9:27PM . . . Schaefer and Gilbert are speaking prior to this last piece, with text in Hebrew from the Megillah . . . the great Thomas Hampson singing for the premier, Pintscher must be ecstatic . . . I would be; man-crush on Hampson is totally acceptable . . . Hampson even taller than Gilbert, okay no more gossip, time for music . . . opens a capella . . . the music is quiet, bracing, astringent, a bit spectral in it’s idiom . . . mysterious, evocative timbres, clouds of sound . . . apologies I can’t follow text and comment on what Pintscher says about the words with his music, too many things to do! . . . langorous feeling has now become agitated and intense as the text sings of the objects of desire; this desire is fervid, aggressive, even angry, perhaps self-consuming . . . chattering oboe brings us back to a point of exhalation, but not relaxation . . . Pintscher has established an underlying tension that is quite powerful, I am quite actively interested in hearing how he resolves it, or even if he bothers to . . . Hampson really committed to the music, it’s new so clearly cannot be totally incorporated, but his concentration on the part is balanced with real ideas about expression and interpretation, such an impressive musician . . . the instruments, especially woodwinds, are now commenting more actively on the singing, the idea seems to be taking place very much in an internal, mental space, this is very much like an extended operatic monologue, with the character searching himself, it’s dramatic and gradually becoming ever more gripping . . . a short, echt-Romantic string line there, and the uncanny sound of a wah-ing trumpet, I’m thinking of Berio now . . . this is music where the ear, and listening, must take some moments to adapt, but now it sounds natural, logical and is developing real power . . . quiet yet intense, Hampson in falsetto, string harmonics and a whispering growl from the contrabassoon, don’t want to breath and miss any moment . . . wow, this part is so good it could go on forever . . . and what a way to end! An alluring, entrancing work, full of secrets, really needs to be heard again and again.
Quite a concert, different and as impressive as the first one in the series, probably tighter and freer playing with Gilbert conducting, a great range of music and determined focus. You can still hear these pieces in concert, Saturday night at the Metropolitan Museum, and you can tune in next week to Q2 for the rebroadcast. Now, time for a beer . . .