SFS Media 821936-0071-2
Michael Tilson Thomas (MTT) became music director of the San Francisco Symphony (SFS) in 1995 and will step down in 2020, after 25 years of enlightened music making. Of course, the SFS has had its share of distinguished conductors such as Pierre Monteux and Seiji Ozawa, but MTT has added an element of freshness to their repertoire in programming contemporary works and composers of our time such as John Adams and Mason Bates.
No wonder this orchestra has received Grammy and Echo Klassik awards, among others and MTT’s many accolades include France’s Chevalier des Arts et des Lettres and America’s National Medal of Arts. His dynamic piano playing can be heard on YouTube in a 1981 live performance of Stravinsky’s four-hand version of The Rite of Spring with duet partner Leonard Bernstein!
MTT and SFS have released the four symphonies of Robert Schumann, recorded live at San Francisco’s Davies Symphony Hall. These works were written between 1841-1851, a period in which Schumann also produced a piano concerto, cello concerto, piano quintet and piano quartet – with most of the significant song cycles and piano works having been composed earlier in his career.
MTT brings his charismatic, vibrant and kinetic approach to these works, infusing each with a kinda overriding stretto-like energy that connects and reconnects sequences and phrases. SFS brass and wind sections are considered among the finest and quintessential examples of what these players can do include the opening fanfare of symphony No. 1, Op. 38 (Spring) and interplay of winds, particularly flutes, in the final movement.
Also included in this movement is a musical selfie where he recycles a mysterious motive from no. 8 of his Kreisleriana, Op. 16. Although Schumann’s second and fourth symphonies are not frequently featured on concert programs the Op. 61 contains a larger scale orchestration that certainly deserves more playing time.
The Scherzo’s leggerissimo quality that hints at Catch Me from this composer’s Kinderszenen, Op. 15 is beautifully captured by a collaboration of strings, winds and brass. And MTT draws out an otherworldly quality from the dreamy Adagio espressivo with its elusive harmonies.
The fourth symphony, Op. 120 was revised by the composer in 1851, a few years before his one way journey to Endenich. It poses a challenge in terms of often dark and heavy mood changes and disjointed structure, despite occasional endearing melodic fragments. Once again, MTT’s lively tempo in the outer movements combined with virtuosic-like wizardry from brass and winds – especially in Romanze with built in destiny motive - gives this work a sense of purpose.
If you like whole milk yogurt with a layer of cream on top, then you’re gonna love the SFS performance of symphony Op. 97 (Rhenish) because this interpretation is crème de la crème – one of the best. It offers a complete and total emersion of composer, conductor and group. The atmospheric shifts range from sweeping exuberance in the opening movement to splendid clarity from brass in Scherzo.
The uniformity of sound is particularly rich in Feierlich, where the group stretches unbroken lines of harmonic tension to the max - and with it Schumann’s inner struggles come to life. It seems to me that Wagner was familiar with this symphony, particularly Schumann’s clever use of brass. Of course, the Wagner-Schumann musical camps were often at odds but keenly interested in checking out composers of their time.
The high end accompanying CD booklet features Michael Tilson Thomas’ thoughts on performing Schumann. Why not add this outstanding recording to your Holiday wish list.