Photo Credit: Nico Olay
The Pabst Theater was a regular venue for classical performances for decades in the period before the 1969 opening of what is now called the Marcus Center. But even in the 1980s and 1990s, classical performances at the Pabst were common. I hadn’t been there for a few years until the Milwaukee Symphony Orchestra concert last Friday evening.
Because the MSO had originally planned to move into its own hall this fall, and because of some bookings in place at the Marcus Center, the MSO is playing a few concerts this season at the Pabst out of necessity. I’ve always found the acoustics of this theater to vary greatly, depending on your seat. But nowhere is the sound especially good and flattering for acoustic classical music. From my seat―on the main floor under the overhang of the mezzanine―the sound was dead and unforgiving. It was harshest on the first violins at the apron of the stage, exposing any little flaw in the unison of this excellent section. The woodwind solos seemed to drop to the floor without carry and lift. Violas and second violins were muted. The whole experience made me appreciate the less-than-ideal but still better acoustics of Uihlein Hall.
MSO music director Ken-David Masur led assured, musically well-sculpted performances of Ludwig van Beethoven’s first two symphonies. Masur showed a spot-on sense of tempo for each of the movements and a winning combination of discipline and freedom with the phrase. Despite the unsatisfying sound in the hall, the one benefit of the Pabst is that the musicians can hear one another on the stage, which is not true at the Marcus Center, creating a strong sense of ensemble.
Stay on top of the news of the day
Subscribe to our free, daily e-newsletter to get Milwaukee's latest local news, restaurants, music, arts and entertainment and events delivered right to your inbox every weekday, plus a bonus Week in Review email on Saturdays.
Robert Schumann’s “Concertstück in F for Four Horns and Orchestra” had never been performed by MSO. This is extremely difficult music for the horns, which included Matthew Annin, Darcy Hamlin, Dietrich Hermann and Joshua Phillips. There were plenty of stand-out moments, with gorgeous tone from each player. Not every note was perfectly played (is that even possible in this piece?), but it was a valiant effort.
