The Finnish composer Kaija Saariaho is fast becoming a Cleveland favorite, and her Quatre instants (Four moments) a song cycle written for Ms. Mattila is absolutely one of the highlights of this Cleveland Orchestra season. The songs with texts by Amin Maalouf, were (to use their English titles) ‘Longing’, ‘Torment’, ‘Perfume of the Instant’ and ‘Echoes’. The three lines of the first one (I am the boat adrift. . .) are also the last three lines of the final verse, bringing the cycle completely around again. These two are particularly influenced by water, but the moon and passion are ever companions to the water, the music and the singer. Ravishing.
Ms. Mattila was pleading in the first, agitated in the second, remembering perhaps in the third and longing in the final song. All of these were accompanied by vivid orchestral colors, attentively commanded by music director Franz Welser-Möst. Ms. Mattila’s lush voice floated burnished tones over the orchestra with the greatest of ease, at times stark, at other times sensuous, always with very expressive body english.
The concert began with another watery sort of piece. Une barque sur l’océan by Maurice Ravel. It’s a rather short piece, just eight minutes or so, but exceedingly depictive of the French love for the sea. Originally written for piano, Ravel later orchestrated the piece. Ms. Saariaho followed this pattern with her piece, as well.
Claude Debussy’s La mer presented yet a different version of a watery tale. It very nearly floundered when first presented in the early 1900s due to a perceived personal scandal, but has now become accepted as one of the standards of the orchestral repertoire. Listening to this rendition—lush, sensual and exotic—it’s easy to see why. It was one of the first great impressionistic pieces, allowing the listener to ‘see’ the sea for him or herself.
Non-French, not-particularly water-oriented, the other work on the program was one of Mozart’s final symphonies, No. 38 in D major, K. 504 (Prague). It has been documented many times that Mozart had happy experiences in Prague, somewhat of a novelty to him. No wonder, then, that this is a happy, almost joyous work, and what matters if there are only three movements rather than the usual four? I detected a Viennese influence, too, present in the after- or off-beats.
If the theme of this musical program was ‘longing for love from far away’ as discussed in the pre-concert talk, then this symphony fit right in with the French works, for Mozart apparently found the acceptance and respect in Prague that he was denied elsewhere. But then, too, there is a river there, as well. So, maybe the music did all speak to unrequited love, but certainly not for the audience. They loved it all!
The final concerts of the 2005-2006 season are June 8 and 11, featuring a semi-staged production of Verdi’s masterpiece Falstaff. For tickets or information about these performances or other orchestra events, call (216) 231-1111, or visit the orchestra’s web-site: http://www.clevelandorchestra.com
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)