Beethoven, Schostakowitsch, Mussorgsky
With Mariss Jansons taking a doctor-advised period of rest, Yannick Nézet-Séguin sprung in to replace him on the podium in front of the Bavarian Radio Symphony Orchestra for two concerts at this Summer’s Festival. Nézet-Séguin retained the original programs with one change: substituting Schostakowitsch‘s 5th Symphony tonight for his 10th, paired with Beethoven‘s 2nd (Sunday morning’s concert will remain as programmed by Jansons).
Even if not originally scheduled, the new pairing made sense. Both symphonies represented, in their own ways, defiance in the face of personal tragedy. Beethoven wrote his Second Symphony at a time when he was borderline suicidal, coming to grips with the deafness he realized would consume him and the world he knew. Nézet-Séguin captured pure exuberance. Whatever Beethoven may have been feeling under the circumstances (and he wrote those morbid thoughts down in words), his music expressed the opposite, full of wit, humor, and life. Tonight’s performance came fully-charged.
After the intermission came a different take on the Schostakowitsch Fifth. The composer’s enemy in this case was not nature, but a man, Josef Stalin, the Soviet dictator who had criticized Schostakowitsch’s music and had purged his friends. Schostakowitch had to produce a symphony within bounds acceptable to the regime, but true to himself wrote something which nevertheless transcended the regime. Tonight’s interpretation took an unusual route: melancholy. Neither artificially upbeat nor dark and oppressive, this reading demonstrated an almost-hopeful subtext: things were bad, but the listener should cheer up; the human soul will survive. So while not up-beat, Nézet-Séguin also did not make this performance devastating: how might the original listeners in 1937 have heard this (not quite a capitulation to Stalin’s criticism of the composer, but rather a new addition to the approved canon).
Foot-stomping applause induced an encore: the prelude to Mussorgsky‘s opera Khovanshchina, which both relaxed the mood while also building on the hopeful feeling derived from the Schostakowitsch interpretation. Throughout all three works, this orchestra played as a fully-coherent unit: no standout individual instrumentalists, but all working together as an accomplished whole. However the woodwinds in particular took this concept to a higher level, with evocative wistful playing as a unit, perhaps responding even more than the other sections to the unfamiliar guest conductor’s lead.