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Volume 35
Issue 13

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Hurray for guest conductors!

Hurray for guest conductors!
Two grand evenings at Benaroya with the Seattle Symphony by Rod Parke - SGN A&E Writer Anytime Asher Fisch comes to Seattle, I make sure not to miss his performances. He works regularly with Seattle Opera (Wagner's 'Parsifal' and a rousing 'Der Rosenkavalier' of Richard Strauss) and will conduct next August their 'Flying Dutchman.' This time it was an evening with the Seattle Symphony, with Beethoven's 'Triple Concerto' as the highlight. Maestro Fisch is a young, energetic conductor who knows what he wants and how to get it from the players. Music flows from his every gesture. Thus it was no surprise that the opening "'Egmont' Overture" moved with clear intent and fulsome musicality, even if it did not sound quite as well rehearsed as the rest of the program. The 'Concerto for Piano, Violin and Cello' by Beethoven is not often played, as though it were some lesser work of the master. Actually, the added cost of three soloists is more likely the cause, for the piece abounds in first-rate ideas and memorable moments. Asher Fisch was the pianist (and conductor), while violinist Chee-Yun and cellist Alisa Weilerstein joined him to make the trio. Musically the three were a perfect union, but visually there was a distinct conflict of styles between Chee-Yun and Weilerstein. The violinist had no mannerisms and seemed to enjoy every moment, while the cellist assumed the air of the serious, suffering artist, her face all a frown until a smile appeared in the final movement. Suffice to say that they played together with the piano and orchestra extremely well, leaving little to be desired. Composer William Thomas McKinley was present to take a bow after his 'Concerto for Orchestra No. 2.' The five-movement work, dedicated to Gerard Schwarz, was at times engaging and fun and other times over-orchestrated. The same percussion section that had just delighted with playful rhythms now completely drowned out the whole string section playing their loudest. Some moments showed a profound influence of Mahler. The work was neither memorable nor particularly impressive, although the players showed great skill in articulating its complexities. As if to show up the less skilled orchestrations of the McKinley, Stravinsky's 'Symphony in three movements' followed, overflowing with personality and clarity. Certainly not one of this composer's greatest efforts, it nonetheless gave great pleasure, especially in its skilled use of various instruments to yield colors and rhythms. Containing more wit than substance, the 'Symphony in three movements' is still a welcome visit. This reviewer missed the appearance last season of Russian conductor Vassily Sinaisky. I promise not to make that mistake again! By the end of this concert, I was fantasizing about Sinaisky as Seattle's next Music Director. He began with Carl Maria von Weber's '"Ruler of the Spirits" Overture,' an early work that nonetheless already hinted at this composer's future role as predecessor to Wagner and truly "German" opera. Even more pleasing than the Overture's facility of invention and youthful energy was the terrific ensemble playing of the Seattle Symphony. They obviously loved playing for this conductor, whose every gesture yielded audible results. Interplay between orchestra sections was precise and joyous. They played with both gusto and great attention to detail. For the second time in two weeks we were treated to great Mozart performance, this time the 'Violin Concerto No. 4,' composed when Mozart was a mere 19 years old. Ukrainian violinist Vadim Gluzman, 33 years old, wowed the audience in a piece that does not stress virtuosity. Instead he amazed us with the ease and grace with which he projected every ounce of Mozart's divine felicity. His partnership with Sinaisky could not have been more perfect. And the conductor drew playing from the orchestra that equaled the lightness and grace of the soloist. Gluzman played a movement from Bach's G-minor sonata for solo violin as a welcome encore. After such perfect delights, one does not expect even greater excitement, but that's what we got after intermission with the 'Symphony No. 10' by Dmitri Shostakovich. This great work could not have been better executed. The mixture of power, drama, delicacy, sensual beauty, sadness, energy, and exaltation came across as a totally natural flow of events. Emotional impact was so strong that, for the first time, I saw orchestra players on the verge of tears. First trumpet, David Gordon, seemed especially moved by the plaintiff opening section. Again, the orchestra seemed to love this conductor. And the audience responded with a boisterous standing ovation that seemed to yell, "Please come back soon!" It was a truly grand evening at the symphony. Review Rod Parke can be reached at rmp62@columbia.edu.