Sibelius, Prokofiev, Strauss
More from Yannick Nézet-Séguin (again filling in for the ailing Mariss Jansons) and the Bavarian Radio Symphony Orchestra this morning, with Gil Shaham stepping in for the ill Lisa Batiashvili. If we are going to get substitutes, those are pretty good ones to have.
I am not quite sure the reasoning behind the collection of works Jansons assembled for this concert (the program remaining the same despite the substitutions), although Jansons has said before that sometimes there is no logic and he just programs pieces he likes. So we started with the Symphony #1 by Sibelius, then the Violin Concerto #2 by Prokofiev, and finally a suite from Der Rosenkavalier by Strauss.
The program notes made a point of stressing a supposed interest in Tschaikowsky during the time Sibelius wrote his first symphony, which seemed odd. The origins of the symphony date to his study in Vienna, and Schubert and Bruckner (his favorite living composer) would normally seem to be the most appropriate influences. I seriously doubt Nézet-Séguin made any decisions on interpretation based on reading the program, but from my side: having read the program, and listening to Nézet-Séguin’s reading, I did hear a few lines now and then (in the strings) or psychodramatic (in the winds) which could have invoked the lush melodic flow of Tschaikowsky. These either got interrupted, or had a different section perform a completely contrasting line simultaneously and counter to them. Sibelius was far more original, even early in his career, than Tschaikowsky later in his career, while remaining authentic to his Nordic homeland (where Tschaikowsky sounded less and less Russian later in his career). Although Nézet-Séguin did not draw out the soaring post-Brucknreian chorales, he did load this symphony up with contrasts and a throwback melancholy.
Prokofiev’s second violin concerto has several moods, based on Russian and Spanish folk music (his wife was Spanish, and this work had its premiere in Madrid). Shaham does not get the largest sound from his violin, but he moves adeptly among styles, from the robust and assertive to the soft and wistful, with ease. Nézet-Séguin and the orchestra made a stunning complement to keep painting an ever-broader palate. (Shaham returned to the stage to do a joint encore with the concertmaster from Prokofiev’s sonata for two violins).
Richard Strauss’ opera Der Rosenkavalier was by design a piece of Viennese nostalgia, even at its premiere in 1911 before the dismembering of the Austrian Empire a few years later. The suite (arranged with Strauss’ approval, possibly by Artur Rodziński who may also have been aided by his then-assistant Leonard Bernstein) does not follow the plot of the opera, but instead tries to capture its schmaltz. The Bavarian Radio Symphony Orchestra hammed it up. (To take down the mood, they added as a final encore more Sibelius: his “Valse Triste” from Kuolema – perhaps connecting the two Vienna-inspired composers at either end of the program).
The orchestra sounded even better today than it did on Friday, with its complete soundscape. The woodwinds as a unit are nothing short of spectacular. And they had a great rapport with Nézet-Séguin (in addition to the clear warmth and understanding during the performance, he kept kissing and hugging members of the orchestra as he wandered around the stage between pieces and during the applause to a degree I have not seen him do with the Philadelphians). One wonders what will happen if Jansons needs to retire and whom the Bavarians might choose to succeed him.