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guardian.co.uk, Wednesday 14
August 2002 |
Tom Service |
Liszt: Faust Symphony, Edinburgh 2002
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RSNO/Rozhdestvensky
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Usher Hall, Edinburgh |
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Liszt's Faust Symphony is one of the most
ambitious and visionary works of the 19th century. But you'd never have
known it from Gennadi Rozhdestvensky's glib and under-prepared performance
with the Royal Scottish National Orchestra.
Composed between 1854 and 1861, the piece represents Liszt's most complete
answer to the challenge of finding new ways to write for the orchestra in
the wake of Beethoven's symphonies. Each of the three huge movements is
inspired by one of the characters from Goethe's play: Faust, Gretchen and
Mephistopheles.
Yet instead of a series of programmatic depictions, the imagery from Faust
inspired Liszt to some of his most original music. Released from the
shackles of academic forms, the piece creates a unique and inexorable drama.
Or at least it should do. In Rozhdestvensky's hands, the vertiginous
contrasts of the first movement were bland and banal. He made Liszt's most
inspired passages of orchestration sound monochrome and mediocre.
The opening of the second movement, Gretchen, is a vision of pastoral
femininity, as a sumptuous oboe melody is supported by the gossamer threads
of solo strings. But in the RSNO's performance, there was no coordination
between melody and accompaniment, and there were some ruinous problems of
intonation.
Rozhdestvensky and the orchestra failed to communicate the dramatic meaning
of the music. Bereft of expressive poetry, this performance crippled Liszt's
enormous structure; the piece sounded like a series of disconnected
fragments rather than a powerfully unified journey.
Jonas Kaufmann's glorious singing of the tenor solo offered a glimpse of
what might have been, but it was all too little, too late.
The first half looked like an astute piece of programming, with Beethoven's
overture, The Ruins of Athens, and Liszt's fantasy for piano and orchestra
based on themes from Beethoven's score. But Rozhdestvensky could only
produce lumpen and half-hearted playing from the orchestra. Viktoria
Postnikova's playing of the solo part in the Fantasy was full of brute
power, but she made the piece sound like an empty technical exercise, and
missed the music's improvisatory brilliance. |
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