brahms – [art]seen

Saturday, Dec 12th ’09

I buy my concert tickets ahead of time and earlier today morning, I thought that I would be losing precious time at a concert when I should be really working on the zillion other things on the to-do list. But then I had a “”brain freeze” (when you can’t think anymore and the brain is just dead -something like sleeping with your eyes wide open) and I could no longer stare at the code I had been working on the whole day! So the concert proved to be a blessing and a nice break .

I am comparatively recent to the world of Western Classical music and as I go to various performances, I get to learn more about the composers and their music. So today, it was an introduction to French Composer Ravel and his music.It also included a taste of the work of Brahms from his younger years.

Ahhhh… the French! They are so different from the rest. Their language, cuisine, culture, style and of course, music- it ees something deefferent (trying to speak french in eengleez and that seems to be an attempt in vain). They stand a class apart as does M. Thibaudet’s superb playing.

The evening’s performance made it clear that Mr.Thibaudet loves Ravel. Contrary to what I had posted in the preview, his love for Ravel was majorly influenced by his teacher, Lucette Descaves, a friend and collaborator of Ravel. As for M. Ravel himself, he is like a painter who evokes these images with a certain sensitivity of a poet. There is such a complex arrangement in his music and it is so full of color. Let me try to explain this more. Some directors show violence blatantly (for example, you can actually see a guillotine chopping off a person’s head and the head with the eyes wide open with terror falls down with a thud in the wicker basket). Other directors just hint that something gruesome had happened (they show the blood spatter on the guillotine and a wicker basket covered with a blood-soaked rag) and leave it to the audience to picture the violence. And the second approach proves so much more effective (and often gets the Oscars!). Similarly, Ravel falls in the second category. His music just leaves so much to the listener to interpret and the result is brilliant.

The first piece “Pavane pour une infante défunte (Pavane for a Dead Princess) was very different in the sense that I would start forming a certain opinion about the mood of the piece and then suddenly, there would come an unexpected string of notes that would make me change my mind about it. The music felt as if the composer was trying to portray one’s wavering mind. I loved the ending of this piece as it just felt conclusive as if someone had finally made a decision. This is one of the pieces that just grows on you.

The second piece, Ravel’s “Miroirs”, a suite of musical portraits was something I was looking forward to. It just turned out to be fabulous. Each movement was so beautifully executed. I loved the third movement, “Une barque sur l’océan (a boat on the ocean) the most. Here’s my interpretation. There was a slow melody (like the red wave in the picture below representing the movement of the boat as it goes over the large waves) and then a complicated faster melody(like the green wave representing the rocking of the boat).As for the picture, maybe my mathematical mind wasn’t completely switched off yet. But, somehow, it seemed as if the composer was looking at this boat and was trying to portray the emotions of the oarsman as well. This movement was definitely the highlight of the evening for me.

Underlying theme for Ravel's third mvmt in "Miroirs"- my interpretation!

I feel that the skill of a pianist lies in how well he can create a distinction between the various sounds that can be made on a piano- for example, like pianissimo and fortissimo. M. Thibaudet is definitely one of those truly gifted pianists who can do this really really well (you should have heard him play the fifth movement, “Valley of the bells”). At the end of the pieces that called for a soft ending, M.Thibaudet would press the sustain pedal and you could hear the dying sounds so well. The clarity was amazing (I was seated in the third row, yeah!) and as for the staccatos and the legatos, they were so perfect that I wanted to just run to the stage and hug M. Thibaudet. Ravel’s work is very complicated and it is not for the faint. M. Thibaudet pulled it off with perfect grace.

The next program was Brahms’ sonata No.3 which Brahms had composed when he was still in his late teens (Wow,what a genius! It makes me feel so small and insignificant). This piece showed the difference between German and French music clearly. Brahms’ sonata was so full of a sort of authoritativeness and had a clear underlying structure and there was heaviness mixed with doses of high energy! Ravel’s music, on the other hand, had this fluidity to it and a certain grace that only the French know how to do ( You see this in Monet’s paintings and can hear it in Ravel’s music). The musical difference is as distinct as differences between the German and French languages themselves.

Somehow, in spite of Brahms’ excellent “teen” work and M. Thibaudet’s flawless playing, I wasn’t particularly attentive to this piece. Could be that I was so used to Brahms (I listen to his symphonies and concertos on a regular basis) and you know, “familiarity breeds contempt” or in mycase, “inattentiveness”. Isn’t that so strange that when we are tired, something novel immediately gets our attention and yet we always crave for the familiar during other times? Ok, that didn’t make sense to me either. Still in my “brain freeze” stage, people!

Anyway,the encores (one other piece from Brahms (which was more uplifting ) and Chopin’s Nocturne(Oh, I love this one)) left me so content and satiated.

At concerts like these, I just wish I knew more to comment intelligently as the great music critics do and I feel so small and stupid when I realise how little I know about Music theory and the technicalities of Western music.

As I walked back from the Hill against a gale of wind that threatened to blow me away, there was a car that went past that “honked” Jingle Bells (it was very good) and I just had to smile! And I had this epiphany that the real purpose of music is just to please the heart and sometimes it is okay to listen with the heart and not be a “cerebral” listener. At the end of the day, the arpeggios or the cadenzas or the 101 techniques the artist had employed don’t matter. What matters is the euphoric feeling with which you leave the concert.

From the heart ,

Krithika, [art]seen reviewer

It is a pleasure to be in Ann Arbor (thank you,UMS) which enjoys such exclusivity that it is often a stop along with the “other music capitals” on the tours that the best and the brilliant artists make. The pleasure turned into pure bliss when the Berliner Philharmoniker was in town yesterday.

