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Cleveland Orchestra @ Severance Hall 4/30 Jahja Ling was a well-loved member of The Cleveland Orchestra family for a good many years before he ventured forth in other directions. It was grand to have him back again for the concerts of last week, along with another long-time musician, principal violist Robert Vernon, as soloist. Performing the world premiere of a concerto for viola that had been under construction since before Mr. Ling’s departure added a special element to the concert. Composer Paul Chihara had been rudely interrupted mid-piece, as it were, by a sudden and severe illness, but has now recovered, approaching life with a joyous exuberance and terrific wit.

Mr. Chihara has a long list of musical credits, but the one that sticks in my mind is the ballet score for Shakespeare’s The Tempest that was danced so superbly by the San Francisco Ballet nearly thirty years ago. It made me want to hear more of his music, and anticipate this piece when the commission was first announced. In my opinion, When Soft Voices Die—Romance for Viola and Orchestra—was well worth waiting for!

It’s a lyrical, tuneful piece, with bits and pieces of atonality (but not much) and quotes from this and that (I thought I heard touches of Korngold!) and a grand carousel-type waltz that repeats several times. There may be some few classical purists who won’t embrace the work in spite of it’s engaging qualities, but violists and general music aficionados should be very happy to have the piece performed over and over again.

Mr. Vernon was a committed advocate for the piece, which provided a beautiful showcase for the warm lush sounds of his chosen instrument. His fellow musicians—notably percussion, low strings and brass—accompanied him enthusiastically, but not so loud as to cover his sound.

Mr. Chihara apparently had some difficulty in finding the path to the stage for his bow, resulting in the conductor and soloist embarking on a rescue mission. He finally appeared, at the point of Mr. Vernon’s bow.

Mr. Ling led a vibrant and muscular yet lyrical rendition of the Symphony No. 3 in A minor, Op. 56 ("Scottish”) by Felix Mendelssohn. As is usual, the solo wind players were awesome as the music floated rapidly by them, lighter than air. There was a lovely pianissimo at the end of the scherzo, followed by a great horn duet at the beginning of the adagio cantabile after which the mysteries and majesties of Scotland were duly honored. The finale was very Scottish indeed, with triumphant horns, assuring one and all that there were no dour Scots here at all.

Closing the concert was a different sort of tonal picture in Till Eulenspiegel's Merry Pranks, Op. 28 by Richard Strauss. The huge orchestra seemed to revel in the sound it produced with near-fiendish glee. Richard King excelled in the various horn calls that strike terror in most horn players, for good reason. They’re fearful to contemplate! Concertmaster William Preucil’s solo mid-way lent piquancy to the flirtation he portrayed. The scoundrel Till could not escape the gallows however, in spite of the beautiful and sometimes jazzy playing that accompanied him. The percussion section was especially attentive, but Mr. King shared the spotlight with Daniel McKelway’s raucous clarinet. It was all totally delightful!

This week Richard King is the soloist in two horn concertos receiving their Cleveland Orchestra first performances. Young composers named Mozart and Haydn, no less! Also to be heard is music of Sibelius and Hindemith. Assistant Conductor Jayce Ogren conducts. For tickets or other information, call 231-1111 or visit the website: http://www.ClevelandOrchestra.com.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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