Although the Houston Symphony began its season a couple of weeks ago, this coming weekend is "opening day" for me. These are my first concert tickets of the season, and this weekend we'll get to see the first of the guest conductors--the first of "the contenders."
In the dock will be John Storgards, a musician about whom I have received good reports and whose background contains the marks of a conductor who could be the genuine article.
But before we post too much about him, let us focus on the music.
This weekend's program is a continuation of the orchestra's Brahms series. Two programs are available. Both feature Brahms' Second Piano Concerto, which will be combined with either the Brahms' Second or Third Symphony. After the jump is a preview of the Saturday repertoire.
Brahms' Second Piano Concerto, although composed 22 years after his first, is like the first in the sense of its symphonic scale. It is four movements, rather than a traditional three, and the orchestra is no mere accompanist for the solo piano. For me, both of Brahms' piano concertos are like additional Brahms symphonies, but with a piano out front. I do think I like the second best, in no small part because it has a gorgeous horn solo right from the start.
Brahms completed the work in 1881 near Vienna, and was the soloist at the premiere at Budapest in November of that same year. A good exemplar performance would be Lenny conducting the Vienna Philharmonic with Krystian Zimerman as soloist. Notice the space and time that orchestra, conductor, hornist and pianist all are willing to give the opening theme.
Brahms completed the work in 1881 near Vienna, and was the soloist at the premiere at Budapest in November of that same year. A good exemplar performance would be Lenny conducting the Vienna Philharmonic with Krystian Zimerman as soloist. Notice the space and time that orchestra, conductor, hornist and pianist all are willing to give the opening theme.
One can never get enough Wiener horn, can one?
Brahms' Second Symphony was composed in Austria in the summer of 1877. In many ways it seems like a summer holiday in the Austrian countryside, although Brahms thought the piece melancholy. It is built on a very traditional four movement form at a time when Wagner and Liszt were long past exploding the architecture that Brahms used as his foundation.
The symphony received its premiere in Vienna, with Hans Richter very likely conducting the grandfathers of some of the men in the recordings I have attached to this post. One searching for an ideal performance of the Second Symphony could hardly do better than Carlos Kleiber and the Vienna Philharmonic. Give a listen, especially to the Wiener horns, a good example being at the end of the first movement and near the beginning of the second.
Brahms' Second Symphony was composed in Austria in the summer of 1877. In many ways it seems like a summer holiday in the Austrian countryside, although Brahms thought the piece melancholy. It is built on a very traditional four movement form at a time when Wagner and Liszt were long past exploding the architecture that Brahms used as his foundation.
The symphony received its premiere in Vienna, with Hans Richter very likely conducting the grandfathers of some of the men in the recordings I have attached to this post. One searching for an ideal performance of the Second Symphony could hardly do better than Carlos Kleiber and the Vienna Philharmonic. Give a listen, especially to the Wiener horns, a good example being at the end of the first movement and near the beginning of the second.
For me, one of the challenges with Brahms is how to make the climactic moments and emphasize the architecture that Brahms so carefully put into the composition without interrupting or disturbing the flow of the music. Because flow it does. It is organic. It brooks no interference.
Kleiber masters this better than just about anyone I can think of. Watch how he connects the lines and emphasizes details, makes the moments happen, but never disturbs the music making. Few others have had such a commanding presence and powerful musical idea while at the same time a real shyness, introversion or humility.
This is the paradox of a "level 5 leader" and the truly great maestro--someone who has the fierce resolve to lead gifted and sometimes hostile musicians from a podium but who has the humility to become invisible or secondary to the music and the musicians. That combination is a rarity, which may be why there are so many baton waivers and so few maestros.
And now a public service announcement.
And now a public service announcement.
As I write this, the Chicago Symphony went on strike last night. Orchestras in Atlanta and Minnesota are in crises of one or another sort. But, thankfully, here in Houston, we have music.
Music is a fragile thing. It always has been. Even Mozart had trouble putting on concerts and making ends meet. Your orchestra is worth your ears, your time, your attendance, your enthusiasm, and your support. Be there.
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