The Hartford Symphony Orchestra is not the New York Philharmonic Orchestra. But at the concert last night, more times than not, I could close my eyes, and not hear a difference. It was simply outstanding.
I'm not saying the concert did not have flaws. There were some, particularly in the Tchaikovsky Fifth Symphony. The program...
- Bedřich Smetana - "Vltrave" ("The Moldau") from Má vlast ("My Fatherland")
- Jean Sibelius - Violin Concerto in D minor, Op. 47
- Pyotr Ilyich Tchaikovsky - Symphony No. 5 in E minor, Op. 64
Bedřich Smetana - "Vltrave" ("The Moldau") from Má vlast ("My Fatherland")
This work has always been one of my favorites. The technical problem with this work is that it is more often than not, taken for granted. And, it's performed as such. People think it is a beautiful peace, but there is much darkness and turbulence in this work. And most orchestras gloss over this like it means nothing. Last night, I could hear all of this darkness in stunning clarity with these dark passages rippling through the orchestra without hiding their face to us. This is thanks in no small part to the conductor (I'll get to him in a minute) who paid particular attention to these important elements. And when the light of the sun triumphed over this darkness, it was simply breathtaking. Everything is a comparison to the other and when the sun came out, the excitement that this orchestra gave with this conductor at the helm sent shivers up my spine. The work has a lot of nationalism in it, or pride of country. And I found myself feeling that.
Jean Sibelius - Violin Concerto in D minor, Op. 47
This was an odd experience for me. Right after the Smetana, room was made for Leonid Sigal, the orchestras concertmaster, to perform the Sibelius Violin Concerto. But then they brought out a stool where he would play. They then secured the stool with weights on the feet of the stool. I was thinking, "How strange. He isn't seriously going to sit down and play this work." We all got quiet, and when he came out, he was holding his violin and bow in one hand, and limping out with a cane in the other hand. The stool it seems was to give him something to lean on. There was an injury to his leg and after he secured the cane to the back of the stool, he took his bow. You could see on his face that he was clearly in pain. I thought to myself, "This isn't a good sign. He shouldn't be up there."
Let me make one analogy of the Sibelius Violin Concerto, and something that Beverly Sills said once about "mad scenes" in opera. She was asked about mad scenes. She mentioned scenes in early opera that had some mad scenes, mad scenes in verismo opera where the lead character will go mad, and then she said, "... and then, there's Lucia", referring Lucia di Lammermoor, by Gaetano Donizetti. She put Lucia in it's own category because as she put it, Lucia didn't go mad, she was mad, and had this profound condition from start to end.
I mention this because this is exactly how I feel about the Sibelius Violin Concerto. In the violin literature, there are many violin concertos from the Classical era (1750 to 1820)* that offer their fair share of difficult passages. And then there are the concertos from the Romantic era (1820 to 1920)* that concentrate more on the virtuosity of the violinist. And then, there's the Sibelius, this concerto that towers over the others. It's not the virtuosity of the piece, it's simply to be avoided. In opera, you make a choice. The singer can be extremely virtuostic in terms of sheer notes in a given passage (for example coloratura, which emphasizes lightness, dexterity, and the higher range), or, darker heavier roles, such as Puccini, Verdi, or Strauss. In these works, the sacrifice of the fast moving passages for the singer, are gone. The reason, weight. The weight of the work, both emotionally and on the voice itself, sacrifices dexterity. So too is it with the Sibelius... kind of. The problem is, Sibelius doesn't sacrafice either. It's all there, passages that are just beyond human endurance, and emotional weight in the form of anguished dark moods. You will find hints of sunshine in this work, but it never wins.
In other words, it takes a toll on the violinist both technically and emotionally. Jascha Heifetz approached this work with the technical skill of a surgeon. Technically placed perfectly, yet leaving me unmoved. So last night, I was wondering how Hartford's Leonid Sigal was going to perform this work with his injury. It wasn't long into the work that I realized that he was using the pain to his advantage. The virtuosity was there, and the suffering on his face, from either the music or the pain, was genuine, and they worked with each other. It was an amazing experience to see. He didn't muddle his way through the work, he conquered it. And it was followed by a thunderous standing ovation. This was "our Lenny" after all, and I'm proud that he is with us in Hartford.
