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Print March 13, 2023 2 comments

Thielemann Conducts Bruckner’s Eighth in Berkeley

Donald Thoresen

Christian Thielemann

519 words

Vienna Philharmonic
Christian Thielemann, conductor
Anton Bruckner, Symphony No. 8 in C Minor (Edition Haas)
Zellerbach Hall, Berkeley, California
March 9, 2023

Anton Bruckner’s Eighth Symphony was presented at Zellerbach Hall on the campus of the University of California at Berkeley last Thursday evening, during an uncommonly intense northern Californian rain storm. Conducting the Vienna Philharmonic was the well-known and somewhat controversial conductor, Christian Thielemann. The concert hall, which holds just under 2,000 people, was nearly — if not completely — filled with people who had braved the ice-cold winds and pelting rain to witness the last of three performances at this venue by the orchestra before it heads back to Europe. Judging by the intense applause, howls of approval, and two standing ovations, just about everyone else enjoyed it as much as I did.

You can buy Collin Cleary’s Wagner’s Ring & the Germanic Tradition here.

As to be expected, the audience was mostly white and middle-aged or older, with a smattering of Asians of various types in the mix. There was, however, a surprisingly large number of young people in attendance, which was a heartening sight for any fan of, shall we say, unpopular music. Not only had these youngsters turned off their “lo-fi hip-hop beats to study and relax to,” put down their phones, and ventured out into the elements, but they had done so in order to hear truly great art — and great, indisputably white art at that.

Bruckner’s Eighth Symphony, the last he completed, is not easy listening. It is an intense 80 or so minutes of waves of emotion: contemplative string movements building to martial, heroic, ear-splitting brass explosions, back down and back up again, keeping the listener gripped in an exquisite emotional tension. The Viennese maintained Bruckner’s undulating spirit beautifully under Thielemann’s baton: the tempi were always appropriate, the heroism was always heroic, and the existential gravity suitably grave. The musicians seemed less like “orchestra and conductor” and more like a solitary organism whose entire existence was meant to express Bruckner’s soul to the world. Indeed, it often seemed as though the symphony were being performed on an especially magnificent pipe organ. It is no coincidence that Bruckner was an organist himself — his music often reflects this fact — but rarely have I heard an orchestra sound so unified in both technique and spirit. It was the kind of performance that makes a man want to trash his audio equipment and never listen to anything but live music ever again. From the musical virtuosity to the transcendent interpretation, every moment was a gift, a truly unforgettable musical event.

Though I have yet to hear any of Thielemann’s recent Bruckner cycle that he recorded for Sony Classical, I will now eagerly seek it out and, if what I heard in Berkeley is indicative of their quality, I expect to be able to recommend them without hesitation to anyone who had the misfortune of being unable to attend any of his and the orchestra’s (far too geographically limited) American tour.

A friend once told me that in any great Bruckner performance, one should be able to hear God. Thanks to Christian Thielemann and the Vienna Philharmonic, on March 9, 2023, I most certainly did.

* * *

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2 comments

  1. Hairy Iranian Guy says:
    March 13, 2023 at 9:33 pm

    My favorite Bruckner is, by far, his sixth, followed by “The Romantic”, his fourth.

    Reply
  2. J Webb says:
    March 14, 2023 at 3:00 pm

    Heather MacDonald at City-Journal has been writing terrific articles on the state of classical music amidst woke combat. Blind auditions, in which the judges listen but cannot see the performer, are replaced with racial quotas.  Unlike, say, basketball teams.

    Over my years I have gone back and forth over being exhausted by enough Beethoven, to not having enough of a great master. But I stand with Ludvig and MacDonald when she describes a woke music professor’s dubious claim that an Esperanza Spalding album is a masterpiece equal to the 9th symphony. But hey, I really dig jazz too. But why do I see so few blacks among jazz show audiences but not a 50 Cent gig?

    There is also the cancellation of Russian classical musicians, as if they somehow started the war with Ukraine or might have written it’s theme song. Some music organizations have demanded Russian musicians denounce Putin or be cancelled (and some cancelled anyhow after the denunciation). It is not yet known how many such musicians subsequently fell to their deaths from balconies under suspicious circumstances. It wasn’t too long ago that a music organization would have handled this by having a Russian and Ukrainian appear together on stage and play together. But music is no longer the universal language, we must all sing in tune to Newspeak.

    Reply

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    • Buddha a Führer: Mladý Emil Cioran o Německu

      Guillaume Durocher

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      Greg Johnson

      2

    • The Power of Myth:
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      (March 26, 1904–October 30, 1987)

      John Morgan

      11

    • The Man Who Shot Liberty Valance

      Trevor Lynch

      24

    • The Searchers

      Trevor Lynch

      29

    • Gabriele D’Annunzio

      Jonathan Bowden

      2

    • Remembering A. R. D. “Rex” Fairburn (February 2, 1904–March 25, 1957)

      Greg Johnson

      1

    • Denis Kearney & the Struggle for a White America

      Theodore J. O'Keefe

      1

    • Posthuman Prospects:
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      Christopher Pankhurst

      5

    • Earnest Sevier Cox:
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      Morris van de Camp

      15

    • Remembering Jack London
      (January 12, 1876–November 22, 1916)

      Greg Johnson

      2

    • Remembering Robinson Jeffers:
      January 10, 1887–January 20, 1962

      John Morgan

      3

    • Remembering Pierre Drieu La Rochelle:
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      Greg Johnson

    • Remembering Rudyard Kipling (December 30, 1865-January 18, 1936)

      Greg Johnson

      10

    • Restoring White Homelands

      Greg Johnson

      34

    • Remembering Hinton Rowan Helper

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    • What’s Wrong with Diversity?

      Greg Johnson

      10

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      Greg Johnson

      3

    • Edward Alsworth Ross:
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      8

    • The Talented Mr. Ripley & Purple Noon

      Trevor Lynch

      19

    • Christmas & the Yuletide:
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      4

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      William Pierce

      4

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      Ezra Pound

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      Anonymous

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      Michael Walker

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    • The Truth About Irish Victimhood in American History

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    • Trump’s Great Secretary of Defense

      Morris van de Camp

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    • 23 Years a Slave: Giles Milton’s White Gold

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    • Michael Gibson’s Paper Belt on Fire

      Bill Pritchard

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      Steven Clark

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      Alain de Benoist

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      Howe Abbott-Hiss

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      Paul Popenoe

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  • Recent comments

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