...The orchestra gave an excellent performance of a very good piece of music, which was particularly vivid in the theater-in-the-round
architecture of the Philharmonie and was brilliantly programmed just before Debussy’s “La Mer.” The two works have nearly identical orchestral forces, and the opening of the Debussy — involving two harps, quivering scales in the strings and a timpani roll — is like a 30-second summary of “dark dreams.”
“La Mer,” too, involves a delicate balance between true power and mere garishness. Mr. Rattle avoided the latter by conducting the work with a feverish edge and abrupt bendings of the tempo that kept it sounding unexpected and fresh. He emphasized the same intensity in Brahms’s Third Symphony, which opened the concert: The end of the first movement was a burst of released tension, and even the noble pastoral of the Andante had raw emotion.
I have never heard an effect quite like the vocal quality Mr. Rattle drew from the strings in the exhalations near the end of “La Mer.” It was, simply, as if an invisible choir were singing from the orchestra: astonishing. The passage is marked “calmer and very expressive,” but this was deeper than that, a peace which passeth understanding.
Written by Zachary Woolfe
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NY Times, Zachary Woolfe
Sir Simon Rattle’s tenure at the Berlin Philharmonic will soon draw to an end. Who will be his successor, and where will he end up? It is too soon to say; but we should be grateful for the long period of goodbye because it gives us a chance to relish this Rolls Royce team for the short period that we’ll still have them together, and know that when he goes we will have lost something special. Hearing them in the Philharmonie (it’s their 50th anniversary in the hall this season) is a real privilege. They sound like a partnership that is entirely in step with one another, and they worked a special magic on everything they played.
For sheer excitement, this was the finest Brahms I’ve ever heard. Rattle kept the first movement moving forward with an unarguable sense of momentum so that everything felt just right, and the finale had a real harum-scarum sense of urgency to it. It was never just display for its own sake, however: behind the energy lay some tremendously exciting musicianship. Right from that opening fanfare, for example, the strings tore down the arpeggio that opens the main theme, but as soon as that phrase was completed Rattle drew them back, always holding something in reserve for later. That “later” came at the start of the coda, where that same violin theme was
let loose with a fantastic sense of urgency that made the scalp prickle. Here was the work of a true musical architect doing his best with his home team on their home turf. That Berlin sound, so clear and so bright, felt as though they were putting Brahms under a microscope, showing up every glinting detail in the most precise manner. That wasn’t at the expense of subtlety, however: other moments, such as the clarinet themes of both the first and second movements, moved with thoughtfulness and, in the Andante, magical beauty. The cellos, so important to this symphony’s tonal colour, surged with the pulsing, urgent quality for which the Berliners are so famous. They were the particular beneficiaries of Rattle’s use of vibrato, unafraid to embrace it so that it pulsed
through the sound like blood through veins, lending energy to that chocolatey, mahogany string sound that is the
...The curiosity on the programme was the world premiere of George Friedrich Haas’ dark dreams. Rattle has championed Haas’ music during his time in Berlin, and a Philharmonie premiere is just about the highest compliment that can be paid to a contemporary composer. Haas didn’t let them down. Dark dreams is an enormously atmospheric work, full of suggestion, brilliant colour and also plenty of melody. Haas is keen on experimenting with quarter-tones (half the size of a normal semi-tone), and the quarter-tone trilling that began the work sounded like something from a horror film, appropriate enough considering the composer’s preoccupation with the night. The trilling swells and recedes like waves before some clarity emerges on the high brass, and the whole orchestra then begins to swing between two notes like a pendulum. An upward spiral of sound then emerges from the double basses and comes to be shared by the whole orchestra, climaxing in brilliant use of gongs and bells. Haas’ main technique is to introduce an idea for a small section and then build it up to ring out on the whole orchestra, and I found it very effective indeed, especially its conclusion, a doleful solo played first by the contrabassoon, then double bass and then tuba. How rare it is to hear those instruments get their moment in the sun! With its wave-like structure, and even a part for a rain-stick, it’s not a bad choice of companion piece for La Mer, and with an orchestra of magicians like this, it’s hard to imagine it sounding better.
This concert was relayed live via the Digital Concert Hall and can be viewed online.