Franz Welser-Most conducted the Cleveland Orchestra last week in a program that on paper looked like a mixed bag of music, but the actual result was surprisingly good. The evening began with Gioachino Rossini’s Overture to William Tell. When it comes to Rossini’s music, what too often comes to mind is music from television programs, like Bugs Bunny or The Lone Ranger. The orchestra performed the opening sections beautifully. You can forget how beautiful this music can be. But then comes the final theme (The Lone Ranger theme) which in all of its thrills, is what sticks in your head. It is hard not to smile. It was also hard not to smile during the next piece, Antonin Dvorak’s Piano Concerto in G minor, Op. 33. But this smile came from the sheer virtuosic play of pianist Pierre-Laurent Aimard and the collaborative effort with the orchestra. Mr. Aimard is renowned for his performances of twentieth century music and in particular French music which was evident in his playing of the Dvorak, (which Dvorak is neither). It was Mr. Aimard phrasing, sensibility and understatement of this romantic period piano concerto which made it so special. Franz gave an outstanding performance in conducting of the concerto, addressing the music in a very cool manner but still remaining completely attached. The combination of ideas that Franz and Mr. Aimard brought to the piece was unexpected, but delightful. The evening was concluded (as was Shostakovich’s life) with Symphony No. 15 in A major, Op. 141 of Dmitri Shostakovich. This piece was written during the final days of Shostakovich’s life and in the work he reflects on his life with the use of various musical themes, many of which were either from his early works or quotations from other composers. One such quote comes in the first movement, a sampling of Rossini’s William Tell is heard, but though the theme is familiar the composer has weaved the passage into the Symphony and made it his own. Shostakovich also quotes Wagner in several places, often with the use of themes from Wagner operas that reference death. Much of the symphony sounds as if it were chamber-music, including many beautiful solos from many of the principals of the orchestra. The solos were heard in particular in the second movement adagio which included some very eerie music making. The final movement opens with several quotes from Wagner and some fiery music. But then begins to wind down (as did his life) with an extraordinary ending. The strings return to the eerie music making of the second movement while the percussion sections gives a splattering of percussive clicking and clacking as if the life of this symphony is leaving us. And it did. from Cool Cleveland contributor Brian Schriefer briancpa@msn.com (:divend:)