DLvdE collection all week! 

[Leo K]

I look forward to your reports Scott!!!


I went to a DLvDE concert in Aspen sone years ago, directed by Lawrence Foster if I recall correctly...one of the greatest times of my life, since I got to sit in on rehearsals too!!!!  I wonderful to hear the accompaniment without the voices!

 

--Todd

[sperlsco]

According to the program, the performances are being recorded for a future Naxos release!

[sperlsco]

According to the program, the performances are being recorded for a future Naxos release!

Well, they've got some work to do if they want to have something worth releasing.  There was quite a bit to like, but also some real problems to work out.

First the good.  The tenor, Gregory Kunde is excellent.  He voice was equally suited to all three of his songs, which is a fair accomplishment.  His voice needlessly belted on a couple of occasions, but overall his voice was rich and strong where need be and sensitive to the lyrics.  Graf's tempi were on the brisk side throughout.  He did a particularly good job with the horserider section of the Beauty song.  There was also an amazing transparency to the music (which is one of Graf’s hallmarks).  For a symphony to which I’ve listened hundreds of times, I was amazed at all the details.

 I generally don't consider the strings to be an HSO strong point (except the double bass section, which is always outstanding), but they alternately showed good body and sensitive touch.  We don’t have a permanent Concertmaster, but the Acting one (who is the long-time Associate) was quite outstanding in all of his solos.  As usual, the percussion section was mostly outstanding.  The tam-tam was perfectly played.  You could hear every strike; was never too loud; was its loudest at the peak of the funeral march; was always allowed to ring on.  The glockenspiel was a bit too loud at the end.  With one exception, the winds were exceptional -- as were the brass.   

On the downside:  Jane Henschel was nothing special – and I’m being kind.  Hopefully she was just having an off night.  Her voice was rather flat.  She had a false opening during the Autumn song.  She seemed to stumble on a word.  Her voice cracked once or twice.  etc...

The orchestra sounded a bit out of sorts in the first half of the Autumn song.  Der Abschied had two particular problems:  1) the mandolin was inaudible, and 2) there was a clarinet solo that showed little feel for the music and was rushed.  I also felt that a couple of the songs had endings that were truncated – including the end of the symphony.  IOW, I would have liked for Graf to have allowed the final note to ring on a bit longer. 

Hopefully Saturday and Sunday will be even better! 

[sperlsco]

Saturday night's performance seemingly answered most of my complaints about Thursday night.  Most important, Jane Henschel was in MUCH better voice throughout.  Next, the orchestral problems in the Autumn song were corrected.  It seemed that Graf took the Autumn song at a slightly slower pace this evening -- all to the better.  Come to think of it, he may have taken the first drinking song more slowly.  It sounded a bit less aggressive this evening (I preferred Thursday).  In Der Abschied, the wind solo that I complained about was not evident this time (and now I'm questioning whether it was a really clarinet or oboe solo about which I meant to complain).  Also, the turncated endings were now allowed to linger a bit longer -- which was especially appreciated in the Beauty and Farewell songs.  The only thing that still wasn't addressed was the complete lack of mandolin.   

It was really evident (or I just paid more attention) how distinct the winds and brass are at the live concerts as opposed to all the recordings to which I've listened this week. 

I am really looking forward to a recording from these concerts now.  I may not get to go again tomorrow if I cannot find a babysitter. 

[barry guerrero]

Sounds like the recording should be better than some of the snooze-festivals that have been released recently, disguised as being "DLvdE". Just because the work is "zen like", doesn't mean that it should be sapped of all energy and color. I'm really, really tired of that. In addition, I'd rather hear a so-so mezzo any day, than yet another tenor/baritone rendition.

I'm convinced that employing tenor/baritone simply doesn't work, unless you have Fischer-Dieskau in his prime. You need that upper octave in order to make the badly needed contrast to all those low strings (just think of the cello part alone!); tam-tam; contra-bassoon; bass clarinet; low horns, etc. Why add more mud to mud (albeit colorful mud)?

Barry

[Leo K]

In my case I vastly prefer the baritone/tenor option...to me, the tonality of the baritone adds to the autumnal feel, especially as heard in the MTT Das Lied.  It was hearing this recording that made this work finally click emotionally.  Different strokes and all that!


--Todd

[Jot N. Tittle]

... wonderful to hear the accompaniment without the voices!
--Todd

I once expressed an interest in hearing the complete DLvdE played without voices and was almost stoned to death for even thinking of such a thing. Any other heretics out there?

     . & '

[Zoltan]

I once expressed an interest in hearing the complete DLvdE played without voices and was almost stoned to death for even thinking of such a thing. Any other heretics out there?

My idea is actually even worse (and a sacrilege!): I would like to hear M8 without the chorus! Not because I do not like it, but to "unknot" the "people shouting at each other"-Part 1 of the symphony (as some describe it), to bring more light into its polyphony. If one takes a look at the score, many times the musical line of the choruses are doubled (more or less) by some of the orchestra instruments, which isn't unusual per se, but it must be hell of a job bringing hundreds of players and singers together to achieve the colour one has as a goal in such a "world-encompassing" piece.