Cleveland Orchestra explores “divine ecstasy” in eclectic program

Cleveland Orchestra
Franz Welser-Möst, conductor
Vinay Parameswaran, conductor
Lisa Wong, conductor
Iestyn Davies, countertenor
Paul Jacobs, organ
Cleveland Orchestra Chorus
Severance Hall
Cleveland, OH
April 28, 2018

Gabrieli: Canzon per Sonar Septimi Toni No. 2, from Sacrae symphoniae
Gabrieli: Canzon per Sonar in Echo Duodecimi, from Sacrae symphoniae
Pärt: Magnificat
Gabrieli: O Magnum Mysterium, from Sacrae symphoniae
Kernis: “I Cannot Dance, O Lord”, No. 3 from Ecstatic Meditations
A. Gabrieli: Fantasia Allegra del duodecimo to­no
Gabrieli: Omnes gentes plaudite manibus
Bach: Cantata No. 170: Vergnügte Ruh, beliebte Seelenlust, BWV 170
Liszt: Fantasy and Fugue on the Chorale “Ad nos, ad salutarem undam”

Encore:
Bach: Prelude and Fugue in D Major, BWV 532 – Fugue

Saturday night marked the final program of The Cleveland Orchestra’s utterly remarkable festival exploring Tristan und Isolde and its incalculable influence. The notion of ecstasy served as a common thread in the festival’s programs, certainly in the opera itself, and even more explicitly in Messiaen’s Turangalîla. Saturday’s program explored ecstasy in music through a religious lens, serving a wonderfully diverse smorgasbord of works that spanned five centuries. The first half was comprised of seven brief selections, thoughtfully strung together as a continuous arc. After introducing the program, Welser-Möst didn’t return until after intermission, passing the baton to Vinay Parameswaran (assistant conductor of TCO and music director of the Cleveland Orchestra Youth Orchestra), and Lisa Wong, acting director of the Chorus.

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Lisa Wong and Cleveland Orchestra Chorus, all photos © Roger Mastroianni, Courtesy of The Cleveland Orchestra

Giovanni Gabrieli is often considered a veritable father figure in the realm of brass playing, writing extensively for brass ensembles that would be dispersed throughout the cavernous galleries at Venice’s Basilica di San Marco. Four of his works dating from the late 16th-century punctuated the first half, presented in arrangements for modern brass ensemble by Timothy Higgins, principal trombone of the San Francisco Symphony. In loose approximation of how the works would have performed at San Marco, two brass choirs were positioned at opposite ends of the stage. The Canzon per Sonar Septimi Toni No. 2 was a bright and festive opener, while Canzon per Sonar in Echo Duodecimi had a striking echo effect as suggested by the title with great intimacy of communication between players, even from across the stage.

Principal trumpet Michael Sachs switched the flugelhorn in O Magnum Mysterium, producing a timbre mellow and stentorian. Scored for the formidable forces of four choirs (two vocal, two brass) grounded by the organ as continuo, Omnes gentes plaudite manibus closed the first half in rousing fashion. The brass had a fine vocal quality – at the end unambiguously intoning the “Alleluja” – and were deftly balanced with the singers.

A varied assortment served as interludes between the Gabrieli, beginning with Arvo Pärt’s Magnificat for unaccompanied five-part chorus. Embodying the composer’s iconic tintinnabuli technique, the beauty of sound resonated as if frozen in time – and how well it fit alongside Gabrieli despite being displaced by several centuries. Aaron Jay Kernis’ “I Cannot Dance O Lord”, also scored a capella, offered a more jarring stylistic contrast (it being the program’s most contemporary work, composed in 1999). The choir was quite virtuosic with some colorful word-painting, very literally “whirling” at the close. Organist Paul Jacobs (a local favorite who appeared on this stage as recently as last November) was the standout of the evening, his first contribution taking the shape of the Fantasia Allegra for solo organ by Andrea Gabrieli – Giovanni’s uncle. A joyous and exultant affair, its contrapuntal intricacies were easily surmounted by the organist, a mere warm-up for what was to come.

The concert’s latter half took a rather different form in focusing on two lengthier works, beginning with Bach’s Cantata No. 170, engaging Welser-Möst, Jacobs, and countertenor Iestyn Davies. Welser-Möst imbued the opening aria with graceful, fluid gestures, and Davies offered a rounded and mellow tone, although at certain points I would have preferred crisper diction. The two recitatives (movements 2 and 4) were marked by organ obliggato, while prominent organ colored the central aria (Wie jammern mich doch die verkehrten Herzen) as well. Here, Davies communicated deep melancholy and made an impressive showing in the melismas. Though concerned with sin, one couldn’t help but feel a certain sense of joy during the running sixteenths in organ of the concluding Mir ekelt mehr zu leben.

