Even though this work was composed in 1960, this was the first performance by the orchestra. We can but hope the next appearance won’t take so long. It’s a wonderful showpiece for both organ and orchestra, and was made easy for all to see as well as hear by putting the organ console out front on the partially-raised apron at the front of the stage. Ms. Jones played the difficult work as though she’d been playing it all her life, and former resident conductor Jahja Ling (now in charge of the San Diego Symphony) was a sympathetic collaborator. The ovation at the conclusion of the work was well and truly-deserved.
Earlier in the program, pianist Garrick Ohlsson soloed in another keyboard masterpiece by Barber, the Piano Concerto, Op. 38. Although not everyone who performs this concerto has the physique of Mr. Ohlsson, his size must surely be of help in this massive, percussive work. At the other end of the dynamic range, however, he is also capable of playing with delicacy and grace, as demonstrated in the second movement’s emotional episodes. Here, Barber demonstrates a lyrical sense every bit as gifted as that attributed to Rachmaninoff. The final movement could have been called toccata furioso as that is what it most strongly resembled. Trombones and trumpets accompanied a persistent rhythmic pattern in the percussion. It was a boldly bravura performance.
(Sadly, Mr. Ohlsson was unable to continue the series, and patrons attending either Saturday evening or Sunday afternoon’s concerts heard Jon Kimura Parker in Beethoven’s Piano Concerto No. 3. )
Framing the two Barber works on this interesting program were pieces by the great Finnish composer, Jean Sibelius. Two small pieces opened the concert, segments from larger, mostly non-familiar suites of Historic Scenes, based on Finnish history. The Chase is one of three scenes from tableaux presented at a gala in 1899, and Scena from a similar event in 1912. The composer’s famous Finlandia was drawn from various musical fragments from the first of these suites. The Chase depicts a royal hunt, with hunting horns and galloping horses, while Scena portrays a battle scene that disrupts a peaceful minuet. It’s all very militaristic, but very recognizable as Sibelius.
His Symphony No. 5, Op. 82, begins with a heroic, driving theme that leads into the second movement’s chorale effect. This is followed by pizzicato string notes repeated in staccato playing from the winds. The movement ends with the famous ‘Thor’s Hammer’ sounds by the horns. These notes are repeated in the final movement, which ends with the six separated crashing chords that can easily lead one into disaster if attention departs for even a split second. Of course, Mr. Ling had it all capably in hand. It was good to have him back again, dancing on the podium, as he did so joyously in past seasons.
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:)