Symphony Review: Mostly Mozart fortnight finishes on a high note

Last Friday and Saturday (November 15^th and 16^th) it was all Mozart (almost) all the time, as Music Director Stéphane Denève led the St. Louis Symphony Orchestra in two symphonies, an opera overture, and a piano concerto by Mozart, along with contemporary composer Anna Clyne’s “Within Her Arms” from 2008. I attended the Friday night concert and loved every minute.

It all began with Mozart’s Symphony No. 1 in E-flat major, K. 16, penned when Mozart was eight years old and known primarily as a piano prodigy. It’s a modest little bagatelle with a strangely mysterious second movement. The six-measure phrase in the bass line suggests someone cautiously tiptoeing in the shadows and wouldn’t leave my mind for days afterward.

Stéphane Denève
Photo: Dilip Vishwanat, courtesy of the SLSO

It's trivial stuff, but it was played with the same loving attention that Denève and company gave the weightier pieces on the program. And it is, after all, pretty impressive even for a prodigy and even if he did (probably) have some help from his dad.

Next Behzod Abduraimov joined the band for the Piano Concerto No. 20 in D minor, K. 466. It’s full of drama for two movements and then bursts into a cheerfully vigorous finale. Friday night Abduraimov delivered the same combination of technical assurance and wide emotional range that so impressed me in his Grieg concerto back in 2018. He used the Beethoven cadenzas for the first and last movements (Beethoven loved the concerto and played it often) and played them with authority.

Denève was so completely in synch with Abduraimov all the way that they might as well have been two minds with a single thought—or at least with a unified vision of the music. Denève was especially attentive to Mozart’s drama; the abrupt change from piano (p) to forte (f) at measure 15 of the first movement struck like a thunderbolt. It was quite a remarkable performance all the way around, with a wider emotional compass than I have heard in some recordings.

Abduraimov got the expected standing ovation. What was less expected was his encore choice: the third of Liszt’s six Paganini Etudes, S. 141, nicknamed “La Campanella” (“The Handbell”) because of the way the demanding right-hand part imitates the sound of a small bell. The selection of such a challenging piece was gutsy after a work as demanding as the Mozart concerto, but the glittering quality of the performance left no doubt about the wisdom of that decision.

After intermission it was back to Mozart’s youth with the overture to his  opera seria “Mitridate, re di Ponto” (“Mithridates, King of Pontus”), which he composed at the ripe old age of 14. It’s essentially a short suite of three tunes from the opera, the second of which had some notable playing by flautists Hannah Hammel and Associate Principal Jennifer Nitchman. It’s lightweight stuff that contrasted strongly with the more emotionally intense “Within Her Arms.”

In pre-concert remarks, Denève explained his choice of the Clyne work by noting that while Mozart was in Paris writing the final piece on the program— the Symphony No. 31 in D Major, K.297 (“Paris”)—his mother was dying. The symphony was premiered on June 18^th, 1778, and on July 3^rd Anna Maria Mozart breathed her last. You don’t hear any of Mozart’s grief in the symphony, so Denève chose to acknowledge that absence with Clyne’s work, written as an elegy for the death of her mother in 2008.

Scored for fifteen strings (six violins and three each of violas, cellos, and basses) “Within Her Arms” is somewhat mysterious music. The main theme has the feel of a British folk tune, but the body of the work summons up a haunting sense of aural space that reminded me of Vaughn Williams’s “Fantasia on a Theme of Thomas Tallis.” It rises from a whisper to a roar before finally fading away, slowly, into nothingness.

For this performance, Denève had the musicians gathered into a semicircle with the violins and violas in front, standing. That made it easier to hear the way in which Clyne plays with the physical space on the stage, bouncing fragments of the melody among the players to create that sense of a kind of sonic cathedral. It’s a complex, layered work that demands (and got) superb playing by an ensemble of (mostly) principal and associate principal members of the SLSO strings.

