With the seasonal tidings of comfort and joy beginning to spread, the Deutsches Symphonie-Orchester Berlin concert at the Philharmonie contributed to the merry din, a warm greeting for the upcoming holidays. Conductor Pekka Kuusisto envisioned a programme with Haydn as its propelling force, which led to an unusual evening comprising works by contemporary composers Anna Clyne and Caroline Shaw, as well as Beethoven’s Seventh Symphony. Much like between guests at a festive family gathering, relations between the scores were varied and not always readily clear – but through Kuusisto’s trademark approach, the performances gained a consistent, engaging character that resulted in a fine success.
At the head of this unconventional family, Haydn’s Symphony no. 60 in C major, also known as ‘Il distratto’, set the tone. Originally intended as incidental music for Jean-François Regnard’s play about an exceptionally absent-minded man, the symphony retains the absurdist quality of its source thanks to Haydn’s distinctive musical wit. Kuusisto adapted to the frequent bumps, halts and digressions of the score with great comic timing, mostly reliant on his control over dynamics and tempi. Following a roaring fortissimo with a sudden piano, or trailing off as if the orchestra was losing the plot, Kuusisto’s interpretation moved in slapstick-like fashion, while maintaining a degree of cohesion in tune with the needs of a Classical symphony. This way, Haydn’s tempo markings acquired vivid personalities, amusing the listeners like the characters of a play.
In Clyne’s Sound and Fury, Haydn’s symphony is paired with Shakespeare’s Macbeth as the composer’s two main sources of inspiration. The result is a tense orchestral work which absorbs some of Haydn’s musical ideas into a stormy perpetual motion, providing them with new fertile ground. What was once humorous turns relentless, and Kuusisto made sure to emphasise this by keeping hold of the DSO without ever vacillating. The larger orchestra, now including flutes, clarinets and a marimba, allowed the conductor to expand the timbral palette with fascinating effects. If I was taken somewhat aback by Clyne’s choice to have a recorded voice recite Macbeth’s “Tomorrow” soliloquy over the orchestra, Kuusisto managed to make it into a plausible moment of cinematic flair.
Shaw’s adaptation for string orchestra of her Entr’acte continued on the path of Haydn-inspired works. Elaborating on the Minuet from his final string quartet (Op.77 no.2), Shaw’s own Minuet and Trio explores the acoustic possibilities of the string section. In fact, the short piece merges traditional playing styles with less conventional techniques, especially through the extensive use of pizzicato. An experienced violinist himself, Kuusisto was clearly in his element and took care of the score’s lyrical moments, both tonal and atonal. Principal cellist Mischa Meyer made a mesmerising job of closing the piece with his strummed solo fading into silence.
In the programme notes, Beethoven’s Seventh was referred to as a “radicalised Haydn” – thus explaining its selection in this concert. Indeed, Kuusisto’s Beethoven resumed some of the traits of his Haydn, particularly for the quick dynamic shifts. However, the symphony’s thematic material sounded incomparably more concrete, almost gestural. Kuusisto’s interpretation benefited from his attention to the internal layers of the score and, more importantly, to the low strings, which added substance to the whole. Occasionally on the faster side, the tempi complimented the rhythmic pulse of the symphony, thanks also to the DSO’s precision. So much for Regnard’s absent-mindedness!
