Whatever else he may be as a man and a musician, Kent Nagano is insatiably curious. So far, his Montreal audiences have not only accepted, but embraced, his voyages of discovery.

Last month, Maestro Nagano and the Orchestre symphonique de Montréal (OSM) gave Place des Arts concert-goers a feast of the familiar and the unfamiliar that was truly exceptional, and I think they liked it.

Brilliance Beyond the Familiar

The evening’s star attraction was the outstanding violinist Anne-Sophie Mutter, now a fully mature artist after years of wonder as a young prodigy encouraged by the likes of Herbert von Karajan, Andre Previn and Mstislav Rostropovich.

Mutter could play the Beethoven and Brahms concertos for the next 30 years and sell out most any hall on earth, but she has chosen to do otherwise. She still loves the classics, but she loves being a musician of her time as well; as such, she commissions the finest contemporary composers to write pieces for her. She then not only gives the premiere performance of that piece, but introduces it to audiences in concert halls around the world and usually records it too. She is a dream artist for any composer.

Soulful New Violin Concerto Speaks to the Century!

And so Mutter came to Montreal with only two pieces to play – neither one of them a virtuoso warhorse. Instead, we were treated to “Sur le même accord” by Henri Dutilleux, and “In tempus praesens” by Sophia Gubaidulina (or sometimes spelled ‘Gubaidoulina’).

In my opinion, the Dutilleux was little more than an ‘amuse bouche,’ but the Gubaidulina was the genuine article: a full-length 21st century violin concerto that had something new and important to say that went far beyond new sounds/noises.

Henri Dutilleux was 86 when he wrote “Sur le même accord” (2002). The piece is only ten minutes long and limits itself to creating beautiful colours in a way that is pleasing but not very substantial. Gubaidulina’s In tempus praesens (2007) on the other hand, aims for and achieves musical originality and spiritual depth.

Gubaidulina often composes pieces of soulful import and her life seems driven by a personal religious conviction. As she herself has put it: “I am a religious Russian Orthodox person and I understand ‘religion’ in the literal meaning of the word, as ‘re-ligio’, that is to say, the restoration of connections, the restoration of the ‘legato’ of life. There is no more serious task for music than this”.

Whether one shares Gubaidulina’s religious commitment or not, one cannot help but be moved by “In tempus praesens.” Notably, the orchestration is unusual and highly effective. Gone are the first and second violin sections of the orchestra, giving the solo violin more room to dominate in its own range and timbre. Another unusual touch is the use of three Wagner tubas. Wagner and Bruckner used this instrument to good effect. but few composers have since. These tubas don’t sound particularly Wagnerian or Brucknerian in this work, but they do add a distinctive colour.

In one memorable episode in the piece, the strings play reiterated chords that increase in volume, as other instruments are added. In the pauses between, the solo violin plays passages of great virtuosity and intensity. There is never a dull moment in this piece, and all of it seems genuinely expressive.

Mutter’s performance was authoritative, and she had worthy partners in Nagano and the members of the OSM. Their playing was remarkably assured for so complex a piece.

“In tempus praesens” is a work one would like to hear many times again to appreciate everything that is going on. Fortunately, Mutter has recorded it for Deutsche Grammophon with Gergiev and the London Symphony.

Mahler 5th’s Treacherous Opening in Good Hands

The second half of the concert was devoted to Mahler’s Symphony No. 5. The trumpet solo which opens the piece was in the very capable hands of principal trumpet Paul Merkelo. From beginning to end he gave what amounted to a clinic in trumpet playing with some of the sweetest sounds ever heard in Place des Arts. And by ‘sweet’ I mean that Merkelo produces a unique sound that remains beautiful even in the loudest passages. Not far behind was principal horn John Zirbel, with outstanding playing in the third movement. The entire orchestra played magnificently under Kent Nagano’s masterly direction.

I have not heard the OSM in Place des Arts for many months and I was struck by the seating of the orchestra. The double bass section, for example, was on the left side for this concert, and that placement made a big difference; the sound projected much better than in past concerts I had attended at Place des Arts (seated in roughly the same section – the first balcony) although, in my opinion, it still lacked that depth and presence characteristic of some of the world’s best concert halls.

The third movement of the Mahler features extended solos for the first horn player. In this performance John Zirbel was moved from the horn section on the back left to a position on the right behind the viola section. Unfortunately, most people couldn’t see him, because he was positioned directly behind the harp. If Zirbel was moved for better projection of the horn sound, the tactic was unsuccessful. The horns generally project well from their normal position, and the change didn’t seem to make any difference.