Pyotr Ilyish Tchaikovsky - Symphony No. 5 in E minor, Op. 64
This work is close to my heart. When I was a young lad way back in 1973, I had the wonderful opportunity to tour Europe after I was accepted into America's Youth In Concert. This symphony was one of the works we performed. It was the last work we performed in New York City together, before I said goodbye to so many wonderful friends that I made on the tour. So for years, I went without listening to this work. But now, I'm ok with it. It was performed well, with a few exceptions. I noticed this in the third movement mostly with the very fast spiccato in the strings. They weren't quite together. They had the work under their fingers, so I believe this was a fault of the conductor through these passages. And it was only a couple of passages that I noticed this.
The second movement with the towering horn solo was magnificent. In fact, through this symphony, I must say that what really came through was the the great wind and brass sections of this orchestra. Honestly, they sounded like the renowned brass section from the Chicago Symphony. I put this squarely on the shoulders of the guest conductor last night. Far too often do conductors with string backgrounds (the guest conductor is a violinist) diminish the brass players as though they are second class to strings. You do this at your peril in music. It's a strict partnership and yet, you'd be surprised at how many conductors out there just don't get that. Concerning the second movement, the only criticism I have is that it was a bit too dry, or metronomic, for me. There are times in this movement that you break tempo and let the moment play out. I felt that a few opportunities were missed by "moving on" too quickly, when we should have stayed and savored the moment a bit more.
All in all, I was satisfied with this performance. It wasn't perfect. There were some flaws, but I felt the conductor added much welcomed interest in exposing inner passages here and there that are often just glossed over in recordings. He's on the right path. Those aren't just notes. They are COLOR!
About the conductor, Andrew Grams
The Hartford Symphony is searching for a new conductor. As such, different concerts feature different conductors. So far, Mr. Grams is my first choice. He brings to the podium a youthful energy, respect and appreciation for all sections of the orchestra as equals in a partnership, and his technique is precise and well executed.
I was able to attend his pre-concert talk at 7:00. Most conductors want to talk about the music that will be performed, and how it effects them. Not Mr. Grams. He was more interested about us, the audience, the community, and where we would like to see the Hartford Symphony go in this time of it's life. He made it clear that if he was selected, he would be much more interested on our feedback and what we wanted from the symphony. With that, he said, without that you will never be truly part of the life of this symphony. Brutally honest, and, he's right!
As for the music, he talked very briefly about it but then said (and I'm paraphrasing), "These are well known works. I have my feelings about them, but that's not important, and I'm sure most of you have lived with them through your lives. Each of us must listen to them and hear them in our own ways. And hopefully, I can bring something new to this experience for you." He then opened it up for questions from us. This never happened before. One question that caught my attention was this, "By doing works that are so well known to all of us, aren't you playing it safe by choosing those?" He answered that he didn't get to pick the program with the exception of the Smetana. The program was planned by the Board of Directors with the Sibelius and the Tchaikovsky. He pointed out that guest conductors rarely get to pick the compositions performed for any given orchestra. But they asked him to pick a piece that "wasn't too long." Perhaps this was a test from them to see what he would marry these two works with. He finally also mentioned regarding the question of "playing it safe", that by performing well known works, he confronts people who know these works, and that can be a double edged sword. Very true.
I'm glad I made this effort to drive to Hartford through a snow storm. I got there a bit cold and weary as it was snowing out, bought a glass of wine, took it to my seat with me (yes, they let us do that), and listened to Smetana's The Moldau in a live performance, as I sipped a nice Merlot.
* Note that these date ranges are approximate. You will find that among different sources, they will vary somewhat.










