Franz Welser-Möst returned for the final three weeks of the season to conduct this widely divergent program, featuring Mitsuko Uchida as piano soloist. It was a splendid demonstration of the capability of all the musicians assembled for the occasion.
Beginning with the Symphony No. 4 in D minor, Opus 120 by Robert Schumann, it was immediately evident that the orchestra was happy to have the boss back again. A romantic Schumann certainly was, but he was also bold, brisk and masculine to have captured his Clara as he did. All these qualities were on display in this performance. Particularly lovely was the cello/oboe duet featuring principal cellist Desmond Hoebig and principal oboe Frank Rosenwein. Concertmaster William Preucil and principal flute Joshua Smith also contributed notable solo efforts. The vital, living music was briskly applauded even before the final notes had died away.
Logistics of stage setting can be a problem with such a varied program, but it was fascinating to those of us seated upstairs to watch the stagehands setting up five small chamber groups throughout the dress circle area for the second work on the program—György Kurtag’s “... quasi una fantasia ...” Several percussion players remained on stage, along with Ms. Uchida and the conductor, but the majority of the orchestra players were upstairs in various configurations. House left held a harp and celesta, along with five musicians playing harmonica, one of those being Andrew Grams, assistant conductor, who also conducted somewhat, using the monitor which displayed Mr. Welser-Möst.
At the balcony entrance were woodwinds, including recorders; in the center of the aisle were brass, with a few more percussion instruments at the right side entrance, while a string quintet was placed at the front of house right. The piano was nearly a silent partner to all this, it’s unrelated notes being played so softly by Ms. Uchida, adding to the sounds traveling ethereally throughout the hall. Fantasy was an aptly descriptive word for this brief work, which received a strong ovation from the audience.
After intermission, the stage was once again set up in familiar format with piano front and center for one of the most popular works in the repertoire: Schumann’s Piano Concerto in A minor, Opus 54. As always, Ms. Uchida brings her formidable intelligence to whatever she does, and this vibrant performance was no exception. It’s as though in the past, performances of this work have always been in black & white, but she performs in technicolor. Plus, she makes it all look—and sound—so easy! Principal clarinet Franklin Cohen contributed a lovely solo. The intermezzo was light and delicate in contrast to the muscularity of the first movement, but the entirety was so graceful and lyrical it drew an instantaneous standing ovation, accompanied by cheers and shouts of ‘Brava!’
Béla Bartók’s Suite from The Miraculous Mandarin is perhaps not as well-known as some of his other colorful works, and one wonders why this is so. The music is picturesque and brilliant, although the picture of a Mandarin as seen through Hungarian eyes might be a bit confusing at first. The story is somewhat gruesome, but the music is more sardonic and brash in nature. Once more Mr. Cohen demonstrated the sensuous capabilities of his instrument as did Jeffrey Rathbun on english horn. Principal bassoon John Clouser and harpist Tina Struble were also given occasion to shine during this expressive and impressive performance.
This week’s concerts feature Mr. Welser-Möst conducting another scintillating mixed bag: a Mozart symphony, music two French impressionists—Ravel and Debussy—and a work by Finnish composer Kaija Saariaho. For tickets or information about these or other upcoming concerts, call (216) 231-1111, or visit the orchestra’s web-site: http://www.ClevelandOrchestra.com.
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)