The Adagietto worked its magic as it nearly always does; this is one of the most hauntingly beautiful movements in all of Mahler. No wonder Visconti used it for his film “Death in Venice” and Ennio Morricone stole it for the soundtrack of Sergio Leone’s great film “Once Upon a Time in America.” The strings played with a lovely warmth and Nagano made sure that rhythm wasn’t sacrificed to beauty.

All in all, the Mahler Fifth performance was impressive in terms of the standard of playing and the wealth of detail Nagano was able to bring out. On the other hand, there was a certain lack of urgency and passion in the performance. It could well be the result of trying to prepare too much challenging music in too little rehearsal time. Conductor and players might have been erring on the side of accuracy at the expense of excitement. If so, the repeat performances could have been more inspired than the opening night performance I heard. On the other hand, it could also be that this is the way Nagano likes his Mahler – accurate and inward-looking, but not too emotional and certainly not out of control.

Whatever the case, there is always more to be discovered and there is plenty of room for interpretation; that’s why we celebrate Mahler this year and next and continue to be fascinated by his music.

Paul E. Robinson is the author of “Herbert von Karajan: the Maestro as Superstar,” and “Sir Georg Solti: His Life and Music,” both available at Amazon.com. NEW For friends: “CLASSICAL AIRS,” The Art of the Conductor podcast!

Composer Felix Mendelssohn (1809-1847) has often been denigrated for being blessed with a life that was too easy. Great composers, the theory goes, have to struggle; that’s what makes them great. Well, of course, this is nonsense. Whether he struggled or not to create the music the world continues to love, Mendelssohn, at 38, died far too young. He might have left us so much more to enjoy.

I attended a Mendelssohn Festival last spring and an all-Mendelssohn concert just a few weeks ago. At each event, one of the major works was the Octet for Strings, and taking part in each event was the incomparable Miró Quartet.

It is always a special pleasure to hear a live performance of the Octet – Mendelssohn was only sixteen when he wrote it – but having heard two excellent performances of this astonishing masterpiece within a matter of months, I was inspired to pen a Mendelssohn tribute, a timely tribute, for the composer was born 200 years ago this month.

From Jewish Activism to Christian Conversion
Felix Mendelssohn’s father was a Hamburg banker and his grandfather the famous philosopher and Jewish activist Moses Mendelssohn. Felix’s father Abraham was Jewish in name only and religion meant nothing to him.

At the time, first in Hamburg and later after the family moved to Berlin, there was no particular discrimination against Jews but such discrimination was a part of history and could reappear at any moment.

Abraham’s wife Leah had a brother who had converted to Christianity and continually urged his sister and her family to do the same. Abraham and Leah finally agreed, more out of convenience than conviction, and had the children baptized.

Felix was seven years old when he converted, and thereafter parents and children called themselves Mendelssohn-Bartholdy, adopting the Christian last name of Leah’s brother Jacob. Abraham went along with this change of religion, but he was clearly uncomfortable in abandoning the faith his father Moses had worked so hard to celebrate.

Large Score Oratorios a Testament of Faith
For all practical purposes Felix lived his life as a Christian and became an ardent believer. His oratorios “Elijah” and “St. Paul” were the work of a man of Christian faith. These were the largest compositions Mendelssohn ever attempted, and in his lifetime they were widely admired, especially in England where Mendelssohn had become a frequent visitor.

These large-scale works are not nearly as popular today, although some individual arias and choruses are wonderful. The tradition of grand choral works has passed, and to many modern listeners, these pieces seem dutiful and sorely lacking in drama, rather than inspired.

Speaking personally, “Elijah” and “St. Paul” are not the works of Mendelssohn that I would carry with me to that dreaded ‘desert island.’ I would, instead, be sure to take with me the Octet, the Violin Concerto and the “Scottish”, “Italian” and “Reformation” symphonies. Although these works are very different, they all have in common a capacity not only to lift the listener out of depression, but to send him/her away, filled with hope and optimism. What a splendid legacy for any composer!

Devastated Mendelssohn Succumbs to Deadly Depression
Mendelssohn was a prodigy often compared to Mozart. Both showed uncommon talent for music while little more than toddlers. Both children were giving piano recitals and composing music before they were ten years old. “The Little Berliner,” as the young Felix was called, was only twelve years old when he was introduced to Goethe as one of the ‘Wunderkind’ of his time.

In adulthood, Mendelssohn’s career was that of travelling virtuoso and conductor. For many years, his home base was Leipzig, where he became conductor of the Gewandhaus concerts. He married Ceçile Jeanrenaud in 1836 and fathered two daughters and a son. By all accounts it was a very happy marriage.

