Tír Na HiFi

RTÉ National Symphony Orchestra 2011-2012 Season

ODE TO AUTUMN
Friday 20 April, 8pm
at the National Concert Hall

ELGAR Cello Concerto in E minor, Op. 85 [30']
BRAHMS A German Requiem, Op. 45 [68']

Gautier Capuçon cello
Mhairi Lawson soprano
Benedict Nelson baritone
RTÉ Philharmonic Choir (chorus master Jeremy Haneman)
Paul McCreesh conductor

I was at this concert last night, and for once there was a nearly full house. Of course there's a better chance of this when there's a choral work, since the choir's friends and relations come, and the choir are occupying the choir balcony. There was an amusing contrast between Gautier Capuçon, the cellist, who is quite short and Paul McCreesh (yes, even he), the conductor, who is very tall (especially for a conductor!). In fact McCreesh didn't use a podium, possibly because it would have looked ridiculous: he already has the height without it. Capuçon has a beautiful tone, and massive projection: pity about the music. I used to think that unlike any other work by Elgar, I quite liked the Cello Concerto. No. Put that in the bin with the rest: ponderous, mawkish and vulgar. Yuk! Nobody I spoke to afterwards agreed with me, so I realise I'm in a minority on this!

The Brahms was another matter: a wonderful work and powerfully performed, with supple tempi, always mobile. I felt pretty sure that some people would complain afterwards that it was too fast, and I wasn't disappointed! I was in the main balcony, and felt more aware of the organ than I have been in the NCH before. My previous experience has been that you see the organist doing something, but you don't hear any result: in this case you couldn't miss its powerful underpinning. I think I enjoyed this more than any German Requiem I've ever heard.

One thing this concert had in common with the last concert I attended (the Matthew Passion in Kilkenny) was the beautiful power and simplicity of Luther's German, as the text of Ein Deutsches Requiem comes from Luther's bible. The concert programme provided the King James translation of the same passages, but it's a poor equivalent, and it's not surprising, as it was never intended as a translation of the German text. They should provide a translation into English of the German words, not a parallel translation of the same Hebrew and Greek sources.

How did I miss that one?!?!?!

Good stuff Ciaran, sounds like a great gig.

It's funny, Fergus, I've been hearing all about this for weeks from a variety of places, but I know what it's like to be on the opposite side of the coin!

Elgar doesn't do it for me either. That is a very good review Ciaran, I enjoyed reading it, thank you. I had wondered if this work by Brahms was to your liking and now I know.

Diapason wrote:Good stuff Ciaran, sounds like a great gig.

It's funny, Fergus, I've been hearing all about this for weeks from a variety of places, but I know what it's like to be on the opposite side of the coin!

I wouldn't mind but I did get the email from the NCH originally and then obviously and promptly completely forgot about it!

Ciaran wrote:RTÉ National Symphony Orchestra 2011-2012 Season

ODE TO AUTUMN
Friday 20 April, 8pm
at the National Concert Hall

ELGAR Cello Concerto in E minor, Op. 85 [30']
BRAHMS A German Requiem, Op. 45 [68']

Gautier Capuçon cello
Mhairi Lawson soprano
Benedict Nelson baritone
RTÉ Philharmonic Choir (chorus master Jeremy Haneman)
Paul McCreesh conductor

I was at this concert last night, and for once there was a nearly full house. Of course there's a better chance of this when there's a choral work, since the choir's friends and relations come, and the choir are occupying the choir balcony. There was an amusing contrast between Gautier Capuçon, the cellist, who is quite short and Paul McCreesh (yes, even he), the conductor, who is very tall (especially for a conductor!). In fact McCreesh didn't use a podium, possibly because it would have looked ridiculous: he already has the height without it. Capuçon has a beautiful tone, and massive projection: pity about the music. I used to think that unlike any other work by Elgar, I quite liked the Cello Concerto. No. Put that in the bin with the rest: ponderous, mawkish and vulgar. Yuk! Nobody I spoke to afterwards agreed with me, so I realise I'm in a minority on this!

