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Cleveland Orchestra @ Severance Hall 2/26 The music composed by Leos Janácek is readily identifiable to most listeners by his usual stop-and-start methodology. He was fond of using works of literature for inspiration, as in the opening number of last week's concert by the Cleveland Orchestra -- Gogol's Taras Bulba. Not that the music necessarily describes what happens in the story, it's just there for a framework. This Rhapsody for Orchestra is in three parts, and tells of Taras and his two sons, Andrei, Ostap, all of whom die during the story based on a battle between the Cossacks and the Poles in the early 17th century. This does not necessarily make for joyful music, but as Janácek was reasonably happy in his own life when he wrote this, there are episodes that could almost pass for cheerful.

To be sure, the first movement describes in loving detail the love of Andrei for his Polish princess, told with eloquence by the English horn and the oboe (Robert Walters and Jeffrey Rathbun, respectively). Then, before poor Andrei meets his doom, we’re treated to a lyrical interlude by the organ (Joella Jones) and chimes (Richard Weiner.) Ostap’s fate is depicted musically by the shrieking clarinet of Daniel McKelway, offset by the harp of Tina Struble and a sort of country dance in the middle.

The final movement allowed Janácek to indulge his fondness for Russian culture in a dream prophecy of greatness for that country as he was dying. Cossacks vs. Poles in the 17th century. Guest conductor Kurt Masur is so familiar with this work, he made great sense out of all of it, just as he did with the two works of Beethoven that followed.

Indeed, away from that doom and gloom, all was truly cheerful and light-filled as pianist Louis Lortie collaborated on what we now know as the Piano Concerto No. 1 in C major, Op. 15, although it was really written second. It was just published first. Whatever, the elegant pianist allowed a variety of emotions to color his interpretation. Beginning delicately, he had the conductor bouncing on the podium midway through the opening movement. He partnered beautifully with Franklin Cohen’s clarinet in the largo, and allowed himself to be jaunty while showing off the composer’s playful side in the syncopated dialogue between piano and orchestra in the final Rondo. Thursday night’s audience loved it, and accorded both gentlemen a standing ovation punctuated by shouts of ‘Bravo!’

Beethoven’s Symphony No. 7 in A major, Op. 92 was sheer pleasure from first note to last. Mr. Masur has been conducting this symphony longer than many of the musicians in the orchestra have been alive on this planet, and he’s not lost a note anywhere. This was a sassy, vigorous performance, conducted from memory (and he’s approching 82!) Again, there was a gorgeous duet—this time between Josh Smith’s flute and Frank Rosenwein’s oboe and a bit later, these two were joined by Franklin Cohen’s clarinet and John Clouser’s bassoon in a charming round of principal solos. The basses again provided a fabulous underpinning, accenting the crisp propulsive forward movements of the rollicking final movement. Lucky the dancers who might have this version to dance to!

Now the group, along with Mr. Masur, heads to Miami for another week in the sun. (What’s that, I wonder?) While they’re away, the Cleveland Orchestra Youth Orchestra and its Chorus engage in their first concert of 2009, on Sunday May 8 at 3 pm. For tickets or other information, call 231-1111 or visit the website at: http://www.clevelandorchestra.com.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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