Gustav Mahler’s Kindertotenlieder (song settings of poems by Friedrich Rückert), in an arrangement by Andreas N. Tarkmann, Musicians of the WDR Symphony Orchestra accompany singer Sara Gouzy (photo above), from a concert given in 2024.
Watch and listen here.
The great Canadian contralto Maureen Forrester sings Gustav Mahler’s Kindertotenlieder, which she recorded with the Boston Symphony Orchestra under Charles Munch’s baton in 1958.
Listen here.
The Dutch mezzo-soprano Sophia van Sante and pianist Gérard van Blerk perform three songs by Gustav Mahler at a 1974 recital at The Hague.
Listen here.
Renée Fleming sings Gustav Mahler’s Rückert Lieder with pianist Maciej Pikulski. The concert took place in 2012 at the Musikverein Großer Saal, Vienna.
Watch and listen here.
Renée Fleming sings Gustav Mahler’s Rückert Lieder with pianist Maciej Pikulski. The concert took place in 2012 at the Musikverein Großer Saal, Vienna.
Watch and listen here.
Above: Alma Maria Mahler Gropius Werfel
Wednesday, May 18th, 2022 – Aspect Chamber Music Series presenting works by Alma and Gustav Mahler, Korngold, and Zemlinsky at the Italian Academy. In the days leading up to this concert, I watched again the remarkable film Bride of the Wind; read about it here.
I had not realized that this evening would include a lecture; I generally avoid such events, though tonight’s commentary was not overly long. However, it was not until the lights went down and an announcement was made that wearing masks during the performance was “optional” that I realized how many people around us did not have masks on. Had I known this in advance, I would never have attended. But the lights were down and it would have been impossible to exit without disturbing people. So we stayed for the first half, feeling quite uncomfortable.
As a sort of unannounced prelude to the evening, pianist Adam Golka (above) played a Chopin nocturne with ravishing finesse. This established a beautiful musical atmosphere which was sustained throughout the performance.
A screen was then lowered and musicologist Nicholas Chong spoke of Alma’s famed beauty and of the many men in her life, while photos of the lady and her suitors were shown. What a life she led! Of course, many of her adventures are spoken of in the film Bride of the Wind. It might have been illuminating to hear more about her musical education and of her small catalog of surviving works, though.
Alexander Zemlinsky was Alma’s music teacher…and her lover. Tonight, Zemlinsky’s Three Pieces for Cello and Piano were performed for us by the Escher Quartet’s marvelous cellist Brook Speltz (photo above, by Anna Kariel), with Mr. Golka at the keyboard. The first of these, Humoreske, is a folkish piece that turns lyrical. Then comes Lied, a song of poignant beauty which expresses a sense of longing. The third piece, Tarantella, is a lively dance. To each of the three, Mr. Speltz brought his trademark warmth and expressiveness, well-matched by Mr. Golka’s sensitive and rhythmically deft playing.
Two sets of songs, four by Gustav Mahler and five by Alma Mahler, brought forth mezzo-soprano Rebecca Ringle Kamarei (above) and the Canadian pianist Brian Wagorn. Ms. Kamarei, a comely woman with a unique voice and a sure sense of feminine power, looked striking in a black gown trimmed with golden vine-like appliqué.
From Gustav Mahler’s vast song repertoire, Ms. Kamarei opened her set with the dramatic “Wenn mein Schatz Hochzeit macht“; her voice instantly captivated me with its distinctive colour-palette, size, a compelling command of dynamics, and a thoughtful way with words. Continuing with the familiar “Rheinlegendchen“, the singer was sailing along beautifully when she had a momentary memory lapse and needed a re-set…this was charmingly handled, and she and the pianist resumed their music-making. In two of my most beloved songs from the Rückert-Lieder, “Ich atmet’ einen linden Duft” and “Liebst du um Schönheit”, Ms. Kamarei and Mr. Wagorn wove their spell thru the dreamy passages of the first song to the wryly romantic sensibilities of the second.
Above: pianist Bruce Wagorn
The five Alma Mahler songs drew my companion and me into even higher regard for Ms. Karamei and Mr. Wagorn. In “Die stille stadt“, the singer gave the signature descending phrases a nice sense of quiet drama; an unfortunate cellphone intrusion did not deter her from her poetic path: she displayed the great power of her voice, then reined it in to an impressive piano with complete control The pianist’s lovely postlude gave the song a perfectly polished end.
