Shannon Wood at a preview concert Photo: Maureen Byrne, St. Louis Sympony |
[Note: This article was originally published at Classical Voice North America.]
For the penultimate concerts of the current season, on April 30 and May 1, David Robertson and the St. Louis Symphony Orchestra chose a striking contrast of music old and new, pairing Schubert’s monumental Symphony No. 9 (“The Great”) with William Kraft’s Timpani Concerto No. 2 (“The Grand Encounter”). The Schubert was completed just before the composer’s death in 1828, while Kraft’s concerto was first performed in 2005 and then, in a substantially revised version, in 2007. Even so, they both present significant challenges to performers and audiences alike.
SLSO principal timpani Shannon Wood, the soloist in Kraft’s concerto, has an impressive resume as both performer and composer, and he delivered a bravura performance of this demanding work.
Special mallets used in the performance Photo: Maureen Byrne, St. Louis Sympony |
Kraft’s concerto, to quote Wood, “stretches the limits of the performer. It’s very athletic, and the range of motion is vast. The work also demands the player to stand while pedaling, which is challenging.” In fact, watching Wood perform, I was struck by how much the work called for the precision and grace of a dancer as well as musical skill. Attired in slacks, shirt, and sneakers, Wood didn’t just play his drums; he virtually danced around that drum cage.
Challenging as the concerto is for the soloist, it can also be a tough nut for the audience to crack. In avoiding the clichés of what, in a 2007 interview, Kraft called the “rat-a-tat, boom-boom music” written for solo percussion since the mid-20th century, the composer has gone to the other extreme and produced a work that, for much of its length, lacks a strong rhythmic pulse and sense of momentum. There are compelling moments, as when the soloist is “trading licks,” jazz-style, with the substantial battery of instruments played by his fellow percussionists. There are even some remarkable solo passages for other instruments, including a virtuoso flutter-tongued flute cadenza leading up to the intense concluding Epilogue. But overall, this work felt episodic and more appealing to the head than the heart.
David Robertson Photo: Dan Dreyfus, St. Louis Symphony |
An obviously leaner orchestra took the stage for the Schubert Ninth, a work that, in its day, was also seen as quite a challenge. Usually referred to as “The Great” to distinguish it from the earlier and less expansive Sixth Symphony, also cast in C major like the Ninth, the last of Schubert’s symphonies was never performed in public during the composer’s lifetime. The premiere didn’t take place until 1839 – 11 years after Schubert’s death – under the baton of Felix Mendelssohn, and even then musicians viewed it as too long and too difficult to play.
They had a point about the length. Clocking in at around 50 minutes, the Ninth would have seemed gargantuan at the time, dwarfed only by Beethoven’s Ninth from four years earlier (1824). Still, it’s hard to hear the Schubert Ninth now and not be completely captivated by the endless flow of irresistible melodies and the rhythmic drive that runs throughout.
Robertson’s tempo choices, while a bit on the stately side at times, nevertheless contributed to a performance that was beautifully proportioned and served to clarify Schubert’s ambitious musical architecture. The solid orchestral playing was highlighted by some especially fine work from the horns, led by principal Roger Kaza. I’m still partial to the “original instrument” approach to music of this period, exemplified by conductors like Sir Roger Norrington and Sir John Eliot Gardiner, but this performance reminded me of the virtues of the “big band” version.
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