The “Paris” symphony brought the evening to a happy conclusion. Mozart knew that Parisian audiences liked big, noisy works with (in the words of George M. Cohan) “plenty of biff and bang” and, since he was hoping for steady work in the City of Light, he happily gave it to them. Written for the largest orchestra he had ever used (including, for the first time, clarinets) and with liberal use of devices like the coup d’archet (unison string playing) beloved of the French, K. 297 aimed to please. And it did.

This is music of dignity, grace, and spirit. It got a crackling, energetic reading from Denève and the orchestra. The Allegro assai first movement was appropriately noble. The Andante second movement was elegant and even a bit cheeky at times (the little grace notes in the violins felt like the musical equivalent of a wink). And the Allegro finale, with its scurrying eighth notes in the second violins, dashed along at a brisk and bracing pace.

This pair of concerts were Maestro Denève’s last appearances this year with the orchestra, but if you missed them take heart: through December 17^th you can listen to a live recording of the Saturday night performance at the SLSO website. Even if you managed to catch this one live, it is worth listening to again. Abduraimov played a different encore on Saturday (Rachmaninoff’s Prelude No. 5 in G major), but otherwise the program is the same.

Regular season concerts continue this weekend (November 22 and 24) at the Touhill as Jonathan Heyward conducts the SLSO and piano soloist Yeol Eum Son in William Grant Still’s “Threnody: In Memory of Jean Sibelius,” Prokofiev’s Piano Concerto No. 2, and Sibelius’s Symphony No. 5. A recording of the Friday morning concert will air on Saturday, November 23, at 7:30 pm on St. Louis Public Radio and Classic 107.3.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Review: Ringing in the New

Pianist Behzod Abduraimov
Photo by Nissor Abdourazakov

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A gratifyingly large crowd turned out for an equally gratifying opening night of the 2018/2019 St. Louis Symphony Orchestra season (Saturday, September 22), as Resident Conductor Gemma New led the orchestra in a concert of favorites by Elgar, Grieg, and Sibelius, along with the local premiere of Aaron Jay Kernis's glorious "Musica celestis" for string orchestra (which the composer was here to witness; he got a nice curtain call afterwards).

The concert opened with a patriotic punch: an arrangement of "The Star-Spangled Banner" by John Philip Sousa and Walter Damrosch (long-time conductor of the New York City Symphony Orchestra), during which many of us sang along, and a powerful performance of Sibelius's "Finlandia." Indeed, the nuance and variety of Ms. New's approach to the latter, a work which could have been simply dashed off with what George M. Cohan called "plenty of biff and bang," set the tone for the entire evening. Both the Grieg Piano Concerto and the Elgar "Enigma Variations" that followed benefited from an approach that found a wide range of colors and emotions in these concert standards.

The talented young (born in 1990) pianist Behzod Abduraimov was the soloist for the Grieg Concerto. He delivered a striking and personal performance with an ideal mix of technical flash and sensitivity. His take on the famous first movement cadenza was especially gripping, perfectly mixing passion and poetry. On the podium, Ms. New made it possible to hear this chestnut with fresh ears, with a brisk and authoritative treatment of the famous opening theme that contrasted sharply with a luxuriant and lyrical second theme.

Gemma New

There was a romantic richness to the Adagio second movement, as well, with a robust string sound and excellent work by Thomas Jöstlein's horn section. The energetic outer sections of the finale stood in pleasing contrast to the lyrical central section, with expressive playing from flautists Mark Sparks and Ann Choomack.

The thunderous applause didn't let up until Mr. Abduraimov gave us an encore, and an impressive one it was: the third of Franz Liszt's six "Grandes études de Paganini" nicknamed "La Campanella" for the rapid bell-like figure that runs through it. It's fiercely difficult, with wide leaps for the right hand (sometimes over two octaves), but Mr. Abduraimov not only negotiated it with ease but performed the piece with feeling as well.

