Bach is done! (and Stravinsky rules!)

'Twas a rich weekend as I ventured to Tanglewood on Friday (see picture) to hear the Boston Symphony play Stravinsky's 'Rite of Spring' and the Sibelius Violin Concerto, and we had our Bach concert on Saturday.

First, about Tanglewood. It was a really lovely night, temps in the low 60's with low humidity and a clear sky. I was very excited about the program, since I haven't heard 'Rite of Spring' live before. The Sibelius was really cool and was expertly played by the young (and beautiful) Lisa Batiashvili. This is a piece I had not really known before but enjoyed hearing. It was the perfect mixture of virtuosity and expansive lyricism. The second half was the Stravinsky, and I was like a giddy five year-old the whole time. It really gains another level of intensity in live performance since the musicians actually have to play the incredibly difficult music. Even as far away as I was sitting, one could still feel Stravinsky reaching right out and giving the audience a good shake. It was a great performance and Charles Dutoit and the Bostonians threw themselves into the work. Between this and the 'Symphony of Psalms' last week, Stravinsky's brilliance and inventiveness have been solidly reaffirmed in my mind. I've resolved to dig into 'The Rake's Progress' when I get back. Glad I made it to Tanglewood at least once here...

Now the Bach. I'm still turning this one over in my mind, but I have some observations about the performance and the work as a whole. The piece is so full of beauty and intellect that one could really devote a whole lifetime to studying it. I think it's something I'll come back over the years hoping to unlock more of its mysteries each time. This time was kind of the Reader's Digest version of the B Minor Mass. I got to know the basic essence of the work, but I don't think one can get much further than that in a week of living with the piece. I've decided that it is composed of a few 'acts' within the larger work. To effectively perform the piece, one must figure out the dramatic arc of each section, much like an opera. The conductor must have a clear vision of the piece and convey that to the musicians. Without this vision, the piece can seem kind of overlong with "too many notes", and the listener can get overwhelmed by the constant flow of ideas. As to performing forces, I think that 250 singers and a modern 40 piece orchestra (although we did make a lot of joyful noise) is not my ideal. I agree that every choral singer should be able to experience this work, but in my mind you do not need more than 32 singers to perform it. (This was a conversation topic all week). I feel that the cleanness of Bach's lines and the subtle architecture was lost with our performing arrangement. Also, the rhythmic impetus within the singers must be very strong. It is quite easy to either get behind or to push the tempo. This happened (sometimes simultaneously) around me last night. I wish we had spent some time count-singing or tapping sub-divisions to build a solid rhythmic core within the choir. Vocally I really enjoyed singing the piece and did not find it to be as taxing as I might have anticipated. I sang full in the dress rehearsal and was still somewhat fresh by the end of the performance. Although it often ventures above the staff, the vocal writing moves throughout the whole range alternating florid and sustained singing. As a result it is a full vocal workout instead of hammering away at one part of the voice (i.e. Beethoven). I'll be happy to let the B Minor Mass germinate in my subconscious for a few years before I pick it up again. And hopefully next time it will be with a smaller ensemble with a longer rehearsal period!