Rachmaninov, Gluck, Bach
The Frankfurt Radio Symphony Orchestra has moved into Salzburg’s Great Festival House for a three-day series of concerts. The first one was part of my Wednesday monthly subscription series, and I also opted for Friday in addition.
The orchestra seems to have become a bit artsy since I last heard it live, now styling itself as the hr Symphony Orchestra (with a lower case hr, short for Hessian Radio – of course Frankfurt is in the German state of Hesse and the state radio is the Hessian Radio, so this name happens to be accurate but peculiar, especially with the lowercase hr). It has a respectable history as the Frankfurt Radio Symphony Orchestra, so this must be some zany German concept of rebranding a product that does not require a rebranding. One would prefer this orchestra to focus on maintaining its quality rather than coming up with strange marketing gimmicks.
So as for quality: if I did not know the acoustics in Salzburg’s Great Festival House, and/or I were not sitting in my usual seat, I would have assumed that something was wrong with the acoustics in this hall (however I do know the hall and was sitting in my usual spot). The orchestra has acquired a distinctly muddy tone, a bit of a blur as though it were performing in the background of a movie score. As the brass performed forte, there was a distinct vibration, like the sort of feedback that emerges from an old radio speaker when the volume is turned up too high. Of course there was no amplification: this vibration came naturally from the brass, which is just odd. Their Colombian conductor Andrés Orozco-Estrada underwhelmed (his previous orchestra, the Tonkünstler of Lower Austria, also saw its level drop noticeably during his tenure).
The young Russian Denis Kozhukhin joined the orchestra at the keyboard for Rachmaninov’s Third Piano Concerto, in what was not a thrilling reading. In fact, maybe the Orchestra was trying to match his style, which sounded like he employed too much pedal and let the notes run together (he hit them all, just not making much distinction). The style may have worked better for two solo encores, by Gluck (an arrangement from Orfeo ed Euridice) and Bach (a prelude), both mellow and requiring less passion than Rachmaninov.
I snuck out at intermission, only because my late-scheduled extra surgery in Vienna first thing in the morning means I needed to make the last train home, and staying to the end of the concert would have cut it too close. I suspect this orchestra’s rendition of Brahms’ Fourth Symphony after the intermission may have lulled me to sleep, too. I will however return to hear more Rachmaninov plus Dvořák on Friday.