The second half of the concert opened with Mr. Kernis's "Musica celestis," a work of transcendent beauty. Originally the slow movement of the composer's 1990 String Quartet No. 1, the movement soon gained an independent life of its own. The title translates as "heavenly music" and to my ears it fully lives up to that title, building from a quiet opening to an ecstatic peak before fading out in the highest reaches of the strings, as though ascending to heaven.

Aaron Jay Kernis

Mr. Kernis achieves this with a striking economy of means. The work is, as the composer himself has noted, essentially a passacaglia, in which a simple descending figure first heard in the opening bars becomes the basis for a series of variations, finally leading to the ethereal coda. Mr. Kernis acknowledges the work of 12th century composer, author and mystic Hildegard von Bingen as an influence here, and I have to agree that it did put me in mind both of her vocal music and also of another more recent adaptation of it, Christopher Theofanidis's "Rainbow Body," which was performed by the SLSO to great effect a decade ago. And that, as they say, is a good thing.

"Musica celestis," as befits its origins, is scored for string orchestra, and the SLSO strings acquitted themselves brilliantly here. The quiet final moments for the work were especially powerful and the overall sound of the section was full-bodied and rich. You could also hear the string quartet origins in the solo passages played so beautifully by Concertmaster David Halen, Associate Concertmaster Heidi Harris, Principal Viola Beth Guterman Chu, and Principal Cello Daniel Lee.

The concert concluded with Elgar's musical family album, the "Enigma Variations." It's a series of fourteen variations on the "enigma" theme first stated at the very beginning. The composer said it was an "enigma" because it actually refers to "another and larger theme" which is "not played." Elgar never revealed what that theme might be and speculation has been lively but I'm inclined to go along with the school of thought that the "theme" wasn't musical at all but rather the common thread of friendship and good humor that pervades the music.

Certainly Ms. New's interpretation was brimming with warmth and, when appropriate, good humor, as well as passion and sensitivity. The opening "enigma" theme was unusually lush, the "Dorabella" variation (number 10) was the epitome of grace, and the comic eleventh variation, which depicts a bulldog tumbling into the river Wye, paddling upstream, and then emerging with a triumphant bark, was just as much fun as it should have been. The contemplative and lyrical "Nimrod" variation (number 9), which is often heard alone, had a great, reverential sweep and the finale--the composer's self-portrait--bristled with the confidence that one hears so clearly in Elgar's more popular works. It was a well balanced and sometimes surprising performance that brought the evening to a most satisfying close.

Next at Powell Hall: Hannu Lintu conducts The St. Louis Symphony Orchestra and violinist Leila Josefowicz Friday and Saturday at 8 pm, September 28 and 29. The program consists of "Flounce" by contemporary Finnish composer Lotta Wennäkoski, the Violin Concerto by composer/conductor Esa-Pekka Salonen, and Shostakovich's Symphony No. 11. The concerts take place at Powell Hall in Grand Center.

Symphony Preview: What's New?

Gemma New

The St. Louis Symphony Orchestra's 18/19 season opens this weekend (Saturday and Sunday, September 22 and 23) with a mix of the old and the new--in more ways than one.

There's the music, to begin with. The major works on the program are old favorites: the stirring tone poem "Finlandia" by Sibelius, Grieg's tuneful Piano Concerto, and Edward Elgar's "Enigma Variations." But there's also a relatively new piece: "Musica celestis" by the prolific American composer Aaron Jay Kernis, whose credits range from the New York Philharmonic to the Walt Disney Company. It was first performed by the San Francisco Symphony in 1992 and is getting its St. Louis premiere this weekend.

And then there are the performers. The SLSO certainly counts as old, having been founded in 1880, but this weekend's piano soloist is Behzod Abduraimov, who is around the same age as Mr. Kernis' piece (Mr. Abduraimov was born in 1990). And the conductor is, to paraphrase James Bond, "New. Gemma New."

