Staatskapelle Berlin Perform in NYC

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Parent Category: Film and the Arts

Category: Reviews

Published on Thursday, 07 December 2023 15:00

Written by Jack Angstreich

Yannick Nézet-Séguin with the Staatskapelle Berlin, photo by Fadi Kheir

At Carnegie Hall’s Stern Auditorium, on two consecutive evenings beginning on Thursday, November 30th, I had the privilege to attend two concerts featuring the Staatskapelle Berlin—under the enthusiastic direction of Yannick Nézet-Séguin—presenting the complete symphonies of Johannes Brahms.

The first program began with a creditable version of the Symphony No. 1. After a portentous introduction marked Un poco sostenuto, the main body of the initial Allegro has a dynamism that strongly recalls that of the mature symphonies of Ludwig van Beethoven but it ends quietly. The Andante sostenuto that follows is lyrical and Romantic but not without an undercurrent of urgency, while the ensuing Un poco allegretto e grazioso movement is graceful and melodious. The memorable finale—an Allegro non troppo, ma con brio—after a suspenseful introduction builds excitingly, and sometimes dramatically, to a powerfully affirmative conclusion.

The second half of the evening featured a rewarding account of the Symphony No. 2. The opening Allegro non troppo was enchanting on the whole—but with some darker, more intense moments—closing serenely. The succeeding Adagio non troppo is somber and more inward in orientation—but with some expansive passages—and finishes softly. The third movement, with a tempo marking of Allegretto grazioso (quasi andantino), has an effervescence that is uncommon for the composer, while the ultimate impression of the finale, an Allegro con spirito, is one of exuberance and it ends triumphantly.

The second night was somehow much more extraordinary, starting with a magnificent realization of the marvelous Symphony No. 3. The first, Allegro con brio movement begins strongly but much of it is relatively subdued, with a gracious, almost pastoral quality. The ensuingAndanteis charming throughout and the Poco allegretto third movement is hauntingly beautiful with a famous main theme that Serge Gainsbourg reproduced for his song, "Baby alone in Babylone,” recorded with Jane Birkin. The finale is more assertive in general, but with some more delicate episodes, and closes gently.

Also brilliant was a thrilling performance of the astonishing Symphony No. 4. The work opens bewitchingly with an Allegro non troppo that is enthrallingly energetic, preceding an Andante moderato that is also thoroughly captivating. The scherzo, an Allegro giocoso, is unusually buoyant for Brahms, and the finale, marked Allegro energico e passionato, is fiery, despite calmer sections, and dazzling in its intricacy. The musicians deservedly received a standing ovation.

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