Alan Gilbert, conductor
Alisa Weilerstein, cello
March 15, 2018
Dvořák: The Watersprite, Op. 107
Barber: Cello Concerto, Op. 22
Bach: Cello Suite No. 4 in E flat major, BWV 1010 – Sarabande
Dvořák: Symphony No. 8 in G major, Op. 88
The weekend’s Cleveland Orchestra concerts were a reunion of sorts, bringing together conductor Alan Gilbert and cellist Alisa Weilerstein – longtime collaborators with important roots in Cleveland. Gilbert, who would go on to become music director of the New York Philharmonic from 2009-17, had formative years Cleveland serving as assistant conductor from 1994-97; Weilerstein made her professional debut in 1995 as a 13-year-old wunderkind with this very orchestra and Gilbert at the podium. The repertoire of choice this time was the Cello Concerto by Samuel Barber, a work which Weilerstein has championed – and while a major entry in the concerto repertoire for cellists, it’s surprisingly rarely encountered, this being only the second time TCO has performed it.
Matters began with an arresting, angular theme and a gritty lyricism occasionally interjected by spiky pizzicatos. The extended cadenza was a monologue that stretched the technical possibilities of the cello, and Weilerstein delivered with an unblinking virtuosity, showing utter command of the work and of her instrument. The angular theme resurfaced in due course for the movement’s muscular conclusion. The central Andante sostenuto was remarkably lyrical if still falling short of the sumptuousness of that in the same composer’s Violin Concerto. A totally different side of the cello was on display here, the singing richness of the solo lines often entering the instrument’s highest register, and Weilerstein’s dialogue with oboist Frank Rosenwein was particularly affecting. The calm repose was duly broken for the tour de force finale. Most imposing was a chorale-like passage with fearsome double stops, and the work closed in gripping intensity. Weilerstein offered a well-deserved encore: the Sarabande from Bach’s Cello Suite No. 4, elegant in its stately simplicity.
Works of Dvořák framed the concerto, the opening selection coming from the Bohemian’s late quartet of tone poems. Dvořák lived a decade after completing his final symphony, and seemingly having exhausted all possibilities of that venerable medium, turned to the tone poem, writing to my mind some of his most ambitious music. Vodník (variously translated as the Watersprite or Water Goblin – a character who also featured prominently in Dvořák’s opera Rusalka) was given its first Cleveland Orchestra performance, a testament to the way these works have been overshadowed by the well-worn symphonies. Liquid flutes and flowing strings opened with the music steadily growing in urgency. A tender theme depicted the innocence of the girl from the Czech fairy tale which inspired the piece, with some noteworthy clarinet playing by Daniel McKelway. Gilbert and the orchestra drew out the narrative in delirious detail to its gruesome, somber end.
Dvořák’s Symphony No. 8 in G major rounded off the program, its minor-inflected opening belying its wonderfully sunny disposition. Some particularly graceful passages were given in the flute by Joshua Smith, and the opening movement unfurled in great capaciousness. The Adagio opened in rich resound, with bubbling winds and a lithe solo line from concertmaster William Preucil adding to its pastoralism. Lilting, high-reaching strings marked the folk-inspired Allegretto grazioso, countered by a lovely, untroubled trio, not far removed in inspiration from a Schubert ländler. The declamatory finale opened with pealing trumpets. A more songful theme offered contrast, only to become increasingly rambunctious as the variations proceeded, and I’d be remiss not to give mention to the very fine contributions of clarinetist Afendi Yusuf.