Entering Heinz Hall last Saturday, I was immediately struck by the array of speakers cascaded around the back of the stage, in captivating contrast of spotless white and black. I realized it was indeed to be used by the organ for Cameron Carpenter’s selection to be heard later in the evening. But I had forgotten the effect of deep bases that can be projected along with the symphony in Richard Strauss’s “Also Sprach Zarathustra.” Indeed, when Maestro Manfred Honeck unleashed the theme upon the audience, there was no mistaking the magnificence and expansiveness the sound can achieve, especially at Heinz Hall. To say that the Pittsburgh Symphony Orchestra “nailed it” is an understatement, but with the addition of the deep bass played by the speakers it was breathtaking.
After the peak of the music, it ends with much applause from the audience. Alec Baldwin appears onto the stage, his presence seemingly larger than life because of all his silver screen roles, yet in person, friendly and affable. With a smile, he jokingly said he asked for this piece to be played as his introduction. It was almost like a Hollywood entrance as if he were stepping out of the silver screen in style.
One of my favorite movies of late is by Woody Allen, “To Rome with Love,” where Alec Baldwin interacts with several young people he meets on the streets of Rome. He’s there, but he’s not, as if he is the conscience of one of the others in the movie. It’s intriguing in it’s appeal. It sort of reminded me of Alec at this concert, as a character to introduce the pieces, as a conscience of the audience, there but not really there, but in his charm and as an addition to the entire evening, he is invaluable.
Mr. Baldwin spoke of his chance to see the Pittsburgh Symphony perform Beethoven in 2014 while filming a movie in Pittsburgh, and that led to him hosting this concert. As he put it, the advent of his love for classical music came in the 1980s while driving in his car listening on the radio. He spoke of a car-phone and kidded that he actually had to look for paper and pen to write down the selection played or hit the speed dial on his car phone to the station to ask what was played at a certain time. Coincidentally I myself remember doing that myself. With Mr. Baldwin it was Mahler 9. I remember calling in the 1990s to WQED to find out about Mozart’s oboe concerto.
He kidded young folks about CDs — “you see it’s this round plastic thing you actually put in something to play the music,” while discussing his collection of classical music. He spoke of listening to the music in the concert hall — “here nothing can compare the seeing and listening of a performance done live.” He said he’s never had a bad experience at the symphony.
He went on to say that a few film directors borrow from the classical repertoire, and such was the case with the main title music of “The Shining” based on the Dream of the Witches Sabbath, by Hector Berlioz. After this awe inspiring performance by the PSO Mr Baldwin returned to the stage with a “wowie wow.” He asked the audience if we liked the bells. Yes. “I brought those with me on the plane. I did it for you actually.”
He spoke of his first role on a soap opera. Apparently his character was killed off by two separate people at the same time, neither knew the other was there; a very funny story the way Mr. Baldwin described it.
He next introduced Tchaikovsky’s “Pas de Deux,” holiday music beautifully written, that he would never tire of hearing.
Immediately following, Manfred Honeck dove into the Beethoven finale of Symphony no. 7. Alegro con brio. Fast, lively and marvelous, one of my personal favorites.
Next Baldwin introduced one of his favorites, the adagio from Mahler’s symphony no. 5. But before that he asked Honeck: “How’s it going so far Maestro?” “What do you mean” was the response — smiles all around. Apparently the Mahler composition was intended as a love poem to his wife Alma. Listening to those deep rich strings — it was a beautiful poem indeed.
Next was Prokofiev “The Death of Tybalt.” To me it seemed more a comedy than tragedy.
Fascinating Rhythm by Gershwin was played on the organ by Cameron Carpenter with those large array of speakers and the Pittsburgh Symphony Orchestra. There was a screen where they projected a close up of the organist’s hands on the keyboard with four rows of keys. It was amazing the dexterity and adroitness he was able to continually maintain.
There are so many things about this music that I’ve said before in the blog, because many of the selections are one’s that have been played here before, only not just snippets but the full selections. I enjoyed the music very much, although sometimes it was a bit loud. I do miss the entire pieces and not just the excerpts.