Jonathan Cohen, conductor
Kristian Bezuidenhout, piano
August 24, 2018
Handel: An Occasional Oratorio, HWV 62 – Overture
Haydn: Keyboard Concerto No. 11 in D major, Hob. XVIII/11
Mozart: Symphony No. 25 in G minor, K183
This summer’s concluding offering at Severance Hall from The Cleveland Orchestra culled three masterworks from the 18th-century, compressing the tried-and-true overture-concerto-symphony program format to just over an hour. Making his Cleveland Orchestra debut was conductor Jonathan Cohen, a specialist in this repertoire of particular note as artistic director of the early music ensemble Arcangelo.
The earliest work was presented first, namely the overture to Handel’s Occasional Oratorio in its first Cleveland Orchestra performance. Cohen led the reduced, almost chamber-sized orchestra in tight direction from the harpsichord, with the overture opening bold and stately, contoured by the dotted rhythms as per the French style. The small brass section added a sheen of brightness, and following the introductory material, matters took off via the fleet strings. Cast in four sections, the penultimate featured a lovely long-breathed oboe solo from Frank Rosenwein, and the work concluded in a brief but jubilant march.
Haydn’s Keyboard Concerto No. 11 in D major served as a platform for another local debut, that of South African keyboardist Kristian Bezuidenhout. The opening movement was lithe and sprightly, encouraged by Bezuidenhout’s crisp playing, direct in expression and always of utmost economy. The cadenza demonstrated his fine technique, but not without moments of introspection. In the slow movement, the sweet lyricism offered repose if not quite achieving the rapt beauty one would find in a Mozart concerto, and Hungarian finale recalled the composer’s dutiful service to the Esterházy family. Bursting with a folksy joviality, a vigorous theme in concert with the horns was of particular delight.
Mozart’s first minor key symphony – No. 25 in G minor – concluded the evening (incidentally, a few months prior TCO traversed Mozart’s only other minor key symphony, also in G minor). Opening in energetic Sturm und Drang, a looming darkness was assuaged by a singing oboe line and the buoyancy of the dance-like secondary subject. The delicate gestures of the Andante counted as calm following the storm, while the main theme of the ensuing minuet was sharply punctuated, contrasted by the mellifluous winds and brass of the trio – though here and elsewhere regrettably plagued by intonation issues. A nervous energy began the finale, its potential soon becoming kinetic to guide the work with inevitability to its ominous conclusion.