During “Laue Sommernacht“, the singer’s expressive hands were captivating to watch. Again, her assurance of dynamic ‘rightness’ found her skillfully pulling back from forte to piano, making an exciting effect. This songs ends quietly; throughout, Mr. Wagorn was the ideal collaborator. In “Bei dir ist es traut“, lyrical expressiveness and finely-shaded vocal colours kept us riveted to the music; and the gentle sway of the song’s central section had its own allure.
Mr. Wagorn’s gently restless piano figurations created the right summertime mood for “Ich wandle unter Blumenen“; but the singer cannot suppress a sudden burst of drama when she feels the desperate need for her lover’s embrace: her ardour creates a touch of witty irony.
Finally came “Lobgesang”, a song of praise. Introspective at the start, the music becomes quite grand. By now we are under Ms. Kamarei’s spell, and wanting to hear her in…some Wagner: Fricka and Waltraute came immediately to mind, as did – of course – the Wesendonck Lieder.
Meanwhile, our desire to escape became more urgent as the unmasked couple in front of us began coughing the moment the music ended. We left hastily, regretting that we were missing the concert’s Korngold finale.
~ Oberon
The great Canadian contralto Maureen Forrester sings Gustav Mahler’s Kindertotenlieder, which she recorded with the Boston Symphony Orchestra under Charles Munch’s baton in 1958.
Listen here.
Above: Gustav Mahler
Friday October 26, 2012 – The Collegiate Chorale and the American Symphony Orchestra teamed up at Carnegie Hall tonight for a symphonic double-bill, with a delightful ‘prelude’ in the form of Leopold Stokowski’s arrangement of The Star-Spangled Banner. I rarely have the opportunity to work symphonic concerts into my calendar of dance and operatic events (and I continue to suffer from a lack of chamber music in my diet). So I am grateful to the Collegiate Chorale and publicist Michelle Brandon Tabnick for this evening’s invitation.
The evening marked the 50th anniversary of the American Symphony Orchestra and in celebration, tickets were sold at 1962 prices, with a $7.00 top. There was a nice atmosphere in the house and a warm reception for all the musicians involved.
Maestro Leon Botstein swept his forces thru the ‘Stokowski’ Star-Spangled Banner with its wonderful deeper sonorities near the end. Players and audience alike stood for the anthem, and I personally felt a pang of sadness at the state of our country today. But we won’t go into that here.
The players then settled in and the Ives began. This is a fabulous score and I found myself smiling and even chuckling softly to myself as the work progressed: it takes itself so seriously, yet to me it abounds with wit and irony. It seemed clear that some in the audience had not previously encountered Ives’ work: they didn’t know what to make of it. But for me, this was 30-minutes of pure sonic pleasure.
Above: Charles Ives
The wondrous layering of sound, the floating cacophonies wafting over the dense militaristic undercurrents, the dazzling individual instrumental voices shining forth: the ear is constantly titillated. In a stunning volte face, Ives gives us straightforward melody in the 3rd movement which must have felt like a sonic oasis to the uninitiated. Throughout, the piano (expert playing from Blair McMillen) gives the symphony the unexpected feel of a concerto trying to make itself heard thru the waves of sound. A terrific performances, and the players have my admiration for what must be a nightmare of counting.
After intermission, the vast tapestry of the Mahler 8th unfurled itself in the venerable hall. Relentless in its cresting waves of vocal sound flooding over the massive orchestral forces, this is a work like no other. The two choruses simply pour it on all evening, whilst an octet of principal voices – the sopranos often kept in the upper reaches of their range – trade off solo passages of melodic intensity.
![Duncan-Tyler-01[Colin-Mills]](https://oberonsglade.blog/wp-content/uploads/2012/10/dae97-6a00d8341c4e3853ef017c32d96229970b.jpg "Duncan-Tyler-01[Colin-Mills]")
Of the vocal soloists, three stood out: baritone Tyler Duncan (above, in a Colin Mills portrait) brought a welcome sense of lyric beauty to his solo. Basso Denis Sedov was equally fine, using his expressive hands to shape the music. In the taxing top soprano line, Rebecca Daviss’ voice gleamed beautifully all evening.
Maestro Botstein was a few minutes into the symphony’s second half when he suddenly stopped; I could not hear his over-the-shoulder remark, but with a tap of the baton he started over. The performance then surged onward, and the audience stayed on at the end to cheer.
Oberon's Glade 