Sequenza21/The Contemporary Classical Music Weekly

Schoenberg in Los Angeles

Although Arnold Schoenberg�s Gurrelieder wasn't premiered until 1913, it may be the last great work of the 19th century. By the time Schoenberg began working to finish the orchestration of this massive work, he had already moved into the new century and into new music in a variety of other compositions. The two-plus hours of song and orchestra that make up Gurrelieder are a kind of culmination of Wagner and Brahms.

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When Esa-Pekka Salonen scheduled his cycle of Schoenberg works two years ago to close the LA Philharmonic�s stay in Dorothy Chandler Pavilion, he wasn�t able to schedule Gurrelieder. As yesterday's performance demonstrated, the delay worked out to everyone�s advantage. The open stage and acoustics of Walt Disney Concert Hall made it possible for Salonen to bring together more than 250 musicians to produce glorious music with marvelously clear, transparent sound.

Schoenberg was extravagant in his call for resources; the Phil�s normal complement of musicians was supplemented by about 30 additional instrumentalists to produce an orchestra of 25 brass, 25 woodwinds, 11 percussionists, four harps, and the 70 strings. The augmented Master Chorale provided 130 voices, including major additions to the complement of male voices.

Schoenberg was also profligate in his call for soloists; of six vocalists, four perform in only one song each; only one appears throughout the work, and he has to be a heldentenor capable of singing Tristan. Simon Rattle once said this Schoenberg should be performed like a string quartet, or perhaps like �Daphnis and Chloe�, to emphasize that the massed resources should not work to form heavy sounds since the sheer quantity of performers adds weight by itself. With Salonen firmly in control and shaping the shifts in instrumental and vocal color, this performance was a feast for the ears. Salonen never let the orchestra overwhelm the voices, although the tenor�s consonants weren�t always audible and the female narrator used discreet amplification for her sprechstimme part (in Schoenberg�s nod to the 20th century). Disney Hall was almost sold out; there were a few empty seats to be seen in the far corners of the side and rear balconies, and a few unused tickets leaving empty seats, primarily in the inexpensive section, but the house was almost full on Super Bowl day. The audience loved what they heard and roared their approval.

This month Salonen�s own compositions will be the focus of the Phil�s concerts with three major works in separate programs and a fourth work for the Youth Symphony. In March he takes the Philharmonic to Cologne for a residency.

Upcoming schedule: tonight, a Monday evening Concert with California E.A.R. Unit in contemporary works. Tuesday, a chamber concert by Phil musicians with Emanuel Ax at Disney; Brahms and Faure, so probably not of interest to contemporary music fans. Wednesday, a concert at REDCAT (the CalArts space in Disney) of virtuoso works for bassoon. Phil concert of Salonen next Sunday, then Green Umbrella on Monday, with newer works by Steven Stucky and Kaija Saariaho. Then some days off.

posted by Jerry Zinser 2/07/2005