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Bach’s Cantata No. 170: Iestyn Davies, Franz Welser-Möst, and Paul Jacobs with The Cleveland Orchestra

Jacobs was the sole performer on stage for the program’s remainder, devoted to Liszt’s daunting Fantasy and Fugue on the Chorale “Ad nos, ad salutarem undam” from Meyerbeer’s Le prophète. An interesting work to include during a festival celebrating Wagner as Meyerbeer’s meteoric success in Paris – particularly with Le prophète – fueled much of the envious German composer’s antisemitism. The Fantasy and Fugue is one of Liszt’s crowning achievements; written contemporaneously with the Piano Sonata in B minor, it too shows absolute mastery of large-scale form. It opened with darkness and foreboding, the dissonances piling on top of one another, and emerged as a free-form fantasy of a vast range of moods and colors. A central slow section presented the most literal statement of Meyerbeer’s chorale which Liszt generally used only obliquely, and offered a meditative respite. Liszt left much of the dynamics and registration open to interpretation; at one point Jacobs opted for some bell-like sororities, striking and quite effective. A fiery transition led to the massive fugue, with contrapuntal complexities defying imagination, Jacobs unleashed a firestorm of startling virtuosity.

Miraculously, the indefatigable Jacobs was still up for an encore, clearly enjoying the magnificent instrument. He returned to Bach in the D major fugue (BWV 532), ending the evening on a markedly cheerier note.

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Davies, Welser-Möst, and Jacobs
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Intimate Chopin and Liszt from Ádám György

Ádám György, piano
Rheinberger Chamber Hall
Severance Hall
Cleveland, OH
October 16, 2017

György: Improvisations on Hungarian folk songs, themes by Ádám György, and themes by Keith Jarrett
Chopin: Nocturne in C minor, Op. 48 No. 1
Chopin: Mazurka in C sharp minor, Op. 6 No. 2
Chopin: Mazurka in A minor, Op. 17 No. 4
Liszt: Rigoletto Paraphrase, S434
Liszt: La campanella, No. 3 from Grandes études de Paganini, S141
Liszt: St. François de Paule marchant sur les flots, No. 2 from Deux légendes, S175
Chopin: Scherzo No. 2 in B flat minor, Op. 31

Encore:
Liszt: Hungarian Rhapsody No. 2 in C sharp minor, S244/2

After seeing pianist Ádám György give a memorable performance of Liszt’s Piano Sonata in B minor at the 2017 American Liszt Society Festival this past spring, I have been eager to hear him in a full length recital. The opportunity for just that came Monday evening when the pianist stopped in Cleveland as part of a brief US recital tour, culminating in a Carnegie Hall performance this Sunday – which, by no coincidence, falls on Liszt’s birthday. The venue of choice was the intimate Rheinberger Chamber Hall at Severance Hall, an ideal setting for recitals and chamber music.

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Ádám György, photo credit adamgyorgy.com

Introduced as a “diplomat for Hungarian culture abroad”, György boldly opened the program with one of his own compositions, a 20 minute set of improvisations on source material as disparate as Hungarian folk songs, themes by Keith Jarrett, and themes by the pianist himself. It began almost impressionistically, unfolding at a glacial pace and contrasting the extreme ends of the piano’s registers. The work favored a rhapsodic ebb and flow over a taut structural cohesion; while it may have consequently meandered at times, the juxtapositions of modal folk music and the jazz-inflected Jarrett melodies were given with a remarkable fluidity.

Chopin’s Nocturne in C minor, Op. 48 No. 1 followed attacca, offered as something of a pendant to the improvisations. Though perhaps a jarring interpretative choice, György’s reading of the nocturne left little to be desired. An ineffable melancholy characterized the primary theme which led to a stately chordal procession, and the concluding agitato section bordered on the ecstatic. Eschewing the standard concert practice of punctuating selections with stage exits, György remained at the keyboard for the duration, presenting the program in an unbroken arc. A pair of Chopin’s mazurkas followed, both contrasting wistfulness with a folksy charm and rhythmic snap.

Liszt’s Rigoletto Paraphrase is based on the famous quartet from the namesake Verdi opera, and under György’s hands the theme was presented with a delicate elegance, increasingly complex and ornamented. While one would have preferred a bit more clarity in some of the octave leaps and rapid scalar runs, the cascading octaves that concluded showed György’s virtuosity at its finest. La campanella was a tour de force of pianistic acrobatics, the repeated notes high in the treble sounding as bell-like as the title suggests. György sailed through the fearsome trills with apparent ease, and the work built to a thunderous coda. The final Liszt selection on the printed program was the second of the two Légendes, namely St. François de Paule marchant sur les flots. A work of deep religious introspection, the rocking waves depicted in the bass made this imposing piece the evening’s emotional climax.

György turned attention back to Chopin one final time in the Scherzo No. 2 in B flat minor, and this commanding performance was filled with passion and drama. The modest but enthusiastic audience was indulged with a substantial encore, Liszt’s Hungarian Rhapsody No. 2 in C sharp minor, to end the evening on a quintessentially Hungarian note and in a blaze of pianistic brilliance.