Arnold SCHOENBERG Pelleas und Melisande
Op. 5
Richard WAGNER Siegfried -Idyll
Orchester der Deutschen
Oper Berlin/Christian Thielemann
Deutsche Grammophon
4690082 [DDD
65:17]
Crotchet
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Few conductors, if any, of the younger generation can claim to have developed
the formidable mastery of the late romantic repertory that Christian Thielemann
communicates with such natural instinct. It is perhaps no surprise therefore
that in Schoenberg's darkly brooding Maeterlinck inspired symphonic poem
he directs a performance which is hugely impressive, both in its interpretative
maturity and in the lush, magnificently honed playing which he draws from
the orchestral forces of the Berlin Opera.
Cast in a series of continuous sections yet within the framework of a
symphonically conceived structure, Schoenberg's score is a fascinating, deeply
intense maelstrom of constantly shifting psycho-emotional angst and ecstasy.
Completed early in 1903, the composer had recently spent a period of time
in Berlin where he had come under the influence and guidance of Richard Strauss.
Indeed Strauss had been a considerable source of encouragement to the young
Schoenberg, a fact that is readily discernible in the score, as is the influence
of Mahler.
From the ominous opening bars Thielemann creates a heady atmosphere, imbued
with a tension which he manipulates with great skill. One can sense immediately
that the orchestra is at the end of his fingertips such is the degree of
control that he exhibits. The build up to the first apocalyptic climax (track
two 2'10") is a fine example, the release of tension at 1'42" deftly handled
before the full power of the fortissimo is unleashed (mention must be made
of the recording here which features some magnificently wide ranging dynamics,
listen out for the bass drum!). The more scherzando like material which follows
in track three (Lebhaft) demonstrates impressive inner detail from
the woodwind and again in track four (Sehr rasch) there is a carefully
achieved transparency in the balance between woodwind and strings, a striking
aspect of much of the recording. Track six (Langsam) is wonderfully
heart rending and once again Thielemann shows his mastery in bringing to
the surface every nuance of Schoenberg's emotional roller coaster. The ethereal
sense of mystery at the beginning of track ten (In gehender Bewegung)
sends a shiver down the spine whilst track eleven (Breit) brings the
work to an enigmatic conclusion (just listen to the way the trumpets relax
and crescendo out of the climax around 1'10" for a demonstration of the clarity
and detail of thought that has gone into this performance). The slow tread
from around 5'00" to the end complete with its menacing muted brass at 5'20"
is truly chilling.
Wagner's Siegfried-Idyll comes almost as light relief after the highly
charged Schoenberg yet the same degree of attention to dynamic and textural
detail is evident, this time combined with a charm entirely befitting of
a work which had close sentimental associations for the composer and which
he cherished for much of his life.
The booklet notes make the claim that Christian Thielemann "can rightly be
seen as one of the last orchestral conductors to uphold the tradition of
such grand old men as Furtwängler, Celibidache and Karajan". Judging
by this performance of the Schoenberg alone it would be difficult to disagree.
However, I would prefer to think of him as the first in a new generation
of conductors possessing the individuality and depth of expression to place
this repertory before a new younger audience. Only time will tell. In the
meantime this is a fine disc that anyone with an interest in early Schoenberg
or late romanticism will not want to be without.
Christopher Thomas
