Review: Get your war on

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

Cristian Macelaru

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War may be, as the classic songs says, good for absolutely nothing, but opposition to it has certainly inspired some great music, as the St. Louis Symphony Orchestra program this past weekend (March 10 and 11, 2018) demonstrated.

[Find out more about the music with my symphony preview.]

Guest conductor Cristian Macelaru led the SLSO in two works inspired by the horrors of World War I--Benjamin Benjamin Britten's 1940 "Sinfonia da Requiem" and Ralph Vaughan Williams's "Symphony No. 4" from 1931. Also on the program was the "Violin Concerto No. 3," one of several works Camille Saint Saëns wrote as part of a nationalist response to France's defeat in the Franco-Prussian War of 1870-71.

The Britten work opened Saturday night's concert with, literally, a bang on the tympani and bass drum. It's the beginning of the ominous tread of the death march that makes up the first movement (titled "Lacrymosa") of the "Sinfonia." Mr. Macelaru placed the percussion section on a platform at the back of the orchestra, which gave added power to their sound. He took that movement a bit on the slow side, which made the contrast with the skittering "Dies Irae" that followed that much more stark. The brass attacks were impressively crisp in the second movement and the concluding "Requiem aeternam," with its majestic plea for peace in the form of a noble and tranquil melody in the strings, had great power. It was, in short, a moving performance of a work that Britten (quoted in an April 27, 1940, piece in the New York Sun) said was intended to be "just as anti-war as possible."

The Vaughan Williams symphony that closed the concert is also fiercely anti-war, but whereas Britten's "Sinfonia" ends with peace, the Vaughan Williams is angry to the very end, expressing the composer's disgust with a world that had not only failed to learn the lessons of the First World War, but was determined to repeat the process.

From the harsh, dissonant opening--cribbed, as the composer would later admit, from the opening of the final movement of Beethoven's "Symphony No. 9"--to the complex fugal march of the finale, this is angry and ultimately nihilistic music. There's a kind of majestic horror to the piece, rather like a Shakespearean tragedy boiled down to its essence, and Mr. Macelaru's intensely committed performance brought out every bit of its drama.

The electrifying first movement had a compelling and savage intensity, with powerful playing by the strings and brasses. The despairing second movement was capped by a pristine performance of the sad flute solo by Mark Sparks, which contrasted strongly with the breakneck pace of the third, played with appropriately violent precision. The ominous transition to the deranged march of the fourth movement was perfectly paced and played with ferocious perfection.

James Ehnes
Photo by Ben Ealovega

I've always liked the Vaughan Williams Fourth, but I'd be less than honest if I didn't admit that listening to it can be emotionally exhausting, at least when it's done this well. It looked like it could be pretty physically taxing for the orchestra as well, but they all played beautifully.

The Saint Saëns concerto closed out the first half of the concert and while it, too, is a dramatic work, it's also elegant and charming. There's plenty of flash in the solo violin part, especially in the Spanish flair of the final movement (a reminder that the concerto was written with Pablo de Sarasate in mind), but there's also lyrical beauty in this music. That's most apparent in the second movement, a gently rocking barcarolle that concludes with a delicate duet for clarinet and violin harmonics.

Soloist James Ehnes is not, as I noted the last time he appeared here, a showy artist. Tall and imposing in white tie and tails, he cut a magisterial figure on stage Saturday night.

He approached the first movement with authority and restraint, but had no hesitation about throwing his whole body into its dramatic final pages. He and Mr. Macelaru gave the second movement a feathery delicacy, especially in the final duet with the clarinet, and they tore into the finale with impressive passion.

The standing ovation that followed was no surprise, but the encore was: Sibelius's "Humoresque No. 3 in G minor" for Violin and Orchestra, op. 89, no. 1. It's unusual to get an encore with orchestral accompaniment, but as Mr. Ehnes pointed out in his tongue-in-cheek introduction, "the maestro didn't think I had enough to do in that last piece." It was a completely charming miniature, conjuring up images of Finnish folk fiddling, and a great way to send us off to the intermission.

Next at Powell Hall: Bernard Labadie conducts the St. Louis Symphony Orchestra and soprano soloist Lydia Teuscher Friday and Saturday at 8 pm, March 16 and 17. The program consists of Haydn's "Symphony No. 99," the "Symphony in C minor" by Henri-Joseph Rigel, and opera and concert arias by Mozart. Resident Conductor Gemma New leads the orchestra in "Pinocchio's Adventures in Funland," a Family Concert on Sunday, March 18, at 3 pm. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center.

Concert Review: Tchaikovsky's big bang gets a nuanced performance by Cristian Macelaru and the St. Louis Symphony

Cristian Macelaru

Who: The St. Louis Symphony Orchestra with soloists Joo Kim and James Czyzewski, conducted by Cristian Macelaru
What: All-Tchaikovsky program
When: Friday through Sunday, October 10-12, 2014
Where: Powell Symphony Hall

Parking for Friday morning's all-Tchaikovsky concert by the St. Louis Symphony was an adventure, and not just because of the rain. An unusually large crowd jammed parking lots and the Powell Hall lobby. Blame the late Russian composer; his music never fails to draw a crowd.