The Brahms was another matter: a wonderful work and powerfully performed, with supple tempi, always mobile. I felt pretty sure that some people would complain afterwards that it was too fast, and I wasn't disappointed! I was in the main balcony, and felt more aware of the organ than I have been in the NCH before. My previous experience has been that you see the organist doing something, but you don't hear any result: in this case you couldn't miss its powerful underpinning. I think I enjoyed this more than any German Requiem I've ever heard.

One thing this concert had in common with the last concert I attended (the Matthew Passion in Kilkenny) was the beautiful power and simplicity of Luther's German, as the text of Ein Deutsches Requiem comes from Luther's bible. The concert programme provided the King James translation of the same passages, but it's a poor equivalent, and it's not surprising, as it was never intended as a translation of the German text. They should provide a translation into English of the German words, not a parallel translation of the same Hebrew and Greek sources.

Paul McCreesh played Dublin?? Elgar CC & Brahms EDR?? My God, what a fabulous concert that must have been! You lucky, lucky people...

I simply find it incredible that EE's fabulous CC doesn't speak to you, Ciaran & Sean... it's certainly the most easily understood pieces in his repertoire, and arguably the finest CC ever written... it sends shivers down my spine, every time I hear it.

I can imagine how, anyone brought up on the Klemperer or Karajan versions of the EDR would feel a little uneasy in their seat, listening to McCreesh's 'sprightly' interpretation, if any of his other choral works are to go by... he certainly knows how to pick up the pace, which if anything I feel the EDR needs (masterpiece though it is)... I must admit, I've not heard the McCreesh, but have the Gardiner & Herreweghe versions, which are fine enough for me at present.

fergus wrote:I wouldn't mind but I did get the email from the NCH originally and then obviously and promptly completely forgot about it!

humph... call yourself a McCreesh fanboy? ;-)

Ciaran wrote: The Brahms was another matter: a wonderful work and powerfully performed, with supple tempi, always mobile. I felt pretty sure that some people would complain afterwards that it was too fast, and I wasn't disappointed! I was in the main balcony, and felt more aware of the organ than I have been in the NCH before. My previous experience has been that you see the organist doing something, but you don't hear any result: in this case you couldn't miss its powerful underpinning. I think I enjoyed this more than any German Requiem I've ever heard.

I met a musician friend for lunch today, and she was also at Friday evening's concert. Interestingly, she had a very different view of proceedings and not for reasons of tempi. She thought the conducting was pretty awful, and felt that things didn't really go well at all for either orchestra or choir. The general sense among her group was disappointment. I must try to get the inside scoop on what some of the choir members thought of the conductor.

Diapason wrote:I met a musician friend for lunch today, and she was also at Friday evening's concert. Interestingly, she had a very different view of proceedings and not for reasons of tempi. She thought the conducting was pretty awful, and felt that things didn't really go well at all for either orchestra or choir. The general sense among her group was disappointment. I must try to get the inside scoop on what some of the choir members thought of the conductor.

An interesting post. I guess there are a number of things to consider here; how often does/has Paul played with the RTE in the past, and how much time would he have had in rehearsals with them? Also, would the orchestra have been used to his style? If orchestras were breeds of dog, then the Berliner might be a St Bernard, whereas Paul's players, the Gabrieli Consort might be a whippet... although he has just won a BBC Award for his Berlioz Requiem, he is much better known for his Baroque and Renaissance music, and on his rare forays into the Romantic world, doesn't play it in the traditional Romantic style... just a thought...

All good questions. The point being made by my friend was that his conducting seemed very imprecise, and that he wasn't great at ending phrases for the orchestra while bringing in the chorus, for example. Apparently, at least one entry was badly fluffed due to this lack of clarity, and she felt that the choir didn't really deliver as good a performance as they could because the conducting didn't inspire enough confidence. Like Jared, I put forward the view that maybe McCreesh is more comfortable with smaller forces. Other comments were made that I probably shouldn't share, but I just found it interesting how 2 very knowledgeable listeners can come away with entirely different impressions.