{"id":2970,"date":"2024-09-24T01:33:24","date_gmt":"2024-09-23T23:33:24","guid":{"rendered":"https:\/\/pulsations.art\/?p=2970"},"modified":"2025-02-07T15:13:01","modified_gmt":"2025-02-07T14:13:01","slug":"klaus-makela-schonberg-mahler-concertgebouw-amsterdam","status":"publish","type":"post","link":"https:\/\/pulsations.art\/en\/klaus-makela-schonberg-mahler-concertgebouw-amsterdam\/","title":{"rendered":"KLAUS M\u00c4KEL\u00c4 \/ SCH\u00d6NBERG \/ MAHLER \/ CONCERTGEBOUW AMSTERDAM"},"content":{"rendered":"\t\t
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Klaus M\u00e4kel\u00e4 conducts the Royal Concertgebouw Orchestra in a remarkable evening featuring Schoenberg\u2019s Verkl\u00e4rte Nacht and Mahler\u2019s First Symphony. M\u00e4kel\u00e4\u2019s interpretations showcased his dynamic range and emotional depth, leaving a powerful impression on the audience.\n\n\n\n\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(C) Eduardus Lee<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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September, 19, 2024
Het Concertgebouw\n\nKlaus M\u00e4kel\u00e4\n\n Royal Concertgebouw Orchestra<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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PROGRAM:\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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SCHOENBERG, Verkl\u00e4rte nacht<\/i>

MAHLER, Symphony n\u00b01, \"Titan\"<\/i><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Schoenberg\u2019s Verkl\u00e4rte Nacht: A Journey Through Darkness and Redemption<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Celebrating the 150th anniversary of Arnold Schoenberg’s birth… Often celebrated as the pioneer of atonality, Schoenberg composed Verkl\u00e4rte Nacht<\/i> (Transfigured Night<\/i>) in 1899. This piece, inspired by Richard Dehmel\u2019s eponymous poem, is a profound exploration of emotional turmoil and ultimate redemption. Schoenberg himself once remarked, \u201cI have always thought that music should express something, something human.\u201d Verkl\u00e4rte Nacht <\/i>embodies this belief, as it musically narrates a story of love, guilt, and forgiveness, moving from darkness to a luminous resolution.<\/p>

Klaus M\u00e4kel\u00e4 conducts the Royal Concertgebouw Orchestra in a performance that delves deep into the dark, introspective qualities of the piece. Conducting without a score, he showcases a physicality that channels the very energy of the music. His approach alternates between delicate nuances and frenzied intensity, drawing out the orchestra\u2019s signature velvety sound and seamlessly transitioning between tender and dramatic textures.<\/p>

Around the 12-minute mark, the solo cello delivers a particularly poignant passage, a turning point in the narrative that resonates deeply throughout the hall. M\u00e4kel\u00e4\u2019s sense of timing is impeccable, allowing the music to breathe within the silences, heightening the tension and underscoring the tragic undercurrents of the piece. Compared to legendary performances by Karajan and Boulez, M\u00e4kel\u00e4\u2019s interpretation is more fluid, letting the music unfold naturally while maintaining tight structural integrity.<\/p>

Technically flawless\u2014both rhythmically and musically\u2014M\u00e4kel\u00e4\u2019s interpretation leans toward a restrained emotion, never fully surrendering to the joy that the work ultimately suggests. The shimmering conclusion, with its fine, delicate textures, leaves the audience in a state of contemplative reflection, a testament to the depth and refinement of M\u00e4kel\u00e4\u2019s approach.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Gustav Mahler\u2019s First Symphony: The Genesis of a Symphonic Cosmos<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Gustav Mahler\u2019s First Symphony, often referred to as the Titan, marks a pivotal moment in the composer\u2019s journey as he establishes himself as a symphonic giant. Composed between 1884 and 1888, this work represents Mahler\u2019s inaugural foray into the symphonic form, where he seamlessly intertwines his profound affinity for nature, his philosophical contemplations, and his innovative orchestral techniques. The symphony underwent numerous revisions before reaching its final form, reflecting Mahler\u2019s meticulous nature and his relentless pursuit of a composition that is at once deeply personal and universally resonant.