early reaction to berlin video experiment

Ilkka Talvi

Ilkka Talvi, former concertmaster of the Seattle Symphony, writes a nice blog (Of Music & Men) as well as doing a lot of high level teaching in the Seattle area.  He recently signed up for the new Berlin Philharmonic Digital Concert Hall series of concerts, and here’s what he writes about the experience:

Inspired by the success of the Metropolitan Opera’s broadcasts to movie theaters worldwide, the Berlin Philharmonic recently decided to start broadcasting their concerts live via the Internet, for a fee of course. First such concert will take place in about a week. I decided to give my wife and myself a delayed holiday present and for about $130 get to listen and watch in High Definition the rest of the season, plus all the archived concerts from this fall. So far, we only had time for the First Symphony of Brahms and No. 92, the “Oxford”, by Haydn. The latter was played with a small chamber orchestra, usually a disaster when such attempts are made with players from large symphony orchestras. Not this one: the first and second violins played immaculately together in spite of being seated on opposite sides of the stage. Of course one must remember that the Berlin Philharmonic Hall has its stage close to the middle of the audience, and the lack of corners amplifying percussion and the brass instruments, such as the horns, take away the dangerous echo-chamber effect. These musicians play as if they are enjoying chamber music. Sir Rattle didn’t have to micro-manage his players, in fact much of the time he was just smiling and making motions that didn’t resemble a metronome’s beat but rather an inspiration to the musicians. The Brahms was just as exquisite: it is hard to imagine any other orchestra feeling and performing the piece just right. For that the cello and viola sections traded places. The double basses were behind the second violins, the principals in the middle of the section. The cameras are all remote controlled and completely unobtrusive, even difficult to see.

Just listening to and watching the principal flautist of the evening Emmanuel Pahud would have been worth the entire year’s subscription fee. What an incredible musician he is! In the Haydn the fastest runs were like child’s play. Most of the time Mr. Pahud played with little or no vibrato, with the cleanest sound and intonation, just the way I picture a great flute player doing. Yet in the Brahms in an exposed melody the sweetest vibrato appeared, almost bringing tears to my eyes, and I thought I didn’t even like orchestra music! It was interesting to see rotary-valve trumpets being used. Mr. Yasunaga’s violin solo was pristine and the audience gave him a well-deserved applause. What a pleasure to look at violinists who all use the same part of the bow and who don’t make any unnecessary motions, their leader least of them all. None of the ladies acted like exhibitionists or “eye candy”. With some many audience members seeing his face, Mr. Rattle couldn’t give dirty looks but neither was there any need for them. At the of the Brahms, the orchestra just stood up, without feeling the need to face the audience with a forced smile. These were all music loving people, not local Madoff-type donors expecting to be bowed down to. What a different experience this was! I can hardly wait to see the orchestra again on my 24-inch hi-def monitor and good sound system. We have the best seats in the house, even when concerts are sold out as they often are, and get to listen to great soloists who don’t want to bother with our Homeland Security’s ridiculous visa rules and thus often remain unknown to us.

Like our President John F. Kennedy did 45 years ago, I want to stand up and proclaim: “Ich bin ein Berliner”.