Continuing where they left off on Sunday night, a downsized Berlin Philharmonic and chief conductor Simon Rattle returned to Carnegie Hall on Monday night to complete their cycle of Schumann's four symphonies. They began with the Fourth Symphony, composed the same year as the First Symphony but revised by Schumann in 1853 to give it a heavier, darker texture. Here, Rattle performed Schumann's original 1841 version, which felt fleet and clear, if not exactly light. It was mesmerizing to watch the Berlin strings dig into this work, bobbing and weaving as they played. And, the horn calls following the fugue in the final movement were astonishing in their penetration, like a call from the deep.
There were more extraordinary horn solos in the Third Symphony ("Rhenish"), Schumann's last symphony, courtesy of Principal horn Stefan Dohr. Brass calls also punctured the grave, almost Wagnerian fourth movement, inspired by a ceremony Schumann witnessed at the Cologne Cathedral. And, they returned in the final movement, joyous and sonorous sounds like those Bruckner would write three decades later. When you realize that Schumann was on the brink of mental collapse while writing this music – he would be committed to an insane asylum in less than three years – it sounds all the more triumphant.
In between these time-tested repertory staples was the sole new work presented during the Berlin Phil's week-long stay in New York: Georg Friedrich Haas' dark dreams, a Carnegie and Berlin Philharmonic co-commission performed here for the first time in the U.S. Haas, an increasingly visible presence in NYC since joining Columbia's composition faculty last year, writes what's known as spectral music: full of glissandos, scrapes, microtones and other spooky sounds. (See our coverage of Haas' 3rd string quartet, In iij. Noct., at last season's White Light Festival.)
The Berlin Phil, expanding to a full roster of 100 players for this 23 minute piece, put a whole other facet of their virtuosity on display here, one that has become increasingly familiar during Rattle's 12 year tenure as chief conductor. (He will leave his post after his contract ends in 2018.) dark dreams was certainly unsettling, with crazy massed sonorities that grew imperceptibly from silence. But, it was also the perfect complement to Schumann's symphonies: not just the creepy bits, but also soaring melodies and repeating patterns that belie its dark inner world.
Unfortunately, that insight was lost on a few idiot cranks, who felt free to pronounce their displeasure at this masterful new work by raining down boos from the upper tiers when Haas went onstage during curtain calls. Fortunately, they were in the (vast) minority, but it's still strange and disturbing to hear such dismissiveness in 2014, especially with all of the new sounds being programmed at that other Philharmonic down the street. Given the history of negative crowd reactions at Carnegie, Haas should take it as a badge of honor.
Listen to a bit of dark dreams below and make your own judgement. More pics on the photo page.