Schoenberg’s Pelleas
is a huge, sprawling affair that almost
defines post-Romanticism. Almost every
orchestral excess is here; all that
is missing is a ‘mystical’ chorus or
two. But for all the huge surface detail
and the complex textures, it breaks
down nicely into four sections that
convey four distinct ‘set’ of emotions.
First there is ‘In the forest’ (Golaud
meeting Melisande, including a ‘Fate’
motif); the Scherzo is a Fountain Scene
(including Melisande losing her ring
in the fountain, Pelleas and Melisande
at the window and Golaud and Pelleas’
descent into the castle’s cellars; a
heart-felt Adagio (the parting of the
lovers) and a final ‘Sehr langsam’ that
represents the Death of Melisande.
Bamert’s way with the
score is to avoid the temptation to
wallow and to attempt as much linear
definition as possible. It is a worthy
stance, although some may prefer Karajan’s
individual way, particularly in the
slow movement (predictably rich, on
DG 457
721-2). Bamert’s strength in this
slow movement is to be warm but not
gooey, but he does not inspire the SNO
to come fully to life – there remains
an element of the studio about it all,
at least until the hyper-Romantic gestures
(around the seven minute mark), where
at last the orchestra seems to start
enjoying itself.
The opening is, however,
more successful and sets out Bamert’s
stall perfectly. Luxurious yet with
lots of detail evident, there is much
to commend. Later the Fate motif blazes
out, and Bamert throughout manages to
‘stretch’ the music as appropriate to
its ebb and flow.
The second movement
shows capricious woodwind and a good
measure of detail at the more heavily-scored
moments; the finale, alas, does not
blaze in the way it should. Here one
needs Boulez’ clarity and his ‘new’
levels of expression (there is a generous
Ultima on Warner 3984
24241-2 featuring Boulez and the
Chicagoans that also includes the Op.
31 Variations and the Piano and
Violin Concertos), yet the music also
needs to enter a real twilit world that
under Bamert’s direction it fails to
achieve.
The twenty-minute Piano
Concerto has received championship by
the likes of Brendel, Pollini and Uchida.
Amalie Malling cannot claim to be in
quite the same league as these exalted
names, but possesses a light touch that
can be remarkably appealing and she
works very well with her conductor,
Michael Schønwandt. There is
a neatness to exchanges in this delightful
piece (especially the fast second movement)
that makes for gripping and enjoyable
listening. The disjunct melodies of
the Adagio are expressively delivered
from all sides (especially the marvellous
oboist), and I also liked the piano’s
witty response to the grand climax (around
5’50).
Interestingly, the
expansive string phrases of the finale
seem to link back to the world of Pelleas
– not something that might immediately
strike the listener were these two works
not juxtaposed on this disc.
A thought-provoking
coupling. Neither performance can be
listed as a first choice, but the interest
of this disc should not be under-played.
Colin Clarke
Amalie Malling (piano) 
