Conductor Bihlmaier makes mixed impression in New World debut

By Lawrence Budmen

Anja Bihlmaier conducted the New World Symphony Saturday night in Miami Beach.

A survivor of the Warsaw ghetto tells of hiding in sewers, and describes how Nazi troops herded Jews, beat and fired at them, while the faithful sang a prayer in the midst of horror and oppression. 

That is the jolt to the senses that Arnold Schoenberg’s A Survivor From Warsaw conveys. The seven-minute mini-cantata certainly landed like a thunderbolt Saturday night at the New World Symphony’s latest “Resonance of Remembrance” concert at the New World Center. 

Schoenberg’s 12-tone technique was never more effective than in this depiction of murder and terror that remains all the more relevant in a world still torn with war and hatred. Under Anja Bihlmaier (conductor of the Hague Residentie Orchestra and principal guest conductor of the BBC Philharmonic in Manchester), the New World players and male voices of the Master Chorale of South Florida were fully equal to the daunting complexities of Schoenberg’s opus.

The formidable English baritone Anthony Michaels-Moore was an eloquent narrator, declaiming the English language text with clarity. When depicting the German soldiers, he effectively handled Schoenberg’s Sprechstimme, and the depth of his voice was all the more effective in conveying the shocking atrocities. Directed by Brett Karlin, the male choir radiated a spirit of defiance in reciting the Shema, a prayer of final words before death, in full and vociferous tones. Bihlmaier fully assayed the harshness of Schoenberg’s writing, delivering every slashing orchestral outburst to telling effect. The tepid applause that greeted the performance demonstrated that this 1947 score has not lost its ability to disturb listeners.

The Schoenberg piece effectively offset the melodic works that preceded it on the program. Erich Korngold and Franz Waxman had already participated in the European film industry when they emigrated to the United States, so they made a natural transition to Hollywood studio work. (In Waxman’s case, he barely survived being nearly beaten to death in 1934 by Nazi thugs in Berlin.) 

In no small measure, Korngold and Waxman created the Hollywood sound and scoring that has influenced the work of countless American and European film composers to this day. Excerpts from their work illustrated their formidable gifts. 

An arrangement by conductor John Mauceri of Korngold’s music for the 1944 film Between Two Worlds conveyed lush and romantic vistas with hints of the dark edginess in some of Korngold’s operas and symphonic works. Waxman’s Elegy for Strings and Harp is an arrangement of music from the 1943 movie Old Acquaintance. An aura of tragedy pervades the brief vignette in the manner of Waxman’s Academy Award winning score for Sunset Boulevard. Bihlmaier drew lustrous sonorities from the ensemble in both pieces, conjuring up the golden age of soundtrack orchestras.

Conducting fellow Molly Turner took the podium for “Pavana (Luis de Milán)” from Tres versions sinfónicas by Julian Orbón. The gifted and prolific Cuban composer moved first to Mexico, then the United States, following Fidel Castro’s revolution. Latin rhythms and neo-classicism mix in his symphonic showpiece, reminiscent of Copland at his peak. (Orbón studied with Copland at Tanglewood.) 

Scored for large ensemble including five horns, four trumpets and five percussionists, the work abounds in catchy dance tunes and vibant colors. Turner’s dynamic leadership drew brilliant playing from all sections, delineating the varied hues and changing meters with precision. More of this tremendously talented composer’s work needs to be heard. His austere, modernist baroque Piano Concerto awaits a revival from an adventurous virtuoso.

In keeping with the program’s theme of composers who emigrated to America from oppression, the concert’s second half was devoted to Rachmaninoff’s Symphonic Dances. Once a rarity on concert programs, Rachmaninoff final work, written in 1940, has become an orchestral standard. With its gorgeous melodies and opulent orchestration, any well-played performance of this symphonic canvas can be effective. In that respect, the New World’s reading worked to desired effect. 

In other aspects, less so. Bihlmaier’s hard driving approach to the opening Non allegro wanted greater romantic ardor and depth of feeling. A rich-toned saxophone solo and virile strings provided sonic thrills but the flashy, superficial momentum missed the music’s more subtle undertones. 

While admirably avoiding the sentimental exaggeration of some readings, the second movement waltz emerged emotionally cool and matter of fact, despite a glowing solo violin and luminous strings. The performance finally achieved heated intensity in the Lento assai finale. From the crisp introductory brass proclamations and brisk string figures to the dramatic thrust and potent impact of the Dies irae motif at the conclusion , the performance achieved visceral fire.

While Bihlmaier’s conducting made an overall mixed impression, the playing of the orchestral academy’s fellows proved faultless. From the gleaming winds to the unified strings and glowing brass, this corporate accuracy and musicianship of this season’s ensemble heralds what may be the finest contingent of players in the New World Symphony’s 38-year history.

The New World Symphony repeats the program 2 p.m. Sunday at the New World Center in Miami Beach. nws.edu

 

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