Commentary: An L.A. Phil champion of Schoenberg for six decades, Zubin Mehta returns to show why
As a music enthusiast with a deep appreciation for the evolution of classical music, I find myself captivated by the story of Zubin Mehta and his performance of Schoenberg‘s “Gurrelieder” with the Los Angeles Philharmonic.
Arnold Schoenberg, born in Vienna in 1874 and passing away in Los Angeles in 1951, was arguably one of the most radically divisive major composers, but also one of the most radically inclusive. He significantly transformed European music to fit his style, and later did the same for Hollywood. His devotion to progress could be described as obsessive, yet he maintained a deep respect for the past while leading the way towards a future that resisted change with every step.
We still don’t quite know how to sell Schoenberg. There is the scary modernist Schoenberg — inventor of the 12-tone system, replacing traditional harmony with the democratic notion that all notes are equal — who reputedly drives audiences away. But there is also the Schoenberg who carried on from the 19th century Romantic tradition in his lush early scores like the massive post-Wagnerian and post-Brahmsian “Gurrelieder.”
wrapping up this year’s commemoration of Schoenberg’s 150th birth anniversary was an impressive performance of “Gurrelieder” conducted by Zubin Mehta, which took place over the weekend. The Los Angeles Philharmonic (boasting four red harps) participated along with the Los Angeles Master Chorale and some powerful vocal soloists.
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The work ‘Gurrelieder’ marks the initial manifestation of Schoenberg’s true style, a style that, despite its complexities or obscurities, always maintained a broad perspective connecting the past with the future. Fascinated by the intricate counterpoint of Bach, the elegance of Mozart, and the awe-inspiring nature of Beethoven, Schoenberg started his career by reconciling the contrast between Wagner, who was a visionary for the future, and Brahms, who preserved tradition from his own early years.
As a devoted cinematography enthusiast, I found myself deeply captivated by Brahms’ groundbreaking harmonic progression that steered towards atonality – a logical evolution in music composition. One memorable instance stands out when a stranger approached me, mistaking me for Arnold Schoenberg, the renowned composer. With a humble smile, I replied, “Apparently, someone must be.” From Wagner, I inherited an insatiable passion for thematic development that seamlessly flows from one idea to another, inexorably leading towards ecstasy.
As a film enthusiast might say, there’s no other piece where Schoenberg pays tribute to Brahms and Wagner as vibrantly as he does in “Gurrelieder.” Over a lavish two hours, this quasi-oratorio is an extravagant, glorious chaos, and no conductor cherishes it more than Mehta. At 88, Mehta stands as the grandmaster of Schoenberg conductors. When he took the helm at the L.A. Philharmonic in 1962, at just 26 years old, he confided to the press that he felt it was more crucial in Los Angeles to perform all the overlooked orchestral works by Schoenberg before conducting all the Beethoven symphonies.
By the late 1960s, he was deeply committed to promoting the works of Arnold Schoenberg. In 1968, he led the Los Angeles Philharmonic in their first performance of “Gurrelieder” at the Dorothy Chandler Pavilion. During this time, he also recorded impressive versions of both early and late Schoenberg’s works with the orchestra at UCLA’s Royce Hall, which continue to impress audiophiles today. Interestingly, it was at this same location where Schoenberg had once taught students who later became renowned film composers, pioneers in experimental music, or both. Notable figures like David Raksin (composer of “Laura”) and John Cage considered Schoenberg a divine figure.
13 years after completing his tenure as music director of the New York Philharmonic, Mehta had previously conducted “Gurrelieder” with them in 1991. He also recorded it during that time. Exactly 20 years later, he recorded “Gurrelieder” again, this time with the other orchestra where he served as music director – the Israel Philharmonic Orchestra.
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Over the years, “Gurrelieder” has been a cherished piece for three of Mehta’s successors at the L.A. Phil. Originally planned for André Previn to conduct in 1991, he fell ill and was substituted by Gerard Schwarz. Esa-Pekka Salonen delivered an outstanding performance of “Gurrelieder” in Disney Hall in 2005. Unfortunately, Gustavo Dudamel’s first attempt to conduct “Gurrelieder” in 2020 was canceled due to COVID.
Over time, Mehta’s “Gurrelieder” has evolved to be less extravagant and more introspective. He linked it with Brahms by leading Brahms’ Violin Concerto (with soloist Leonidas Kavakos) and Second Symphony the week prior. From his podium, he skillfully directed the vast forces of “Gurrelieder.
Despite showing less flamboyance compared to before, Mehta still retains the core style of the L.A. Philharmonic. This was evident from the initial powerful chords of Brahms’ concerto up until the magnificent, earth-shattering climax of “Gurrelieder”‘s final movement.
As a cinema enthusiast, I find myself captivated by this extraordinary work that started in 1900, initially aiming to surpass Wagner, but it wasn’t until 11 years later that it was finally completed. During these years, Schoenberg had ventured into atonality and modernism, giving the piece a unique twist. The story revolves around King Waldemar, trapped in an unhappy marriage, who finds solace in a woman named Tove. Tragically, she passes away, leaving him bereft. Unable to bear life without her, he succumbs to death himself. In the afterlife, instead of peace, he’s compelled to hunt every day, and things only grow stranger and more dreamlike as a narrator guides us through the climax.
At the eleventh hour, tenor Brandon Jovanovich fell ill with one of L.A.’s circulating viruses, leaving John Matthew Myers to step in as a solid Waldemar. Christine Goerke portrayed Tove and Violeta Urmana took on the role of the insightful Wood Dove, although their performances weren’t always consistent. However, they both delivered Wagnerian power in their respective roles. Gabriel Manro’s peasant character had more depth, while Gerhard Siegel truly shone as the fool. Dietrich Henschel provided a melodious narration that stood out among others.
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However, it was the orchestra and Los Angeles Master Chorale that truly shone, providing Mehta with everything he requested, and perhaps even exceeding expectations. Ultimately, Mehta allowed “Gurrelieder” to express itself powerfully on its own.
That’s one way of making the Schoenberg case. There are others. Schoenberg hangs over L.A. more than we often realize. Four days before “Gurrelieder,” Piano Spheres, which was founded by pianist and Schoenberg assistant Leonard Stein 30 years ago, opened a tribute program remembering pianist Susan Svrcek and composer Frederick Lesemann with Webern’s eight-hand arrangement for four pianists at two pianos of the opening of “Gurrelieder.” It enticingly glittered as much as a four-harped orchestra.
In February, the Jacaranda music series, which had been running for two decades and was renowned for its essential concerts, concluded with a performance that echoed Schoenberg’s style, linking him to Hollywood, Mahler, Coltrane, and Boulez. However, one of the most fascinating connections between Schoenberg and Hollywood might be the West Coast debut of Tod Machover’s opera “Schoenberg in Hollywood,” which UCLA will present in a fresh production at the Nimoy in May. Naturally, rehearsals for this performance will take place in UCLA’s Schoenberg Hall.
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2024-12-18 03:31