Sorry about that.

Behzod Adburaimov

Ms. New, as you probably know, was appointed Resident Conductor of the SLSO back in 2016. That means she's the Music Director of the SLSO Youth Orchestra and also works on the orchestra's various educations and community outreach concerts. Her appearance conducting a regular season concert last spring drew rave reviews--my KDHX colleague, Gary Scott, wrote that she "directed brilliantly, exhibiting poise and control"--so it will be interesting to see how she does this weekend.

I'm also looking forward to the local debut of Mr. Abduraimov. Described as "a new superstar pianist" in a 2012 NPR profile, he has had praise heaped upon him for his work in the Russian repertoire, notably Rachmaninoff and Tchaikovsky. I couldn't find any reviews online pairing him with the Grieg concerto, although his performance this May of the piano part in Grieg's Cello Sonata in A minor was described as "understated but devastating" by the Washington Classical Review, which bodes well.

Aaron Jay Kernis

I probably can't tell you much about the two "greatest hits" on this weekend's program that you don't already know. The patriotic fervor that moved Sibelius to write "Finlandia" is well known, as is the importance of Norwegian folk influences in the Grieg concerto. Less well known is the fact that Grieg was unable to attend the premiere of the work--one of seven "interesting facts" provided by Shari Mathias in program notes for the Parker (Colorado) Symphony Orchestra earlier this year.

As for new work on the program, "Musica celestis," it started out as the slow movement of the composer's String Quartet No. 1 (also titled "Musica celestis") but soon gained an independent life of its own. The title translates as "heavenly music", as the composer observes in notes on the string quartet original:

The second movement musica celestis, is inspired by the medieval conception of that phrase which refers to the singing of the angels in heaven in praise of God without end. "The office of singing pleases God if it is performed with an attentive mind, when in this way we imitate the choirs of angels who are said to sing the Lord's praises without ceasing." (Aurelian of Réöme, translated by Barbara Newman) I don't particularly believe in angels, but found this to be a potent image that has been reinforced by listening to a good deal of medieval music, especially the soaring work of Hildegard of Bingen (1098-1179). This movement follows a simple, spacious melody and harmonic pattern through a number of variations (like a passacaglia) and modulations, and is framed by an introduction and codas.

Edward Elgar, circa 1900
en.wikipedia.org

The theme of the new SLSO season is "From Our Family to Yours," which makes the concluding work on the program, Elgar's "Enigma Variations," an ideal fit. Effectively a musical family album, the fourteen variations are vivid little sound portraits of Elgar, his wife, and his friends. Even a pet bulldog puts in an appearance in a comical variation (number 11) that portrays the dog tumbling down a grassy bank into the river Wye and then, according to the composer, "paddling up stream to find a landing place (bars 2 and 3) and his rejoicing bark on landing (second half of bar 5)."

The "Enigma" of the title, according to Elgar, refers to "another and larger theme" which is "not played". The composer never revealed what that theme might be and speculation has been lively ("most convincingly Auld Lang Syne," according to the late British musicologist Robin Golding in liner notes for the Sir Adrian Boult recording) but I'm inclined to go along with the school of thought that the "theme" to which Elgar referred wasn't musical at all but rather the common thread of friendship and good humor that pervades the music.

P.S.: the first concert of the season always has a celebratory air, and this time it will be accompanied by a champagne toast in the Wightman Grand Foyer at intermission.

The essentials: Gemma New conducts The St. Louis Symphony Orchestra and pianist Behzod Abduraimov Saturday at 8 pm and Sunday at 2 pm, September 22 and 23 (2018). The program consists of Elgar's "Enigma Variations", Grieg's Piano Concerto, Sibelius' "Finlandia," Alan Jay Kernis' "Musica celestis," and an arrangement of "The Star Spangled Banner" by Walter Damrosch and John Phillip Sousa. The concerts take place at Powell Hall in Grand Center.