Cleveland Orchestra @ Severance Hall 1/22 Leif Ove Andsnes is a Norwegian pianist we Clevelanders can claim as well as any other part of the world. After all, it was here in 1990 (at Blossom, actually) that he made his US debut with our orchestra. He is a tall, lean and elegantly muscular gentleman who commands the piano to do as he wishes, without extraneous body English or other outward displays of emotion. His playing is anything but cold, however. Every note is carefully wrought and perfectly attuned to its mates and accorded the proper dynamic, rhythm and any other quality necessary. The result is nothing short of astonishing.

This concerto especially—Concerto No. 3 in D minor, Op. 30 by the Russian virtuoso Sergei Rachmaninoff—demands the pianist’s attention and concentration like no other in the repertoire. Mr. Andsnes was totally in tune with Franz Welser-Möst and the orchestra in a rousing performance that had the audience on its feet before the notes had completely faded into the atmosphere. My hands and arms were tired just from clapping for him; he had the strength and will to return to the stage for four bows. This after a HUGE 45 minute concerto in which he played almost continually.

Mr. Welser-Möst was super attentive to the soloist’s every whim, even turning around on occasion to match the accompaniment exactly to the ritards or accelerandos as employed by Mr. Andsnes. Of course, gorgeous wind solos were heard throughout, mostly by the associate principals. The opening of the second movement was beautifully elegaic in nature, providing a brief respite from the octaves and large chords that demand the attention of both performer and listener.

Opening the concert was a short (10 minutes) piece by the French composer, Claude Debussy. Sirènes, as in 'siren' as applied to a dangerous female type of person, or sea nymph—Lorelei comes to mind most immediately—consequently uses female voices throughout, singing wordlessly. Women of the Cleveland Orchestra Chorus were thus aligned in two separate clusters at either side of the orchestra, flanking the percussion instruments, which were not used for this particular selection. Their voices floated ethereally over the orchestral sounds, in particular the English horn and trumpet. At times, there was actually a beguiling dialogue between singers and instruments. No wonder those ancient sailors jumped ship!

The Glagolitic Mass by Leos Janácek is an incredible work, exhibiting nothing of an autumnal nature in the 72-year-old composer. In fact, the gentleman was madly and passionately in love with a much younger woman who nonetheless inspired him to previously unknown heights of creativity. He lived for two more years after completing this unusual and very demanding work.

He utilized an archaic language for the chorus and soloists, while yet remaining somewhat faithful to the traditional Roman Catholic Latin Mass. Even non-believers can enjoy and appreciate this work for what it is—totally unlike any other work in the repertoire in spite of some basic similarities. Measha Brueggergosman, soprano; Nancy Maultsby, mezzo-soprano; Stuart Skelton, tenor; and Raymond Aceto, bass, were joined by the full Cleveland Orchestra Chorus, prepared by Director of Choruses Robert Porco.

The words were in Old Church Slavic, rather than Latin, which is enough to challenge anyone. Of course, 99 ^44/100% of the listeners wouldn’t be likely to know the difference, but they sounded terrific, anyway! Ms. Brueggergosman had more to do than any of the other participants, excepting principal keyboardist Joella Jones who was kept incredibly busy at the Norton Memorial Organ. Hands and feet together and separately were literally a blur at times, as she executed the fiendishly difficult Organ Solo.

Mr. Skeleton’s tenor was indeed heroic, as it seemed most of his solos were set against the entire orchestra, over which he still managed to be heard. Ms. Maultsby and Mr. Aceto performed their solos admirably, and the quartet sounded wonderful when singing all together.

This was another in a string of fascinating and fabulous concerts which we’ll have to store in memory for a few weeks, until the orchestra returns from its sojurn in Florida and New York. They’ll be back at Severance Hall on February 12. For tickets or additional information, visit the website '''http://www.clevelandorchestra.com or call 231-1111.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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