There are good reasons for that. His ability to spin a memorable melody is matched by an approach to musical structure which, while sometimes clunky or repetitive, nevertheless produces compositions that are clear and easy to follow. At his best, he's irresistible. At his worst—well—he's still Tchaikovsky and still worth a listen.

Tchaikovsky in 1906

I don't know that anything on this weekend's program counts as Tchaikovsky's best (although the "Romeo and Juliet—Fantasy Overture" comes close) but none of it could be called his worst. And the performances by the orchestra under guest conductor Cristian Macelaru are pretty much beyond reproach.

The former Resident Conductor at the Shepherd School of Music at my alma mater, Rice University, Mr. Macelaru is making his SLSO debut with these concerts, and an auspicious one it is. He makes the most of Tchaikovsky's heart-on-sleeve romanticism as well as his high drama, and does it with impressive precision. He's not afraid to use a bit of rubato for the flutes-and-horns theme in the trio section of the "Eugene Onegin" polonaise, for example, or to linger a bit with the "love theme" in "Romeo and Juliet." Which makes the wonderful clarity of the "battle" sequences in that piece all the more impressive. For me, in fact, his "Romeo and Juliet" was the high point of the program—dramatic, compelling, and emotionally potent.

The high quality of the orchestral playing has a lot to do with that, of course. I've always thought that playing these morning concerts must be a bit of a trial, especially for the brass and percussion players (for whom Tchaikovsky provides quite a workout), but the musicians were clearly up to the challenge.

Joo Kim

Sandwiched between the "Eugene Onegin" polonaise and "Romeo and Juliet" are two lovely little pieces for soloist and orchestra.

The "Sérénade mélancolique," op. 26, for violin and orchestra opens and closes on (as you might guess from the title) a wistfully sad note, but there's something rather like joy in the more dramatic middle section, so the soloist gets to display a nice emotional range. Joo Kim, from the SLSO's First Violin section, gave a warm and agile performance, doing full justice to the piece's varying moods.

The "Pezzo capriccioso," op. 62 for cello and orchestra is probably the least familiar work on the program. Dating from 1887, it is (the title not withstanding) a mostly rather dramatic piece, although the lively and virtuosic middle section (a quick restatement of which makes up the work's coda) certainly has its "capricious" elements. Soloist James Czyzewski (who has been with the SLSO for a decade now) was equally persuasive in the dramatic and "capricious" sections. From our seats in the dress circle boxes he was sometimes overwhelmed by the orchestra, but that is something of a recurring problem with Powell's acoustics, in my experience.

James Czyzewski

The second half of the program this weekend consists of Tchaikovsky's Greatest Hit, "The Year 1812, festival overture," preceded by his rarely heard (the last SLSO performance was 25 years ago) "The Tempest, Symphonic Fantasy After Shakespeare." Regarding the former, I'm reminded of Garrison Keillor's observation that best pumpkin pie you've ever eaten isn't that much different from the worst pumpkin pie you've ever eaten. I think something similar applies to the "1812" in that it doesn't demand a lot of artistry; fast and loud will usually do it. Nevertheless, artistry is what it got from Mr. Macelaru and the orchestra, and if the lack of an extra brass band made the finale slightly less impressive than it might have been, the use of the 8-foot-tall "Mahler box" (constructed to provide the "axe blow" effect in Mahler's 6th) for the cannon shots more than made up for it. Percussionist Henry Claude was wielding the mallet.

"The Tempest" poses more of a challenge. It's filled with intensely cinematic music, including an appropriately rapturous love theme for Ferdinand and Miranda along with vivid depictions of the sea and the titular storm, but it's also highly episodic. Making sure it never comes to a complete standstill while honoring the composer's many moods strikes me as difficult, but once again Mr. Macelaru proved fully up to the task. It was a real joy to finally hear a coherent, well-thought-out live performance of a piece that I had only heard on recordings before.

The orchestral playing was excellent as well. There are, for example, some dangerously exposed horn lines in the evocative "sea" music of the opening, but after one unfortunate opening note the symphony horns completely nailed them.

The concert repeats on Saturday at 8 p.m. and Sunday at 3 p.m., October 11 and 12, at Powell Symphony Hall, 718 North Grand. Saturday's concert will also be broadcast live on St. Louis Public Radio, 90.7 FM, HD 1, and via web streaming.

Next at Powell Hall: Leonard Slatkin returns for the Berlioz "Symphonie Fantastique," Cindy McTee's "Einstein's Dream," and the Bruch "Violin Concerto No. 1" with SLSO Concertmaster David Halen. Performances are Friday at 8 p.m. and Sunday at 3 p.m., October 17 and 19. David Robertson conducts the orchestra and soloists Lang Lang, piano, and Mark Sparks, flute, in Bach's "Orchestra Suite No. 2" and Tchaikovsky's "Piano Concerto No. 1" Saturday, October 19, at 8:30 p.m.  The concert is part of the annual Red Velvet Ball formal fundraising event.  For more information, visit the SLSO web site..

