M8 Eschenbach Houston SO This Weekend 5/9 & 5/10

[sperlsco]

Eschenbach returns to Houston to conduct M8 this weekend with the HSO.  I am going to both shows.  This is potentially a once-in-a-lifetime opportunity for me to experience a live M8.  I am most excited, but also a little concerned about a couple things.  First, Jones Hall does not have an organ.  Other musical pieces that have utilized some sort of electronic organ (M2, Saint Saens Sym 3) have never been very convincing in terms of the organ's impact.    My second concern is with Eschenbach and the HSO.  I missed out on the glory years (in terms of Mahler) from that combination back in the 90's.  When Eschenbach last returned here 2 or 3 years ago for a one-off M5 with the HSO, it sounded absolutely dreadful -- unrehearsed, strange tempi choices, lack of cohesion...you name it. Since this is such a big event (and the last show of the season), I assume that they've had ample rehearsals and that the orchestra will be in sync with whatever Eschenbach wants to do. 

I'll provide my impressions next week.       

[barry guerrero]

Scott,

You've probably checked out the Eschenbach/Orchestre de Paris M8 that's on Youtube. The operative words is: sloooooooow. But he does know how to build a climax, that's for sure. Regardless, enjoy yourself.

[sperlsco]

I'm okay with fast or slow, as long as it is convincing and well executed. 

[barry guerrero]

Well?   .    .      .     .    (I know, it's Mother's Day)

[barry guerrero]

Here's an online, 'behind the scenes' teaser. Scott, where are you?

http://houston.culturemap.com/news/arts/05-09-14-with-437-musicians-on-stage-houston-symphony-mounts-supersized-epic-to-end-centennial-season/

[James Meckley]

Here's the first published review I've seen; it's an odd one, rather short on detail, accompanied by a pretty unusual photographic image of the conductor:

http://www.houstoniamag.com/arts-and-entertainment/on-the-town/articles/mahlers-eighth-a-perfect-end-to-centennial-season-may-2014

James

[barry guerrero]

Just to give a review of a review, I thought it was a really refreshing one. If Eshcenbach weren't such a major name, perhaps Naxos would issue a live recording of this (but why would they, as  they already have the very fine Antoni Wit one).

[sperlsco]

Interesting that you posted the Culture Map link.  My Boss is a primary owner of Culture Map, so thanks for the advertising!   

If I were to write a headline about the concerts, it would be as follows: 

Eschenbach Turns the Page on Mahler 8 in Houston

I went to both performances.  Overall, the second night was much more enjoyable than the first (with one major caveat to cover later).  There were fewer noticeable trumpet boo-boos, the musicians and choir were more in sync, and most of all there was some nice flow to Part 2 of the symphony. 

Although Eschenbach conducted Part 1 fairly briskly both nights, Part 2 was a real snoozer at the first performance.  He just drew out every phrase to the nth degree and the whole thing seemed like it was going to stop at any moment.  The finale was nice, but the 2nd of the last 3 tam tam crashes was very timid (1st and 3rd were fine). 

All of this was much better the second night.  Every thing flowed from one section to the next and the final three tam tam crashes (doubled by the cymbals) were simply massive. 

Common to both nights, the electronic organ was surprisingly strong and had very good presence.  The singing was very good overall both nights.  Erin Wall had the Magna Peccatrix part and was superb throughout.  John Relyea was the Bass and was equally wonderful.  I think the tenor was named Donald Pickle. He was very good, if not exactly special. The Mater Gloriosa had a...glorious voice -- one of the best I've heard in that part.  Both mezzo-sopranos were good.  Twyla Robinson was very good as Gretchen.     

Unlike Part 2, Part 1 was conducted in a similarly brisk fashion both nights.  The orchestra and chorus sounded more in sync on the second night though.  Unfortunately, disaster struck just before the off stage brass came in during Gloria.  According to my neighbor's son, who sang in one of the boys choirs, the problem came about because Eschenbach turned 2 pages of the score at once and started conducting the wrong section.  The whole thing from the off stage brass through the finish was a complete disjointed mess.  Ugh!  I've never experienced that at an HSO concert before.  It says something about how much better Part 2 was conducted on Day 2 that I still liked Day 2 so much more -- given what a disaster was the finale to Part 1.

[barry guerrero]

thank you for the detailed report. Train wrecks like that are great, because they remind us that Mahler is still bigger than any of us; that his music never really becomes easy. That's a good thing.

From the conductor's spot: I can't imagine that someone who has conducted M8 as often as Eschenbach has, would still need to follow the score. In my amateur conducting experience - and quite obviously, I've never conducted anything as ambitious as Mahler 8 - I NEVER give a cue unless I'm 100% positive that I'm giving it at the right spot. It seems funny that any conductor would mess up in the "Gloria", as it's pretty much just a straight 4/4 beat with a gradual accellerando (or a slow 2 beat 'cut time'). There are only two really big cues you have to make there: the children's chorus, and then the offstage brass. The rest should pretty much take care of itself, I would think.

One criticism of Klaus Tennstedt was that it would appear that he was following the orchestra, instead of leading. But in a way, that really works.: you let the performers be responsible for performing the piece, and keeping track of their own rests.  He would focus more on adjusting things and giving expressive gestures, etc.  Anyway, stuff happens. It must have been kind of exhilarating in a weird way.