Cleveland Orchestra @ Severance Hall 11/28 Although the composer is usually the one who determines the volume of the notes to be played in his works, as well as the notes themselves, it's amazing what a difference can be produced by tiny little adjustments in volume. I believe Beethoven (always an adventurer) would have liked the dynamics employed in his Concerto for Violin and Orchestra in D major, Op. 61 by violinist Christian Tetzlaff and guest conductor Paavo Jarvi along with the Cleveland Orchestra during the Thanksgiving weekend concerts. These little jolts provided a lot of extra energy and led to a distinctly individual yet coherent performance.

These stressed (either louder or softer) contrasts quite change what your ears expect to hear when you realize what music is being played. Brisk, no-nonsense tempi were also utilized, but we’re more accustomed to that. Mr. Tetzlaff, who made his US debut here twenty years ago, plays with a gorgeous husky tone that turns sweet (but not syrupy) in the upper register. His playing was energetic and lively, with great attention paid to every detail.

He also re-did the cadenza at the end of the first movement, which Beethoven himself created for the piano concerto version of this concerto, which doesn’t get played very often. Yet the cadenza with tympani is interesting and provided the soloist with more opportunity to display his dazzling virtuosity. Assistant principal bassoon Barrick Stees provided a lovely obbligato.

The final Rondo (which proceeds without pause from the second or Larghetto movement) provided a light and delicate contrast to the masculine displays that came before and after the opening portion. There was a driving propulsion to the entire work that brought an immediate standing ovation from the large audience. After several bows, the soloist granted an encore: the Andante from Bach's Unaccompanied Violin Sonata BWV 1003. This somewhat tranquil yet virtuosic showpiece after the fireworks that ended the concerto brought yet a different response from the audience. In the brief moments between the last notes shimmering their way through the concert hall and the resultant applause, there was a large, collective sigh of sheer pleasure from the audience.

Opening the concert was Aditus by the Estonian composer Erkki-Sven Tüür. Mr. Järvi is also Estonian, so it’s hardly surprising that he has such an affinity for his countryman’s music. Indeed, we were told during the pre-concert talk that the two of them had once played in the same rock-band! We were also told that the music was influenced by Rock and Minimalism and even Mourning (for the composer’s teacher, Lepo Sumera, to whom the work is dedicated.) To be sure, all these elements were in there, but also there was the main element of rock, which is loud! In places it greatly resembled a piano where both the loud and sustaining pedals are used at the same time for an extended period. Trumpet player Jack Sutte tossed off some dazzling trumpet licks near the end. The entire percussion section was kept busy and proved itself more than capable of everything required.

Pètrouchka, the second of three large ballets composed by the Russian Igor Stravinsky for the Ballet Russe and Sergei Diaghilev, is not as well known or frequently performed as the other two: Firebird and The Rite of Spring. This is both strange and a pity—it is every bit as brash and romantic and fiendishly difficult to play as the others. Well, maybe not quite as challenging as the Rite of Spring, but close. It reauires a huge orchestra with large percussion section, plus piano, celeste and harp!

It’s set in four scenes—the first and fourth at the Shrovetide Fair; the second at Pètrouchka’s cell, and the third at the Moor’s cell. They aren’t exactly in jail, just separated by their love for the same Ballerina. Stravinsky’s biting, slashing chords set in, over, and throughout the demanding rhythmic variations provide the background for the puppets as they meander or scuffle through their tale. An animated Joella Jones portrayed Pètrouchka on the piano as a spunky and willful creature, who easily scares both himself and the Ballerina with whom he is in love. When she invites him to dance with her, he cannot manage the delicate steps and frustration forces him to stumble and stomp around her. Terrified, she runs to the Moor.

Here the music is exotic and oriental in nature, with cymbals and other percussion, but unfortunately, the Moor cannot dance either. Pètrouchka rescues the Ballerina, and they all return to the Fair. A fight ensues and poor Pètrouchka is killed. His ghost, however (in the voice of principal trumpet Michael Sachs) jeers at the ruins of the Fair, now surrounding the little theater. Throughout, the wind sections outdid themselves again. Of special note were the piccolo of Mary Kay Fink and the contra-bassoon of Jonathan Sherwin.

Scherzo à la russe, also by Stravinsky, was re-cycled by him, after the composition was not used for an intended film score. It has his infectious rhythms and saucy brass slides from note to note. Indeed, the trombones were unusually—and delightfully—busy here! As the festive Scherzo came to an abrupt halt, with the conductor swinging to the left, he glanced over his shoulder at the audience as if to see if we ‘got it’. Indeed, Maestro, we did get the joke. We’d probably greatly enjoy more of the same, too!

This weekend Mitsuko Uchida returns for Mozart piano concertos, while Saturday also presents two family concerts. Holiday concerts begin the following week. Tickets for these concerts are always heavily sold in advance, so don’t delay if you plan to attend. For tickets or additional information, visit the website http://www.clevelandorchestra.com or call 231-1111.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com

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