Grosses Festspielhaus
Beethoven – Concerto for Piano, Violin,
and Cello in C major, op.56
Schoenberg – Pelleas und Melisande, op.5
Guy Braunstein (violin)
Kian Soltani (cello)
West-Eastern Divan Orchestra
Daniel Barenboim (piano, conductor)
Beethoven and Schoenberg: the same
pairing as Maurizio Pollini’s recital with which my visit to this year’s Salzburg Festival
began. They are both composers at the very heart of Daniel Barenboim’s
repertoire, and both composers in whose music he excels. Beethoven’s Triple
Concerto opened the concert in style, with just the right orchestral sound from
the West-Eastern Divan: rich, dark, yes – Furtwänglerian. This might have been
the surging of Schopenhauer’s Will. Barenboim understands, seemingly like few
if any conductors alive, that harmony is absolutely fundamental to Beethoven
and communicates that vital truth. Balance between the soloists – Barenboim, the
sweet-toned Guy Braunstein, and the suave Kian Soltani – was excellent
throughout, a fine balance achieved between the aristocratic and the rugged.
Crucially, the music breathed – and developed. Soltani’s opening solo in the
slow movement was quite delectable: beautifully shaped. This was an expansive
performance from all concerned, and all the better for it. Soltani’s transition
to the finale was equally impressive, and it emerged full of wit and life, underlying strength supplied by Barenboim and his orchestra.
Schoenberg’s early tone poem, Pelleas und Melisande, is a very
difficult work to bring off. Indeed, for some time, I assumed the fault to lie
in the work itself; it lies instead in insufficient performances. Barenboim’s
was certainly not one of those. He veered structurally toward a Straussian
reading, unlike, say, Christian Thielemann, who, with the Berlin Philharmonic a few years ago, revealed Schoenberg’s Brahmsian credentials. Gurrelieder and, of course, Tristan were always close, even perhaps on occasion Ein Heldenleben too. There was playing
of great strength and great delicacy to be heard, ever flexible to Barenboim’s
demands. The West-Eastern Divan’s woodwind were outstanding throughout,
reminding me more than once of Barenboim’s Wagner – in which he has always
insisted on the importance of those instruments. Motivic insistence was
certainly present, but not necessarily emphasised, again bringing us closer to
the Wagner-Strauss axis than to Brahms. What might initially have sounded like
a final dark turn was not unrelieved; variegation questioned our responses. But
the final climax dwarfed its predecessors, the concluding sadness grave indeed.
