On many occasions, interpretations provided by Music Director Franz Welser-Möst have differed from previous performances of the great, familiar standards. To me, this doesn’t make them wrong, they’re just different. The world is, after all, not always shades of white, gray or black; most things are in vivid Technicolor. So it was with this carefully thought out version. It fairly crackled with energy throughout.
Principal clarinet Franklin Cohen set the tone—literally—with his luscious introduction that led into light and delicate—and very lush sounding—melodies from the strings. The second movement—the famous Andante Cantabile—that features a beautiful horn solo began with deep, dark chocolaty notes from the cellos and basses, setting the scene for Michael Mayhew’s elegant rendition of the most beautiful part for solo horn in the symphonic repertoire. It was purely breath-taking in its simplicity, and was followed by a passage of plucked notes in the lower strings offset by the violins in an upper register that sent shivers up my spine.
The third movement waltz (the one with the limp) received Mr. Welser-Möst’s careful Viennese interpretation, proving itself to be sprightly and joyous, showcasing the four principal wind players in the second portion. Flutist Joshua Smith, Oboist Frank Rosenwein, Bassoonist John Clouser and Clarinetist Franklin Cohen were marvels of distinctive music-making. The finale was marked by solid, yet crisp playing from the brass, creating almost a chorale effect. Overall, the piece was an absolute triumph.
Clarinetist Cohen also began the first work on the program, the world premiere performance of Poème by the Austrian Georg Friedrich Haas. This piece was commissioned by the orchestra. Mr. Haas declares himself of the Fourth Viennese School, which is no doubt why I must confess to being totally at sea with this work. I’ve not yet completely made my peace with the Second School, and was unaware of the existence of the Third, let alone the Fourth.
While I do understand the concept of micro-tones, I can’t say I find them very appealing. Two thoughts kept appearing as I listened to this new work, which I believe to have been very well played, even if I couldn’t understand it. First, the visual image projected by this type of composition is that of the surrealistic painting by Salvador Dali of the watch that’s melted from the heat and is slowly slithering off the table. The second was – how would this type of tonality affect someone with perfect pitch?
Between the Haas and the Tchaikovsky, the orchestra’s Principal Trumpeter Michael Sachs was the brilliant soloist in the Haydn Trumpet Concerto in E-flat major. With a Haydn-sized orchestra behind him, Mr. Sachs demonstrated the beauty of his instrument with lovely legato playing that was by turns rich and plummy sounding or lighthearted and joyful. The first movement cadenza was a masterpiece. Written by the soloist, it closely adhered to the style of the composer, showing the beautiful sound as well as the chromatic capabilities of the instrument. Mr. Welser-Möst was an adept and attentive collaborator.
It’s splendid to see orchestra members front and center as soloists; if only it could happen more often, as in the concerts of these last two weeks.
March 30 and April 1, Mr. Welser-Möst will again conduct; Schoenberg’s Kol nidre, Op. 39 and Bruckner’s Symphony No. 5 in B-flat major. For tickets or information about these or other upcoming concerts, call (216) 231-1111, or visit the orchestra’s web-site: http://www.ClevelandCrchestra.com
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)