It seems like we’re hearing so much Mozart this year especially (it’s a commemorative year!) that the music should by now be ultra-familiar. But no, there are still new things to be heard and enjoyed, now matter how many times we’ve heard it before. Such was the case with the Symphony No. 29 in A major, K.201, which is almost exactly mid-Mozart. He was 18 when he wrote it, and would live for 17 more years. It certainly isn’t representative of a teenager, but yet it doesn’t represent his maturity either. It’s just. . .splendid, that’s all.
The piece begins in a sprightly manner, full of delicacy and lightness. After a cell phone interlude (the second in two nights, yet!) the horn solo—which belonged—was gorgeous. The third movement ended as though it wanted to be a cliff-hanger, making us wait for the other shoe to drop, which it didn’t. The majestic finale showcased the reduced violin section—the chromatic scales sounded like one grand instrument. It was breathtaking!
It must be immensely satisfying to a composer to write for a specific instrument/performer combination, and have that musician at hand for collaboration. American composer Stephen Paulus had that advantage when he was commissioned to write a Violin Concerto for William Preucil, then still a member of the Cleveland Quartet. For a piece of music not quite twenty years old, it is marvelously accessible—harmonic dissonance, if you will. The orchestral writing is purely brilliant, although perhaps the ensemble was not supposed to drown out the soloist, as it did at times.
The solo part is extremely virtuosic in nature, providing the violinist with many opportunities to display his or her capabilities. Mr. Preucil certainly had the music in his fingers, even though he had the music in front of him. One delicious scene was during the cadenza, when he very nonchalantly stepped forward and calmly turned the page—in the middle of the cadenza! He was so natural while doing this, as though the move had been written in. Beautiful harmonics in the horns and deep brass and the basses were a highlight of the middle slow movement.
During the pre-concert interview, Mr. Paulus said that he followed concerto form here: fast, slow and faster. He certainly did! This rendition gave a new meaning to the word presto. At the conclusion of this first performance in Cleveland, the composer joined soloist and conductor on stage for a bow and a hug.
Sir Edward Elgar wrote wonderful music that has been soundly criticized for being too English or too old-fashioned. No way. It is majestic and visually evocative, especially in the so-called Enigma Variations, Opus 36—his greatest hit. It was almost a joke on the part of the composer, as he described his friends in musical terms, some of whom are still not identified. No matter, one can still revel in the glorious sounds. The variations range from slightly disjointed to boisterous to lush to wispy and ephemeral to the well known Nimrod (number 12) with the lovely cello solo. The final one features the organ—briefly—in a joyous and bright, and majestic conclusion. Mr. Runnicles found the very heart and soul of this music, and brought it all to magnificent life.
This week, the orchestra presents educational concerts during the week, and family concerts on Saturday. Former music director Lorin Maazel returns the following week for a program of Wagner. 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:)