Mendelssohn had a lifelong confidante in his older sister Fanny (pictured above with Felix), a fine musician and composer in her own right. When she died suddenly in May, 1847 he was devastated to the point where he was unable to enjoy music, let alone compose. A few months after her passing, he had recovered to the point where he could write some short pieces and the String Quartet in F minor Op. 80. Not surprisingly, this was some of the darkest and most unsettled music he ever wrote. After this brief recovery from despair, came a terminal relapse. Mendelssohn, after a series of strokes, died on November 4, 1847, a mere six months after his beloved sister.

A Shower of New Recordings Will Doubtless Freshen the Lecacy
In this 200th anniversary year of Felix Mendelssohn’s death, there will doubtless be all kinds of tributes from the record companies.

One of the first to appear is from Deutsche Grammophon and features violinist Anne-Sophie Mutter. Early in her career Mutter recorded Mendelssohn’s Violin Concerto with Karajan and the Berlin Philharmonic (DG 463 6412 ). Now, nearly thirty years later, she has recorded the work again (DG B0012533). This time her collaborators are Kurt Masur and the Leipzig Gewandhaus Orchestra. Mendelssohn actually wrote the piece for Ferdinand David, then concertmaster of the Gewandhaus. Mutter gives an authoritative and beautiful performance, and perhaps under Masur’s influence plays the slow movement a little faster than she did years ago.

This recording is unique in being sold in CD and DVD versions on separate discs, but in the same package. I am not sure I understand the concept, but I guess it gives the listener more options.

In addition to the Violin Concerto, both the CD and the DVD include two other performances of music by Mendelssohn and featuring Mutter. She is joined by former husband André Previn and cellist Lynn Harrell for the Piano Trio No. 1 in D minor Op. 49, and with Previn she plays the Violin Sonata in F major.

Both are excellent performances, but I was simply astonished by the quality of Previn’s playing. He is celebrating his 80th birthday this year, and to see him on stage conducting these days is to see a man in obviously failing health.

It’s difficult to believe the Previn in this DVD recorded just a few months ago is eighty! The Mendelssohn D minor Trio is no picnic for the pianist, and especially in the scherzo and the finale, his hands seem to be in constant motion. His body scarcely moves and there is little or no facial expression, but that’s pretty much the way he’s always played the piano. The fingers, however, fly! Fly, and hit the right notes!

Adding to These Classic Performances You Won’t Want to Miss!
If you like your Mendelssohn with more personality and ‘edge of the seat’ excitement, I recommend the terrific performance of the D minor Trio by Martha Argerich and the Capuçon brothers recorded live at the Lugano Festival in 2002 (EMI 5 57504 2).

As far as recordings of the symphonies are concerned, I have many favorites. Karajan and the Berlin Philharmonic recorded all the symphonies and I greatly admire the sensible tempos – why do so many conductors take the “Italian” symphony so fast these days? – the long lines and the beautiful textures (DG 477 7581). The second movement of the “Reformation” only comes into focus at a slower tempo. It is fashionable to denigrate Mendelssohn’s Symphony No. 2 (“Lobgesang”), but the Karajan recording comes close to convincing us it is a masterpiece.

I have long treasured Casals’ wonderful recording of the ‘Italian” symphony with the Marlboro Festival Orchestra (Sony SNYC 46251). It is slow and mannered but what depth of expression and exuberance! Not to be missed. The CD also contains a marvelous performance of the Octet.

Worth seeking out is John Eliot Gardiner’s recording of the “Italian” and “Reformation” symphonies with the Vienna Philharmonic (DG 459 156). Terrific playing and a fresh look at these great works! The disc also contains the revised version of the “Italian” symphony.

Mendelssohn was thought to be a facile composer who tossed off major works in a matter of hours; in fact, we now know that he was plagued with self-doubt and often revised his compositions.

Fanny felt that his first thoughts were usually the best and cautioned him against this frequent revision. In the case of the “Italian” symphony it is difficult to understand why he would have been moved to rewrite what to most observers is one of his finest compositions. Because he did, we can hear the revisions and judge for ourselves which is the better of the two versions.

For another recording of the “Scottish” symphony – one that has been widely admired for many years and deservedly so – check out Peter Maag conducting the London Symphony (Decca 466 9902) in a spacious and grand performance from 1960.

Paul E. Robinson is the author of “Herbert von Karajan: the Maestro as Superstar” and “Sir Georg Solti: his Life and Music,” both available at http://www.amazon.com.

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