Her playing is exceedingly emotional and is matched by a superb musicality. While she is not at all hesitant to dig into the 1727 Stradivari violin when the music calls for it, Ms. Jansen is also capable of playing with ineffable sweetness and perfect intonation. She is formidable, indeed. The Tchaikovsky concerto matches her so well in every way, one could easily thnk it had been written just for her. The fireworks written into the outer movements were truly spectacular, yet each note was clear and distinct. A short episode in the middle movement featured a mystical or perhaps mysterious short dialogue between the soloist and the principal clarinet. It was brilliantly played by both artists.
Just before the final notes of the concerto, Ms. Jansen turned slightly and threw a huge grin at concertmaster William Preucil, as if to say, “Isn’t this fun?” Otherwise, she was entirely one with the music, and seemed surprised by the vigorous applause at the end of the first movement, as well as the bravos at the conclusion of the piece. Indeed, I was somewhat surprised to find myself applauding at the end of the first movement, but not at all unaware of being on my feet at the ending. The musicians of the orchestra were applauding with as much enthusiasm as the audience—no mere tapping on the stands with the bows, the usual accolade.
Guest conductor Vladimir Ashkenazy was the perfect collaborator; after all, he has this music in his heart and soul. He brought a great sense of energy to the entire program, almost bounding onto the stage to begin the concert with William Walton’s comic overture Scapino. Written in 1940 on commission from the Chicago Symphony, the rollicking piece is vibrant and bouyant in nature, as befitting one of the clowns from the Italian Renaissance theatrical tradition commedia dell’arte. The name Scapino, we are told, is related to ‘escapade’, and if you closed your eyes, it was easy to imagine a ‘Keystone cops’ type of scenario unfolding to the accompaniment of the orchestra. The piece hadn’t been performed here since shortly after the premiere in Chicago. We can hope it doesn’t take that long before the next performance.
There are many parallels between Brahms and Edward Elgar, especially regarding the first symphony of each composer, which came fairly late in their composing careers. The music, however, is entirely individual. Elgar may not have felt the pressure of Beethoven’s footsteps as did Brahms, but he certainly knew the great gap in British symphonic music, which he had only begun to fill. Indeed, he led the way for Vaughan Williams and Holst, who followed him.
Elgar’s Symphony No. 1 is in the traditional four movements, and is undeniably Elgar throughout. The first movement is stately and majestic, while the second contains a jaunty march, totally unlike his Pomp and Circumstance compositions. A ‘pastoral’ type effect is prominent in the third movement Allegro, with a beautiful dialogue between Mr. Preucil and Franklin Cohen, principal clarinet. The horn section also contributed gorgeous playing, as did the other winds.
Mr. Ashkenazy and Ms. Jansen will accompany the Orchestra to Florida and Georgia next week for a five-concert tour. The next orchestra concert at Severance Hall will be on February 2. For tickets or information about upcoming concerts, call (216) 231-1111, or visit the orchestra’s web-site: http://www.ClevelandOrchestra.com
From Cool Cleveland contributor Kelly Ferjutz hidden-email:NegfJevgre@Nqrycuvn.arg? (:divend:)