![\"Veronika](\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2017\/03\/brEberleBerg.jpg\")
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By ANDREW POWELL MUNICH \u2014 Making a taut and impassioned case for Mahler\u2019s Tenth Symphony (1910) here at the Herkulessaal<\/a> Feb. 17, Yannick N\u00e9zet-S\u00e9guin<\/a> still rather confirmed Leonard Bernstein\u2019s dictum that the composer \u201chad said it all in the Ninth.\u201d Mahler\u2019s inspiration sustained itself, as tidily executed by the Symphonie-Orchester des Bayerischen Rundfunks<\/a>, until after the second group of mortifying drum strokes, about a third the way through the 25-minute Finale. Then the emptiness he sought to convey played out only too literally: ashen recollections of earlier material, mostly from the opening movement, really running on empty. This was Cooke III; we know the composer\u2019s substance in the Finale, not what he might ultimately have achieved with its form. The evening began with Berg\u2019s Violin Concerto, Dem Andenken eines Engels<\/em>, courtesy of Veronika Eberle<\/a> (pictured in rehearsal). Sadly the partnership with the visiting Canadian yielded only a tepid traversal of this wondrous 1935 score, for all the beauty of her tone and obvious commitment. Both works were livestreamed<\/a> and remain, for now, accessible online. N\u00e9zet-S\u00e9guin recorded<\/a> the symphony in Montreal in 2014 with his Orchestre M\u00e9tropolitain<\/a>.<\/p>\n Photo \u00a9 Bayerischer Rundfunk<\/p>\n Related posts:
Published: March 9, 2017<\/span><\/p>\n
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