The Observer, March 31, 2006
Volume XXXVIII, Issue 22
Orchestra impresses under substitute direction
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It was really difficult not to get fired up right off the bat as the Cleveland Orchestra played the first few notes of Tchaikovsky's Fifth Symphony. Chills ran up my spine as the clarinet took the theme and filled out the soulful notes with a touch of moodiness. The rest of the orchestra sailed into the storm, with assistant conductor James Gaffigan at the helm on short notice due to Franz Welser-Möst's illness during last Saturday's performance. On the whole, last Saturday's Cleveland Orchestra concert was filled with new sounds and renewed energy, largely because of the conductor's feisty style, but also thanks to some talented individuals.
Richard King, the principal horn player, was rightly recognized first at the conclusion of the symphony. His beautiful solo during the second movement filled the hall with Tchaikovsky's romantic and memorable melody. The audience noted the extraordinary performance with cheers and a full standing ovation as Gaffigan proudly held up his conductor's score for the audience to see.
Two other works were performed that evening, including the world premiere of a newly commissioned work, Poème, by Georg Friedrich Haas. The piece was very mysterious and suspenseful, but don't expect to go home humming the melody – there is none. Instead, it explores the regions of microtonal resonance of sounds and the alchemy of overtones. The clashing dissonances created audible pulses, which combined with the whirring ups and downs sounded like a sci-fi space ship preparing to launch. In the program notes, Haas commented, "as far as form is concerned, my music is composed as a journey from one state to the next: 'form' in the traditional sense does not interest me." His music has no identifiable beginning or end but is a really more an exploration of simply "being there."
The course of the evening quickly changed from postmodern to the mid-classical with Michael Sachs' performance of Franz Joseph Haydn's Trumpet Concerto in E-Flat Major. Sach's initial entrance was filled with confidence; his bold trills resounded through the hall. Unfortunately, the reduced orchestra sounded overpowered during the first two movements. The third movement's playful melody, on the other hand, was full of energy and was very well received.
Next week at Severance Hall is not for the weak-hearted. This won't be the classical music you hear in the Disney cartoons. If you are feeling adventuresome and want to hear music by the guy who invented the twelve-tone technique – Schoenberg himself – this will be your concert. A sure-to-be-amazing performance of Anton Bruckner's Symphony No. 5 will highlight the evening. For tickets and more information, head over to the Severance Box office or see www.severancehall.com.