Symphony Preview: Tchaikovsky's big bang theory at Powell Hall, October 10-12

The "1812 Overture" in Melbourne in 2005
en.wikipedia.org

"The overture will be very loud and noisy, but I wrote it with no warm feeling of love, and so it will have no artistic merits at all." That was Tchaikovsky complaining to his patron Nadezhda von Meck about the piece that closes St. Louis Symphony's all-Tchaikovsky concerts this weekend, "The Year 1812, festival overture in E-flat major," Op. 49.

Many critics have agreed about the lack of artistic merit, but audiences continue to love it. Composed on commission for a concert commemorating completion of the Cathedral of Christ the Savior, it's one of Tchaikovsky's most popular works—especially in outdoor "pops" concerts where the large orchestra can be supplemented with the brass band, bells, and cannons called for in the score. There won't be any artillery inside Powell Hall this weekend, but the orchestra has the next best thing: the "Mahler box," a massive (around 8' tall) unfinished wooden box struck with an equally massive wooden hammer.

It's called the "Mahler box" because it was constructed to deliver the "hammer blows" called for in the finale of Mahler's "Symphony No. 6." Mahler said the sound should be "brief and mighty, but dull in resonance and with a non-metallic character (like the fall of an axe)." Having heard the box in action when Semyon Bychkov conducted the Mahler 6th back in January of 2011, I can attest to the visceral impact of the sound. When the percussionist whacks that box with the hammer, you feel it right through your chest.

The rest of the program is a mix of the composer's "greatest hits" and some of his rarer gems. In the former category is the "Romeo and Juliet Fantasy-Overture," first performed in 1870 and then revised in 1877 and 1880. It manages the neat trick of compressing the essential emotional themes of Shakespeare's five-act tragedy into around 20 minutes of music. The "love theme" is, as Daniel Durchholz writes in his program notes "one of Tchaikovsky's best and most memorable melodies." With lyrics by Buddy Bernier and Bob Emmerich, it even became a hit song: "Our Love," recorded by the Larry Clinton band in 1939.

Tchaikovsky in 1906
en.wikipedia.org

Almost as popular is the opening piece this weekend, the "Polonaise" from the 1877 opera "Eugene Onegin." In the opera, the music accompanies a lavish ballroom sequence in Act 3 in which Onegin, seeing the woman he rejected some years earlier, suddenly realizes he has been a chump and resolves to win her, even though she has married another (yes, it's another opera about Men Behaving Badly). Listening to it as an orchestral excerpt, though, you can forget the melodramatic plot and simply enjoy the lively and engaging melodies.

The other big work on the program—one of those "rarer gems" referred to above—is another of Tchaikovsky's Shakespeare-inspired tone poems: "The Tempest, Symphonic Fantasia After Shakespeare," Op. 18. The critic Vladimir Stasov, to whom the Tchaikovsky dedicated the work, suggested the idea to the composer in 1873. Stasov also provided the following brief summary of the story line, which was printed in the score:

The Sea. Ariel, spirit of the air, obedient to the will of the magician Prospero, evokes a tempest. Wreck of the ship which carries Ferdinand. The Enchanted Isle. First timid stirring of love between Miranda and Ferdinand. Ariel. Caliban. The love-lorn couple abandon themselves to the triumphant sway of passion. Prospero lays aside his magical power and quits the isle. The Sea.

That's a lot to cram into 18 minutes of music, which may explain why (as Mr. Durchholz observes) the work "is not so tightly focused dramatically" as the later "Romeo and Juliet." Still, it's attractive stuff, especially the sea music, which (as composer and music writer Phillip Ramey observes in his notes for the 1985 Chicago Symphony recording) is "so vivid as to be nearly cinematic, depicting both a calm and stormy ocean."

Sandwiched between the "Eugene Onegin" polonaise and "Romeo and Juliet" are two lovely little pieces for soloist and orchestra.

The "Sérénade mélancolique," op. 26, for violin and orchestra opens and closes on (as you might guess from the title) a wistfully sad note, but there's something rather like joy in the more dramatic middle section, so the soloist gets to display a nice emotional range. Joo Kim, from the SLSO's First Violin section, will be in the spotlight for this.

The "Pezzo capriccioso," op. 62 for cello and orchestra is probably the least familiar work on the program. Dating from 1887, it is (the title not withstanding) a mostly rather dramatic piece, although the lively and virtuosic middle section certainly has its "capricious" elements. "I think the piece has turned out rather poorly," lamented the composer in a letter to cellist Anatoly Brandukov (who gave the work its first public performance in 1889). I beg to differ, and suggest that it will offer a fine opportunity for soloist James Czyzewski (who has been with the SLSO for a decade now) to show off.

The essentials: Cristian Macelaru conducts the St. Louis Symphony Orchestra and soloists Joo Kim, violin, and James Czyzewski, cello, in a program of the music of Tchaikovsky, featuring the "Romeo and Juliet—Fantasy Overture" and the "1812 Overture," Friday at 10:30 p.m. and 8 p.m., Saturday at 8 p.m., and Sunday at 3 p.m., October 10-12. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information, visit the symphony web site.