National Symphony Orchestra & “Fall of the Weimar Republic: Dancing on the Precipice”

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Parent Category: Film and the Arts

Category: Reviews

Published on Thursday, 22 February 2024 21:05

Written by Jack Angstreich

Gianandrea Noseda & James Ehnes with the National Symphony Orchestra. Photo by Stefan Cohen

At Stern Auditorium, on the night of Monday, February 12th, I had the enormous pleasure of attending a superb concert—as part of Carnegie Hall’s current festival, “Fall of the Weimar Republic: Dancing on the Precipice”—presented by the sterling musicians of the National Symphony Orchestra under the exceptional leadership of Music Director and Conductor, Gianandrea Noseda, who recently led the New York Philharmonic in an extraordinary program of works by Wolfgang Amadeus Mozart and Gustav Mahler at Lincoln Center.

The event began auspiciously with a confident account of Alban Berg’s Three Pieces from the Lyric Suite, which is surprisingly accessible for an atonal piece and was beautifully arranged for string orchestra in 1928, although originally composed for string quartet. In the initial Andante amoroso movement, the composer created a solemn atmosphere that becomes more agitated; it closes suddenly and unexpectedly. The second movement might be described as skittish, even if much of it ispianissimo,but it grows more animated, also concluding abruptly. The final Adagio appassionato too is grave in sensibility with both slower and more propulsive passages, ending powerfully.

The renowned soloist James Ehnes then entered the stage for an excellent performance of the splendid Violin Concerto of Erich Korngold. The first movement—which is marked Moderato mobile and begins lyrically, becoming more dynamic in tempo, but with reflective moments—drew applause. The Andante that follows is even more passionately Romantic in inspiration even if it is not without its eccentricities. The Finale—Allegretto assai vivace—is energetic, virtuosic, buoyant in mood, and concludes triumphantly. An enthusiastic ovation elicited two impressive encores from Ehnes: the Violin Sonata No. 3 in D Minor, "Ballade,” of Eugène Ysaÿe—which is both a bravura work and one of considerable seriousness—and the magnificent Largo from the Solo Violin Sonata No. 3 in C Major, BWV 1005, of Johann Sebastian Bech

The second half of the evening was even more memorable, a brilliant rendition of Ludwig van Beethoven’s extraordinary Symphony No. 3, the “Eroica.” The first movement, with a tempo marking of Allegro con brio, has a certain majesty but is often suspenseful and dramatic—although with some meditative episodes—and contains a fugue-like section, while the second, an Adagio assai funeral march, is contrastingly gloomy but gains in intensity. The ensuing Scherzo, an Allegro vivace, is characteristically playful if turbulent; the more jubilant Trio has a pastoral quality. In his program note, Peter Laki wrote this about the Allegro molto that closes the work:

The main theme of the last movement appears in no fewer than four of Beethoven’s compositions. Beethoven first used it in a simple contradance for orchestra, then in the last movement of the ballet The Creatures of Prometheus (both in 1800–1801), followed by the Variations for Piano, Op. 35 (1802), and lastly in the Third Symphony. The elaborate set of variations in the “Eroica” finale is integrated into a single, continuous musical form, culminating in a short Presto section that gives the symphony its dynamic conclusion.

After a more tentative introduction, the music acquires a pronouncedly affirmative character, with fugue-like interludes, ending exultantly.

Ute Lemper & “Fall of the Weimar Republic" at Carnegie Hall

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Parent Category: Film and the Arts

Category: Reviews

Published on Thursday, 22 February 2024 14:24

Written by Jack Angstreich

Ute Lemper, photo by Stephanie Berger

At Zankel Hall on the evening of Friday, February 9th, I had the privilege to attend a memorable concert entitled “Weimar Berlin and After the Exodus”—as part of Carnegie Hall’s current festival, “Fall of the Weimar Republic: Dancing on the Precipice”—featuring the marvelous Ute Lemper, with Vana Gierig on piano, Matthew Parrish on bass, Todd Turkisher on drums, and Cyrus Beroukhim on violin.

Lemper is the foremost contemporary interpreter of cabaret music of the Weimar era, a current successor to legends like Marlene Dietrich or Lotte Lenya. (Other precursors include Zarah Leander, who famously was directed by Douglas Sirk in prewar German films—Hildegard Knef, Hannah Schygulla, and Barbara Sukowa; Nina Hoss brilliantly portrayed such a singer in Christian Petzold’s extraordinary 2014 film,Phoenix.)

The program opened with two songs from Kurt Weill and Bertolt Brecht’s immensely celebrated “play with music,” The Threepenny Opera: “Die Moritat von Mackie Messer” and “Kanonen-Song.” She then performed her own song, “On Brecht,” followed by the most famous number from The Threepenny Opera, the magnificent “The Ballad of Mack the Knife.”

A significant figure in Weimar musical culture was the less familiar Mischa Spoliansky—Lemper sang his “Life’s a Swindle,” followed by two more compositions from The Threepenny Opera: “Salomon-Song” and the popular “Pirate Jenny.”

The next set began with two more Spoliansky songs performed in English: “Maskulinum-Femininum” and “When the Special Girlfriend.” Maybe the foremost Weimar cabaret composer, alongside Weill, was Friedrich Hollaender—Lemper sang his “Chuck Out the Men!” and then Spoliansky’s “The Lavender Song” and Leonello Casucci’s “Just a Gigolo.”

“Streets of Exile” by contemporary minimalist composer Philip Glass transitioned into “Surabaya-Johnny” from the Brecht-Weill musical comedy, Happy End and Lemper also combined Hollaender’s “Sex Appeal” with Spoliansky’s “I Am a Vamp.” The first section of the program concluded with Hollaender’s “Ich bin die fesche Lola”—from the 1930 film that made Dietrich a star, Josef von Sternberg’s The Blue Angel—and his “Münchhausen.”

The next section, “Cabaret in Exile,” consisted of music by another major figure of the era, Hanns Eisler: a medley of “On Suicide” and “The Mask of Evil” was succeeded by “The Ballad of Marie Sanders,” which is a setting of a poem by Brecht, one of the composer’s collaborators.

The final portion of the event, “From the Ghettos and Concentration Camps,” began with two Yiddish songs: Rikle Glezer’s “S’iz geven a zumertog” and “Shtiler, Shtiler” by Alexander Volkoviski and Shmerke Kaczerginski. The eminent composer Viktor Ullmann was represented by “Margarit Kelech” alongside Ilse Weber’s “Ich wandre durch Theresienstadt” and concluding with the anonymous “Auschwitz Tango.”

Broadway Musical Review—Kelli O’Hara in “Days of Wine and Roses”

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Parent Category: Film and the Arts

Category: Reviews

Published on Monday, 19 February 2024 21:00

Written by Kevin Filipski