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Masur passes the baton New York
Avery Fisher Hall
06/01/2002 -
Ludwig van Beethoven: Violin Concerto, Op. 61 – Symphony No.3 “Eroica”, Op.55
Anne-Sophie Mutter (violin)
New York Philharmonic Orchestra, Kurt Masur (conductor)
Kurt Masur ended his tenure as music director of the New York Philharmonic with a program of works by Beethoven, probably the composer he has been most associated with.
While this concert should have been an occasion of celebration, there was some unusual tension in the hall during the performance. Reasons for Masur leaving were fuzzy although it was clear that Masur had been asked to step down by the orchestra’s board. Zarin Mehta, the orchestra’s executive director, came on stage to announce that Masur would become music director emeritus but was interrupted by members of the audience asking why Masur was leaving.
On this occasion, conductor and orchestra played a very fierce and brisk Eroica. Tempi were on the fast side, displaying an unusual sense of certainty but little of either the anguish of the slow movement nor of the grandness of the outer ones. The orchestra displayed a big sound although basses and cellos were somewhat unclear. Masur certainly displayed a strong sense of the different development of the work and kept a nice regular Beethovenian pulse. However, I missed a sense of occasion. It was an efficient performance but ultimately superficial and not very inspiring. Beethoven should be more than that.
I had not heard this orchestra play for a while. String tone is robust but ultimately lacked colour and individuality (a problem that Masur will face next year in Paris when he takes over the French National Radio Orchestra.) The difficult third movement was taxing for the players who on the one hand played the notes but lacked the precision and cleanness of attacks that other ensembles have accustomed us to. Individual soloists seemed good and reliable although there was a very wrong entry from the oboe in the third movement. Judging from this performance, I would still maintain that this orchestra has still significant room for improvement. In this respect, Lorin Maazel, who will succeed Masur, can be seen as a good choice. While he may miss some of the inspiration that Masur at his best can bring, he is a better technician who can challenge orchestras. Right now though, there is no doubt that both Levine’s Met Orchestra or Ozawa’s Boston Symphony are more sophisticated orchestras with more coherent ensembles with stronger individuals.
The Avery Fisher Hall treacherous acoustics have been improved by the various panels of the back of the stage. (This is the result of the outstanding work done by Sam Berkow, can we get him involved for the future work in Salle Pleyel, please). While the Avery Fisher Hall will always remain the Avery Fisher Hall, it is a big step forwards for both audience and musicians. No orchestra can improve unless they can hear themselves.
What made this concert a moment of distinction was the presence of Anne-Sophie Mutter in the Beethoven violin concerto. If Masur’s tempi and approach in the Eroica could be described as traditional, such was not the case in the concerto. Mutter’s were unorthodox, mostly on the slow side in particular in the central section of the first movement. This was an unconventional approach, lacking in serenity and smile what it gained in depth. The best way it could be described was Germanic in its seriousness and sense of purpose. All through the work, Mutter violin work was of the highest order. Her tone is superb, displaying a wide range and strong colours and imaginative in phrasing and bowing. This was certainly the result of a lot of work and while I may want more smile in this work, it was a challenging performance.
Antoine Leboyer
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