\n\nThe First Symphony is frequently likened to the inception of Wagner\u2019s Tetralogy, symbolizing the creation of a sonic universe emerging from the void of silence. The first movement, marked Langsam, schleppend, opens with a mysterious introduction that evokes the slow, deliberate awakening of nature. M\u00e4kel\u00e4\u2019s interpretation, with a duration of 16 minutes and 12 seconds, brings to mind the expansive opening of Beethoven\u2019s Ninth Symphony, yet with a more elaborate development, as if it were the long-sought Beethoven Tenth. This movement is redolent of Rimbaud\u2019s L\u2019Aube\u2014a poetic dawn teeming with nascent life and untold possibilities.\n\nKlaus M\u00e4kel\u00e4 demonstrates an extraordinary sensitivity to the pastoral and youthful qualities that permeate Mahler\u2019s music. His attention to detail, particularly within the string sections, is marked by a gentle, almost indulgent touch, allowing the movement to unfold like a broad hiking path through a verdant landscape, inviting the listener to savor each musical moment. A significant orchestral eruption occurs around the fourteenth minute, a carefully crafted climax met with spontaneous applause, though quickly tempered by the more reserved attendees.\n\nIn the second movement, Kr\u00e4ftig bewegt, doch nicht zu schnell, M\u00e4kel\u00e4 unveils a different facet of his conducting prowess. Here, he adopts an economy of means, reminiscent of Leonard Bernstein\u2019s more restrained moments, where Bernstein would forgo his characteristic exuberance in favor of a more understated, playful direction. M\u00e4kel\u00e4\u2019s minimalist approach in this movement is deliberate and effective. He punctuates the music\u2019s beats with precision, capturing the lilting, L\u00e4ndler-like rhythms with a sense of amused, almost na\u00efve charm. This 7-minute and 39-second movement showcases M\u00e4kel\u00e4\u2019s instinctive grasp of Mahler\u2019s intentions, balancing rustic charm with a subtle underlying sophistication.\n\nThe third movement, lasting 11 minutes and 10 seconds, features the famous Fr\u00e8re Jacques theme, rendered in a haunting minor key. The cello, initially tentative, exudes a restrained melancholy, occasionally creating a slight but evocative misalignment with the timpani. This interpretation leans more towards the Viennese spirit, evoking the creamy richness of a Viennese waltz rather than the rawness of Bohemian life. While the movement may lack a bit of sardonic detachment, it remains rich in beautiful moments. A passage around the fifth minute hints at the Adagietto of Mahler\u2019s Fifth Symphony, characterized by a soft, melancholic languor. As the orchestra becomes more agitated near the ninth minute, the transition to the fourth movement occurs seamlessly, without a break, as if the symphony itself is compelled to continue its narrative.\n\nThe fourth movement, which spans 18 minutes and 34 seconds, is nothing short of a titanic struggle\u2014a deluge of sound that registers as a ten on the Beaufort scale. M\u00e4kel\u00e4 navigates this tumultuous conclusion with a blend of gravitas and discipline, evoking the image of a giant laboring under the weight of an inescapable fate. His interpretation already hints at the ominous blows of destiny that Mahler will explore fully in his Sixth Symphony. The strings, remarkably supple under M\u00e4kel\u00e4\u2019s direction, reflect his surprising ability to convey a premonition of tragedy, especially given his relative youth. However, one might question whether the intent behind the movement should be lighter, perhaps more ironic in its reflection on the past.\n\nAt the six-minute, 48-second mark, the music erupts with a fury that is both awe-inspiring and disquieting, creating moments of nobility and breathlessness in equal measure. By the tenth minute, the rustling of the forest returns, with secret threats subtly threading through the sonic landscape of this First Symphony. Moments of joy are consistently shadowed by an undercurrent of anxiety, a harbinger of the more profound adagios to come in Mahler\u2019s later symphonies. Around the thirteenth minute, the symphony adopts an operatic grandeur reminiscent of La Traviata, almost directly quoted by Mahler and brought to vivid life by M\u00e4kel\u00e4, who conducts with barely a gesture, perhaps just the faintest movement of his shoulders. The music inexorably builds towards a climactic finale at sixteen minutes and 23 seconds, where the horns and trumpets ascend in a triumphant flourish, eliciting an overwhelming response from the audience.