Blomstedt and Brahms: an inspired pairing

Cleveland Orchestra
Herbert Blomstedt, conductor
Severance Hall
Cleveland, OH
July 27, 2018

Brahms: Symphony No. 4 in E minor, Op. 98

The opening Summers@Severance evening for this season saw the return of Herbert Blomstedt, remarkably now 91 years old but hardly flagging in vitality. Draped in a white coat, he dressed the part of the elder statesman that he is, masterfully leading the orchestra in a single work, namely Brahms’ Fourth Symphony. Tonight sees him reprise the program at Blossom with the addition of Mozart’s Jupiter – while I wished that or at least an overture could have padded out Friday’s brief program, the gripping performance certainly mitigated the desire for more music.

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Herbert Blomstedt, photo credit Gert Mothes

Blomstedt’s graceful, batonless conducting produced the gentle rise and fall of the primary theme, and the balance he achieved was quite idiosyncratic – rather than opting for a homogenized sound, each instrument family was clearly delineated in a striking array of coloristic variety. During the development, the main theme resurfaced as a stentorian skeleton of itself to mesmerizing effect, and matters built to searing passion and heightened drama. An arresting horn call opened the slow movement, only to give way to graceful and peaceful plodding, rallying to vigor as needed. A fine clarinet solo from Daniel McKelway was a memorable highlight.

The scherzo was given a spirited workout, gleaming with brassy exuberance and the unmistakable ring of the triangle. A progression of eight deftly sculpted chords served as the bedrock of the imposing passacaglia finale. Prominent roles for each instrument abounded in the movement’s intricacies, almost like a concerto for orchestra, and Blomstedt guided his colleagues to a blistering conclusion.

In other Cleveland Orchestra news, concertmaster William Preucil was officially suspended earlier in the day in response to multiple allegations of sexual assault, right on the heels of a major exposé in The Washington Post detailing assault in classical music circles. As noted in the linked article, some of these allegations have been public for over a decade – I was relieved to hear of some decisive action taking place, overdue as it might be.