Berliner Philharmoniker at the Hill auditorium

The Berliner Philharmoniker, one of the oldest as well as the best orchestras of today, is currently on a coast-to-coast seven-stop U.S. Tour. In September 2009, the orchestra released a recording of Brahms Symphonies (four in total), conducted by Sir Simon Rattle. Hence on the U.S. tour, these symphonies play the centrepiece of their concerts along with Brahms’ other compositions and Schoenberg’s (an ardent lover of Brahms) creations too.

Sir Simon Rattle conducts with such precision and clarity (probably as was an orchestral percussionist himself) that even the listener will attune his emotions to the conductor’s movements (or so I felt). A far-sighted visionary with big plans for the Berliner Philharmoniker, Sir Rattle is one of the main supporters of the Digital Concert Hall (I love this concept, check it out).

: Sir Simon Rattle

Now back to the performance.

Brahms’ Symphony # 3: the first piece of the evening

This symphony, in F Major is such a beautiful piece. First, a little on the structure of the symphony. The first movement ( in the tempo allegro con brio) starts very vigorously with a three note opening, the energy of which startles the listener, making him sit up straight and pay attention. There is a brief lull where the strings play an expressive melody and the opening theme comes back with full vigor. The notes go back and forth between the major and the minor modes. The theme is recurrent and there is a sense of foreboding and urgency.

The second movement is a slow one with a recurring theme, almost conversational, I feel. The horns,bassoons and the strings seem to be having a dialogue. There are many variations of the theme and it borders on being sad in a restful quiet way.

The third movement is faster and more melodious. I LOVED this the best. There is a mode change and the theme is briefly optimistic before returning to a sad melody.

The final fourth movement starts in hushed tones. But then suddenly, you hear the theme from the second movement, with the dynamics completely different this time, played in a loud confident manner. The ending is soft and inconclusive.

In this symphony, there isn’t much percussion. But then the staccatos and the abrupt note changes of the strings almost keep a rhythm going. There are so many layers of emotions to this symphony that it is unbelievable.

My interpretation of symphony No.3

As I was listening to the symphony, I could imagine a story unfolding. The first movement starts with news of the war (the brisk energy). There is panic and the womenfolk mumble softly among themselves (the strings). Then the Prince leaves along with the warriors (the resounding ending).

The second movement is about the conversations of the womenfolk left behind. The Princess and her friends talk among themselves about their men. There is talk of separation( the quiet melancholic tone) and of pride in the Prince’s valor ( the buoyant tone, especially of the horn). I also “saw” the mixing of the sad and buoyant tones this way- “Someone was about to burst into tears but then they changed their mind as if they suddenly remembered something to be happy about.”

As for the third movement, news from the battlefield returns and the town is mourning for the lost Prince, also feared to be dead (the almost sad theme). There are some rumors that he might be alive (the minor-to-major mode change). But then that is not so and the princess mourns along with her subjects (the main melody played by the horn and taken by the string section).

In the finale, they are still mourning (hushed voices). There is more sadness (theme from the second movement). There is finally good news that the Prince has returned triumphant and all rejoice (the resounding trumpets and the entire orchestra). The princess tells the Prince about what she went through (the second movement theme again) and there is a quiet and thankful rejoicing (the first movement theme returns). It all ends with all wondering if there would be another war (the mysterious ending).

Back to the performance

Moving on to the performance of the Berlin Philharmonic in particular, their rendition of Symphony #3 was out of the ordinary. I was seated in the second row and I could see the players so close. They were completely one with the music (some were playing it by heart) and I felt that the beauty of Brahms’ work shone through purely because of the conductor’s and the musicians’ interpretation. In this symphony, the horn, bassoon and the contrabassoon hold such a key part and the players were absolutely brilliant. The string section was of course amazing too.

Arnold Schoenberg’s “Begleitmusik zu einer Lichtspielszene”

After a 20 minute intermission, the orchestra treated us to one of Schoenberg’s works.

Titled “Begleitmusik zu einer Lichtspielszene” (music to accompany a film scene, this was so different. It is a perfect example of Schoenberg’s 12-tone system and it was disturbing. It had three sections- danger, fear and catastrophe. The first thing that came to mind was that it was perfect background music for a classic Hitchcock movie, especially “Birds”.

Brahms’ Symphony No.4

Next, the orchestra performed symphony #4 in E Minor. This was Brahms’ final symphony and is considered one of his most celebrated works.

To me, the first movement was the many bests of the evening. There are two themes (rhythmic and lyrical) to this one that keep entwining about one other, one soft and the other energetic and the final coda is an explosive outburst that brings the two themes together. I absolutely loved the soft melody of the strings and the exuberant end of this movement. The second movement also has a similar thing going on.

The third movement, the only real scherzo of Brahms’s symphonies, is so energetic and triumphant.The clarity and sharpness given by the timpanist as well as violins was so clear here.

The fourth movement is like a roller coaster ride- with a initial bass theme followed by one of the most beautiful violin melodies and then a resounding crescendo. Then the tempo slows down and there is a flute solo followed by other solos while the violins are softly playing in the background. In the end, we hear the turbulent opening theme of the finale again and there is a somewhat sad ending that leaves you wanting for more.

And we wanted more too as we pleaded in vain with Sir Rattle for an encore. Alas, we didn’t get an encore and while I believe in moderation- in-everything, it definitely does not apply to doses of divine music like these.

Krithika, [art]seen reviewer

Krithika is still in heaven after the night’s performance and will resume earthly duties only when it is absolutely impossible to procrastinate any further. 🙂

Tag: brahms

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