\n\nThis final moment, though thrilling, invites reflection. It conjures memories of Claudio Abbado\u2019s rehearsals with the Berlin Philharmonic after Karajan\u2019s era, where a similar moment of exuberance was tempered by Abbado\u2019s modest intervention, suggesting a shift in the interpretation of Mahler\u2019s works with changing times. M\u00e4kel\u00e4\u2019s decision to adhere to this tradition provokes thought on the evolving nature of Mahlerian interpretation.\n\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Despite these contemplations, M\u00e4kel\u00e4\u2019s performance is captivating from beginning to end. He emerges as a true Mahlerian, with an interpretation that is both intellectually engaging and emotionally charged. His ability to energize the audience, coupled with his nuanced understanding of the music, leaves a lasting impression. The anticipation for his forthcoming interpretation of Mahler\u2019s Eighth Symphony in 2025, during the renowned Mahler Festival, is palpable, as it promises to be a monumental occasion in his burgeoning career.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\tLa maison o\u00f9 Sibelius composa \u00ab\u00a0Kullervo\u00a0\u00bb \u00e0 Loviisa Quelque chose a vibr\u00e9, doucement, sur les rives...\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t
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LUCERNE FESTIVAL ORCHESTRA – BOULEZ \/ MAHLER – RICCARDO CHAILLY : MIRROR OF THE WORLDS<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\tPierre Boulez (1925-2016) \u00a9 DR Under the baton of Riccardo Chailly, the opening concert of the 2025...\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t
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LUCERNE FESTIVAL ORCHESTRA – BOULEZ \/ MAHLER – RICCARDO CHAILLY : LE MIROIR DES MONDES<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\tPierre Boulez (1925-2016) \u00a9 DR Sous la baguette de Riccardo Chailly, le concert d\u2019ouverture du...\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t
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Inscrivez-vous \u00e0 notre newsletter et tenez vous inform\u00e9 des derni\u00e8res actualit\u00e9s classique : concerts, sortie d'albums, interviews exclusives... <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    <\/div>\n<\/form>\n<\/div>\n<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    Klaus M\u00e4kel\u00e4 conducts the Royal Concertgebouw Orchestra in a remarkable evening featuring Schoenberg\u2019s Verkl\u00e4rte Nacht and Mahler\u2019s First Symphony. M\u00e4kel\u00e4\u2019s interpretations showcased his dynamic range and emotional depth, leaving a powerful impression on the audience. (C) Eduardus Lee September, 19, 2024 Het Concertgebouw Klaus M\u00e4kel\u00e4 Royal Concertgebouw Orchestra PROGRAM: SCHOENBERG, Verkl\u00e4rte nacht MAHLER, Symphony n\u00b01, […]<\/p>\n","protected":false},"author":3,"featured_media":2971,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center 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href=\"https:\/\/pulsations.art\/en\/category\/concerts-classiques\/\" rel=\"category tag\">Concerts classiques<\/a>","rttpg_excerpt":"Klaus M\u00e4kel\u00e4 conducts the Royal Concertgebouw Orchestra in a remarkable evening featuring Schoenberg\u2019s Verkl\u00e4rte Nacht and Mahler\u2019s First Symphony. M\u00e4kel\u00e4\u2019s interpretations showcased his dynamic range and emotional depth, leaving a powerful impression on the audience. (C) Eduardus Lee September, 19, 2024 Het Concertgebouw Klaus M\u00e4kel\u00e4 Royal Concertgebouw Orchestra PROGRAM: SCHOENBERG, Verkl\u00e4rte nacht MAHLER, Symphony n\u00b01,…","_links":{"self":[{"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/posts\/2970","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/comments?post=2970"}],"version-history":[{"count":59,"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/posts\/2970\/revisions"}],"predecessor-version":[{"id":3130,"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/posts\/2970\/revisions\/3130"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/media\/2971"}],"wp:attachment":[{"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/media?parent=2970"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/categories?post=2970"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pulsations.art\/en\/wp-json\/wp\/v2\/tags?post=2970"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}